Let's Get Killed

Genre: Breakbeat 1/5 I am a nice, fair reviewer, who generally doesn't have many problems with the music I'm listening to. This is my 171st album generated and listened to, and this was the first time in this exercise where I was plainly disgusted throughout the wide majority of the listen. I've listened to some bad Elvis Costello, some bad Bob Dylan, and some awfully mediocre 90s post-grunge, but this easily takes the shit cake. David Holmes' 1997 album Let's Get Killed is an exercise in dullness. A true techno dud with nothing redeeming, nothing that changes the form, and nothing that keeps you interested. The sampling is lazy and bad, the beats are monotonous and never-changing, and the effort to give himself (a white man from the UK) any form of NYC street cred is cringy, bizarre, and almost gentrifying. Nothing progresses, nothing excites, nothing is moving throughout the entire runtime. There's a song on the album, Freaknik, that starts with a man telling a story about being kicked out of a bar for dancing. He ends his story by saying "how am I supposed to release...this...ENERGY!", and it's immediately followed by 5-6 minutes of utter nothingness, in what appears to be the least energetic followup to a man screaming that I have ever heard. Radio 7, and its unbelievably lazy James Bond sample, is among the most aggravating tracks I've ever sat through. This is not good. A complete non-starter, not essential in any way, and takes up a spot that any other album in the universe should own. There is no purpose to have this album on this list. A waste of an hour that I will never get back.

This app claims to list "1001 Albums You Must Hear Before You Die". David Holmes named the album "Let's Get Killed". I would, to be honest, be happy if this had happened before I listened to this garbage

I expected to hate this and I didn't. It wasn't like ... super interesting or anything. But it was good background music to my morning. Easy to ignore but still providing a good energy. Honestly, if these were break beats behind a rap vocal, the songs would crush. As it is, they feel mostly incomplete. Still good tracks, though.I expected to hate this and I didn't. It wasn't like ... super interesting or anything. But it was good background music to my morning. Easy to ignore but still providing a good energy. Honestly, if these were break beats behind a rap vocal, the songs would crush. As it is, they feel mostly incomplete. Still good tracks, though.

This is like a soundtrack for a bad spy movie. Dance music made albumatic but it's giving me some Fatboy Slim vibes. I can see this with some strobe lights but I'm not quite having fun. The drinks cost too much, I'm somehow under *and* over dressed and the stink of hugo boss haunts the air. The slice of life vocal samples are really inspired but not grabbing. Makes me miss New York and also Fail to understand New York. The middle of the album is a huge improvement over the first few tracks. Especially the reworked James Bond Theme

This album was David Holmes second release and build on his previous album ("This Films Crap, Let's Slash the Seats"), with the emphasis on building immersive film scores/soundtracks, referencing Funky downtempo broken Beat's ("Let's get Killed") , Contemporary 70's Guitar melodramatic fusion ("My Mate Paul"), lively instrumental soul ("Gritty Shaker"), or even a reinterpretation of what the James Bond theme would sound like under the musical direction of David (Radio 7). There's even an expertly implemented stab at funky dance track ("Freaknik"), but as brilliantly devised as all this tracks are.....the one truly defining moment is arguably David's finest moment, the encapsulation of New York city night time life....The string, guitar, violin orchestrated arrangements of ("Don't Die Just Yet"), a 6 minute epic that showcases David impeccable ear for composition & creation of music, that is defiantly at odds with current trends in music, but remains a blissfully realised piece of music.

Unimpressed and somewhat bored by this one. Some fun ideas here, but there wasn't enough variety to keep me interested throughout the long listen. I think this is mainly due to my lack of appreciation for the EDM genre in general: while I can understand why some might enjoy this style of music, it just comes across as polished noise to me while also having a tendency to become very repetitive. With 'Let's Get Killed', I felt like I was listening to a solid soundtrack for a Nintendo 64 spy game (I unironically felt this way even before reaching the 007 cover which ended up cementing these notions immediately). While some of the songs on here might be catchy when looking at it through this made-up context, I don't necessarily feel the same way towards them knowing they come from a standalone album, let alone one that is included on the 1001 Albums You Should Hear Before You Die. It would be fine in the background as it is pretty harmless outside of some vulgar language in the talking segments, but there was nothing enticing or memorable here that would make me want to come back to it in the future, especially considering the absurdly long track lengths present throughout the whole record. I can't say that I hated it, but it was pretty mediocre in my eyes. 2/5.

What a find. I was aware of David Holmes as I loved his soundtrack to the film Out of Sight, starring a certain J-Lo. This pastiche of urban ramblings against a backdrop of urgent beats works really well.

This is the kind of gem that I somehow missed along the way.

big fan of some of the vibes (don't die just yet) others, like Caddell Returns, put me ill at ease

langatmig - unaufgeregt - ideenlos - nicht störend - unauffällig - endlos - wiederholend - gleichmäßig - einschläfernd - ...

I’m probably contrarian here, but this is the DJ style I prefer (over most EDM). I’ve been into David Holmes since Pi, and his stuff works for me (as annoying as it may be for others).

Another of those albums that I think is close to perfect. From the opening beat this album takes you on a gutter level trip through mid 90s New York. The sound collage that results still has me peeling back layers 27 years after its release

Sounded like a lot of artists I like - lemon jelly, chemical brothers, public service broadcasting. Really enjoyed having it on in the background.

Really good. The beats go hard and the production is great. The interludes are nice breaks from the album as well. Very cool!

Like being in the city. A story could be written for this album 9/10 5/5

Big beats are the best, get high all the time. Props to this album for sampling both Serge Gainsbourg and the James Bond theme. Unreal stuff.

This takes me back to the clubs in the 90s. This album is very indicative of the 90s electronic clubs sound, bonus, the segue's between songs with the live dialogue is clever - especially with the James Bond Theme. 4/5

Trippy trance intro. Very cinematic sounding. Love the breaks, samples and ambience. Great pick!

Oceans 11 sound, cool bond theme as well.

Very much of its era, got vibes of early Fat Boy Slim and people like The Wiseguys too, lounge dance groove style. Also got some early dub electronic / DnB vibes. Middle of the road, never been hugely my thing but I did listen to this kinda stuff when I was younger so I can definitely get behind it and enjoy it. Think I've heard Gritty Shaker before on one of Dave Dews chilled ibiza style compilation albums, defo heard Rodney Yates before, absolute tune. 3.5/5 but gona round up to 4 cos feelin generous.

Lot of nostalgia in this one for me - takes me right back to first year uni. Love how cinematic the album feels. Could absolutely be a soundtrack to something, and it's no wonder Holmes went on to do so much soundtrack work. (He did all the Ocean's Eleven movies, amongst many others) Fave track - "Caddell Returns", maybe - it's not really about stand out tracks, it's about wandering around the neighborhood, soaking it in!

The good tracks here are absolute killers. But it suffers from incohesive voice sampling and This-90s-Album-is-too-long-itis, so it's not something I'm likely to come back to in full anytime soon. That James Bond song is fantastic though.

another redundant electronic album. the only thing mildly interesting about this album is the sampled “vignettes” that are used as intros on several songs.

Meh. This is more like 400 Albums You Must Listen To Before You Die and 601 Albums That This One Fucking Guy Likes.

Sounds like a soundtrack from a bad, low budget 90s movie about hacking.

Also ein paar tracks waren ganz cool, eben diese oldschool-hip hop beats, aber diesen Geheimagenten-LARP hätte man sich sparen können. Außerdem viel zu lang, jeder Song iwie nur eine einzige Idee über 5 minuten gezogen

So gar nix besonderes

Ctrl c + ctrl v

Let’s see. This isn’t music that you would listen to in the background like jazz. This isn’t music that I would expect one would go to a nightclub in college and try to dance to. This isn’t music that is catchy that you would later find yourself humming to one of the tunes. This isn’t music to sing to because, by and large, there aren’t lyrics, although some songs do rap over the musical track. So, I find myself asking, “what is the purpose of this album and why is it important that I listen to it before I die”? I don’t normally look up artists that I am unfamiliar with when one is generated and presented to me but I did look up Mr. Holmes. I guess I could see some of this being used for soundtracks and apparently he makes a good living doing just that. Radio 7 is supposed to be one of the outstanding tracks on this album. It’s a mystery to me how sampling the Bond theme and laying a drum track over it passes for clever. Aren’t you just leaning on the work of others like a crutch? It’s not like when Johnny Cash made Trent Reznor’s “Hurt” his own. Or when Sinead O’Connor did the same with “Nothin Compares 2 U” when she covered Prince’s tune. From my point of view most (alll?) of the tracks are pointless and monotonous. This music doesn’t really seem to have a purpose. Without a movie or a show to assist, what is the artist trying to say? I’m not giving another moment of thought to try to answer that question.

Another. UK. Electronica. Act. How??? And here I am asking myself again with one of these albums: what is the fucking point? It's repetitive bullshit. There's no musical value to it. It sounds like rap beats without a rapper. There is no genre that is overrepresented more in this book than this.

Offensively boring. The song Let's Get Killed was alright, but this whole album is just very mediocre beats played on repeat. There is zero progression throughout the songs. You'll have a better time clicking through samples on Fruity Loops.

I’m giving this a five because it passed me by at the time but if I’d have heard it when it came out I would have loved it. There’s a few tracks I recognise - at least a couple from Spaced - and the ones that don’t are funky or trippy or just generally cool. I might dare to suggest it’s a bit of its time, but I like it!

First heard this album in Oct 2024. Had no idea what to expect, just knew he was from Belfast. I was digging the album halfway thru the first listen, and have been loving the album on my third listen in a row. I hear Basement Jaxx, some N.O.W.

Amazing variety of 90s electronic sounds here. In spite of how different each song is it still manages to feel very cohesive. Part of this is probably the effective use of field recordings throughout.

Can’t believe I missed this in the late ‘90s. EDM jazz.

Brilliant. Exciting

Kickstarted me into discovering and diving into a whole new genre. Very calming instrumental music. Can easily have it on while working, thinking, or even sleeping.

💖 freaknik 🗣️ 9️⃣

very cool

excellent

fantastic!

Let’s get thrilled

Interesting electronic music - especially with all the real-life recordings. The moody music paints vivid pictures that make for a compelling listen.

My kind of music, surprised I haven't heard of it before.

So much my vibe

A lovely surprise - late 90s electronic - in a slight vein of the Chemical Brothers but at the same time it’s own thing - drawing from Reggae, funk and Jazz. The field recordings that litters the album really give a context to the whole record while the music itself is impeccable from start to finish. Enjoyed this one very well.

A real banger, some tracks were real long or short for what seemed to be no reason but definitely a good one

total bangers: +my mate paul + lets get killed + Radio7

What a peculiar album... Feels like every song is from a different genre and artist even. Got some psychedelic, some hip hop. Loads of really good instrumentals and funky sounds. It's a bit of a journey, I really liked it. Super chill at the end.

Pretty cool 90s electronica. A lot of fun. Cool look at that moment where hiphop and electronica were just starting to part and go their separate ways.

Amazing. New York Street sounds in the 90's with a eclectic sound. And he's Irish

Glad I've found this one. Great electronic music.

Spaced!

Een soort van instrumentale electro-jazz. Absoluut niets wat ik uit mezelf zou opzetten. Maar ik heb er vreemd genoeg wel van genoten (op de achtergrond). Eentje om te onthouden

Molt top! Creació de imatges sonores

A good little funky ditty.

Well, time for another weird electronica album that i had never heard of until now with Let's Get Killed. Honestly, i wasn't really going in with the highest expectations but man oh man this album really grew on me. The actual songs here were actually really catchy when i could remember them due to their length making only one song stay in my head for that time and the intermission tracks did manage to fit well with the album's theme. There is even a reworking of the 007 theme here which i thought was interesting. Granted the album is long and repetitive but i still enjoyed it enough to give it a 3.5. Best Song: Let's Get Killed Worst Song: Head Rush On Lafayette

Classic….

Sure, I could be into this -- I liked the incorporation of found audio

Low key but loved it!

I liked this! It reminded me of Propellerheads, which is from the same era of electronica. I do usually go for Propellerheads when in a mood for this type of thing, but it’ll be nice to have this tucked in my back pocket for the future, too.

Electronic music. Enjoyed it

I’m torn because I like the beats and what he’s doing, but they conjure images of aggro hipsters trying too hard to be cool and maybe it’s just my state of mind, but I can’t wholeheartedly endorse such inducements.

I am really enjoying this. It’s got that ‘darkness’ that a lot of early electronic music had a la Orbital/The Orb/Underworld but it sounds more modern and put together a la Aphex Twin/Squarepusher. I think you would consider this pre-‘bit beat’ but I guess right on the cusp of that movement (Moby, Fatboy Slim, Chemical Brothers, Prodigy, Daft Punk)

Yep. A big wave of nostalgia with this one

me pareció bastante copado 7.5/10

Different, doesn't have anything I would call a banger, but it's a vibe if you want something more moody and atmospheric

Was ist das? Klangspielereien mit tollen Soundeffekten, angedeuteteten Jazz, coolen Sprachcollagen. Dieses Album lebt von der Atmosphäre und kann nicht nebenbei gehört werden, sonst überhört man die wichtigen Details. Das war ein Werk dieser Art, das ich vorher in dieser Intensität noch nicht vorher gehört habe. Dafür liebe ich diese Challenge. Ich weiß nicht, ob ich dieses Album öfter hören kann, dafür ist es mir zu wenig melodisch. Trotzdem ist mein Fazit: absolut hörenswert!

The fact that I hadn't heard of David Holmes before, and the cover, led me to the conclusion that this would be some sort of electronica. I was right, but I was incorrect on how I'd feel: this might be one of the few electronica albums on the list that somewhat demands attention as opposed to fading gently in the background. I'm a big fan of the breakbeat drums, the varied influences, and the little tangents that the various citizens of New York City have to offer. Favorite tracks: "My Mate Paul", "Gritty Shaker", "Freaknik"

Alusta loppuun solid! Miehistön arvio pyöristyy 4-5 arvoissa neloseen. 4/5

I slept on this guy back in the day. This was exactly the type of record I was looking for when I thought I was a “cool triphop DJ” Yeah, sure, it’s a bit dull now but 4 stars for how I would have felt about it 25 years ago.

Quality album title. James Bond thematic flip on Radio 7 was pretty dope. Freaknik fucking jams -- love the intro story and the beat is so tappable. This made for some solid background music with enough little gems tucked inside to keep things interesting. Solid 4 / 5 for me.

This sounds like Fatboy Slim to a degree. Wow did not expect a James Bond song. Bouncing around the house to Freaknik this is fun. Not something I'd normally go for, but I prefer this over the 90's warehouse rave stuff especially with all the different sounds going on.

**"Let's Get Killed" by David Holmes: In-Depth Review** **Introduction** Released in 1997, "Let's Get Killed" is the second studio album by Northern Irish DJ and producer David Holmes. This eclectic album is notable for its fusion of electronic music with various genres and its innovative use of found sounds and street recordings. The album received critical acclaim and is often regarded as a seminal work in the electronic music genre. This review delves into the album's lyrics, music, production, themes, and influence, providing a balanced analysis of its strengths and weaknesses. **Lyrics** While "Let's Get Killed" is primarily an instrumental album, it features snippets of spoken word recordings taken from the streets of New York City. These recordings capture the raw, unfiltered essence of urban life, adding a unique lyrical dimension to the album. The street dialogues, ranging from casual conversations to impassioned monologues, are interwoven throughout the tracks, creating a narrative thread that enhances the album's atmosphere. The absence of traditional lyrics allows the music to take center stage, but the spoken word elements provide a socio-cultural context that grounds the album in a specific time and place. This approach gives listeners a sense of immersion in the vibrant, chaotic, and sometimes gritty reality of New York City in the late 1990s. **Music** Musically, "Let's Get Killed" is a rich tapestry of styles, blending elements of electronic, jazz, funk, hip-hop, and rock. Holmes showcases his prowess as a DJ and producer by seamlessly integrating these diverse influences into a cohesive whole. The album opens with "Listen," a track that sets the tone with its funky bassline, jazzy trumpet, and the first instance of street recordings. Tracks like "Gritty Shaker" and "My Mate Paul" highlight Holmes' ability to create infectious grooves, utilizing layered rhythms, catchy hooks, and dynamic shifts in tempo and intensity. "Gritty Shaker" is particularly notable for its upbeat, danceable quality, driven by a pulsating bassline and energetic percussion. In contrast, "Rodney Yates" slows things down with a more introspective, downtempo vibe, featuring lush string arrangements and atmospheric soundscapes. One of the standout tracks, "Slash the Seats," exemplifies Holmes' talent for blending cinematic elements with electronic music. The track builds gradually, incorporating dramatic orchestration and suspenseful beats that evoke a sense of tension and anticipation. This cinematic quality is a recurring theme throughout the album, reflecting Holmes' interest in film scores and his ability to create music that conjures vivid imagery. **Production** The production on "Let's Get Killed" is meticulous and innovative, showcasing Holmes' skill in manipulating sound and texture. The album is characterized by its layered production, where multiple elements are woven together to create complex, immersive soundscapes. Holmes employs a wide range of techniques, including sampling, live instrumentation, and digital effects, to achieve a rich, multi-dimensional sound. The use of found sounds and street recordings is a distinctive feature of the album's production. These recordings are not merely used as background noise; instead, they are integral to the album's structure and mood. Holmes carefully selects and edits these snippets, integrating them into the music in a way that enhances the narrative and emotional impact. Holmes' attention to detail is evident in the album's sonic quality. Each track is meticulously crafted, with a clear focus on achieving a balanced mix where every element can be heard distinctly. The result is a polished, professional sound that maintains a sense of raw, organic energy. **Themes** "Let's Get Killed" explores themes of urban life, cultural diversity, and the human experience. The album captures the essence of New York City, with its bustling streets, eclectic mix of people, and vibrant energy. Through the use of street recordings, Holmes presents a snapshot of the city's social fabric, highlighting the diversity of voices and experiences that make up its character. The album's title and certain tracks evoke a sense of danger and unpredictability, reflecting the darker aspects of urban life. However, this is balanced by moments of joy, humor, and camaraderie, suggesting a complex, multifaceted view of city living. Holmes' music conveys both the excitement and the challenges of navigating a dynamic urban environment. The cinematic quality of the album also suggests themes of storytelling and imagination. Holmes creates musical narratives that transport listeners to different scenes and scenarios, inviting them to interpret the sounds and voices in their own way. This narrative approach adds depth and intrigue to the listening experience, making the album more than just a collection of tracks. **Influence** "Let's Get Killed" has had a lasting impact on the electronic music scene and beyond. Its innovative use of found sounds and street recordings has inspired other artists to experiment with similar techniques, blurring the lines between music and environmental sound. The album's eclectic style and genre-blending approach have also influenced a wide range of musicians, encouraging a more open and experimental attitude towards electronic music production. Holmes' ability to create cinematic music has paved the way for other producers to explore the intersection of film and music. His work on "Let's Get Killed" can be seen as a precursor to his later success as a film composer, with notable scores for movies like "Ocean's Eleven" and "Hunger." The album's emphasis on creating vivid, immersive soundscapes has become a hallmark of Holmes' style and has influenced the broader field of soundtrack composition. **Pros and Cons** *Pros:* 1. **Innovative Use of Found Sounds:** The integration of street recordings adds a unique and authentic dimension to the album, enhancing its narrative and atmospheric qualities. 2. **Eclectic Musical Style:** Holmes successfully blends a wide range of genres, creating a rich and diverse sonic palette that keeps the listener engaged. 3. **Cinematic Quality:** The album's ability to evoke vivid imagery and tell stories through music is a standout feature, showcasing Holmes' talent as a composer and producer. 4. **Meticulous Production:** The attention to detail in the production ensures a polished, professional sound that maintains a sense of raw energy. 5. **Cultural and Social Themes:** The album captures the essence of urban life and cultural diversity, providing a thoughtful and multifaceted portrayal of New York City. *Cons:* 1. **Lack of Traditional Lyrics:** While the use of spoken word recordings is innovative, some listeners might miss the presence of traditional lyrics and vocal melodies. 2. **Potential Over-Reliance on Samples:** The heavy use of samples and found sounds, while a strength, could also be seen as a limitation, potentially overshadowing original musical composition. 3. **Inconsistent Pacing:** The album's diverse range of styles and tempos might result in an uneven listening experience for some, with shifts that could disrupt the overall flow. 4. **Niche Appeal:** The experimental nature of the album might not appeal to all listeners, particularly those who prefer more conventional song structures and genres. **Conclusion** "Let's Get Killed" by David Holmes is a groundbreaking album that pushes the boundaries of electronic music through its innovative use of found sounds, eclectic musical style, and cinematic quality. The album captures the essence of urban life and cultural diversity, offering a multifaceted and immersive listening experience. While the lack of traditional lyrics and the experimental approach might not appeal to everyone, the album's strengths in production, thematic depth, and influence on the music industry make it a significant and memorable work.

Really surprised by all the bad reviews on this one, at the very least it’s an enjoyable 90s trip hop album. This guy did some decent soundtracks which definitely comes through in the album. I liked the elements of the late 90s lounge/exotica revival in the samples, I think one of the tracks was used in spaced. I liked it!

Cool atmospheric beats

Instrumental. Funky. New York city. Streets. Jazzy. Black sound. It's a good album to make love to...I guess? I can imagine it would be fun to be humping to the tune of "Radio 7".

Þetta er stuð!

Junto con St. Germain, uno de los pocos discos de DJ y música electrónica que me gustan. Bien por este que fusiona múltiples géneros y no se encasilla en el típico "punchis-punchis".

Wow i like it and i did not knew him

Two movie soundtrack aligned albums in a row and I'm not mad about it. Could say it goes on a bit but pretty well kept me engaged the whole time. I have definitely heard the spoken story at the start of Freaknik somewhere else before too. Freaknik also the highlight. Should start a movie soundtrack playlist.

Not at all sure what to expect from the name having never heard of the guy, but yes, this is a bit of me

Listen to this one. It’s Freaknik!

The 007 track was a great track

A great hip-hop record in search of an MC and an editor. OR Pleasant background music... when the weird dialogue sample shuts up. OR Solid soundtrack music for a movie. Update: ah, there's the freestyle on track 5

Jeg havde ingen anelse om hvad det her var da jeg satte det på. Det blev et meget behageligt bekendskab med Mr. Holmes. Tankerne flyver til Bristol og byens Tri Hop scene, men musikken bevæger sig også i andre retninger, bliver til tider tungere, til tider mere jazzet, mere cirklende. Og så emmer det mindst lige så meget af The Bronx som af Bristol. Det er ikke sidste gang jeg har smidt det album på

Una master class de sampling.

This was wholly unexpected and I really really liked it!

After two listens, came to the conclusion that it wasn’t bad. Not sure I would listen often, but still would reconsider. 4/5 for now!

I really liked this. Never heard of Holmes before but it was a perfect collection of chill instrumental tunes for a Saturday afternoon walk.

Fun listen, love me some 90s electronic / sampling

Cool D&B.

This was 1997? Dope

More fun than I expected

David Holmes’ Let’s Get Killed presents a submersive experience of an adventurous late night in New York City. The album feels like a love letter to the city; complemented by its busy sound. Tracks I loved include: Gritty Shaker, Radio 7, and Slashers Revenge.

The production is amazing. There's some great beats here too, but also a couple of forgettable songs. But mostly great stuff

How hadn’t I heard this back in 97‽ this would have been a slam dunk fav back then.

Great exploration of the genre that brings back some good memories.

fave track: my mate paul final thoughts: obsessed w this fr

It was a cool little look into NYC rave life with some serious beats