Let's Get Killed

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.

Not really sure what to think of this one. Trippy electronica I guess? I liked the first half a bit better and was solidly grooving to it, but it just got a bit lackluster as time went on. I'll give this a generous 3, because it was subjectively a better listen than Missy Elliott with the main drawback being its length.

Pretty cool laid back electronic for the most part with a bit of rock sprinkled in. Really liked Don't Die Just Yet, had a bunch of cool aspects to it. Little longer than I would have wanted and it was pretty much only good as background music. But for what it was that was a mid to high 3.

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.

On a pretty poor run, it's been nearly a week since something really decent got chucked my way. So I've been listening to Chapelle Roan and Beth Gibbons on repeat instead. Gave this a bit of time in the 00s, when I was breakbeat mad. It didn't take then, so it's definitely not going to take now. Aside from the serge Gainsbourg sample (and I prefer the originals) this is all pretty beige. The gulf in what's going on here and what DJ Shadow managed to achieve is enormous.

Decent listen

Oh look! It's another British DJ. Another. After another. How many is there on this list? It's just some electronic music. 1.5/5.

Didn't really stick with me much

**"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.

It has a few moments that aren't too bad but ultimately I found myself hating this.

Enjoyed it, nice background music whilst working

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).

This album plays like a survey of electronica circa 1997. An interest concept, very eclectic.

Some of this is good. But there is no reason for these songs to be this long.

Why is this on the list? Why should it be anywhere? "Let's Get Killed"? Sure, David, I would rather go ahead and try to do that before I listen to some of your music ever again.

Yeah, I guess this was where electronic DJ music was in '97... Kinda sad that my favorite track is the DJ'fying of Serge Gainsbourg, which didn't need the help.

Not bad. The James Bond theme was fun and I liked the little interlude with the guy complaining about being kicked out of a club for dancing.

What an absolutely brutal stretch we've been on. I couldn’t even finish this.

Quite like it

Decent, but not very memorable. The songs all last about a minute longer than they should.

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

Ok background music I guess?

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!

its not even music, its pure garbage

Absolute trash. 1/5

Like a lot of these elctronic albums, easy to listen to but not a lot to get excited about.

Not sure about this one.

Uskomattomin albumi radio never ending madness.. jaha

Not super into this, although I might get back to this once in a while to try something new...

Listenable and well produced DJ music. Clearly talented... just not my sorta music

Nah. Trying way to hard to be edgy. Shit is repetitive and boring.

Occasionally atmospheric but on the whole not particularly exciting

Kinda cool. Not something I'd look to listen too. 3/5

Interesting but not for me.

Ambiental

"Let's Get Killed" is what I'll say to my brother when we finish listening to all of these albums because then, finally, we'll be able to die.

Good!

Meh

Every track was a just a hair too long, and the album doesn't have any "peaks" so to speak, but I enjoyed this as a manic meditation with early electronica styles.

Cinematic atmospherics from the streets of New York and some jazz fusion adds a touch of individuality to what is an otherwise standard, though still enjoyable, downtempo electronica affair.

Sounds sort of like electro-jazz. It has a range of vibes, but a common one is as accompaniment for a 90s futuristic movie; so a bit of corny and energetic. Nothing stands out as amazing, but also it's not so bad either. There's definitely creativity and uniqueness to it. So far I'd put it around 3/5. I wouldn't necessarily listen to it again, but it's not bad by any stretch.

Brilliant. Exciting

Nope. Didnt like it. It has some good sounds here and there but just having a guy talk behind the music upends it. I get its more for setting a tone but it just annoyed me more than anything.

Didn’t really enjoy this album. Some of the beats were interesting and groovy but overall not for me. Really didn’t enjoy the talking clips just played under the music. So distracting

I liked it more than I thought I would. Some great tracks and a lot of filler that's really just background music. Nothing is truly bad, but there's just too much og it. Seems to be a general problem with 90s albums.

Cool atmospheric beats

Talking over beats. Could be informative, could be a story that has meaning to them, but either way it’s talking over beats.

An incredible instrumental album that barely loses pace as the songs progress, as so many other instrumental albums do. Every song on the record evokes the feeling of New York. 'My Mate Paul' & 'Let's Get Killed' are particular highlights alongside the remix/remake of the James Bond Theme used in 'Radio 7 (Album Version)'. A perfect album to put on while studying, sleeping, cooking & much more.

Nope.

Pretty good

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".

More like Let's Get Bored.

Ok, the astrologist on Gritty Shaker was a real guy in Greenwich Village at the time. He would hang out around the parks with his charts and sheets of paper and offer readings for a few bucks. But he would rattle everything off by memory. He was amazing and funny and a real local character. I’m ashamed to say that I had forgotten about him. But I’m so thrilled that he was immortalized on a popular record. The world got to meet him. The bucket drummers and street performers are all very endearing and authentic. The parts that are Holmes are okay. But the parts that are the real city recordings are the good. They are actual gems in a time capsule. 90s Manhattan was a fabulous dream. Overall, this is nice background music. Good for imagination time. A little heavy handed and obvious. But a nice relic of the time and place.

Paused listening!!! I'm starting Back today!!!!

This is a forgettable 90's video game.

I guess. Not sure what I missed but this wasn't overly impressive or interesting in any way.

This was a surprise. I enjoyed this. I'd say it could be tighter, didn't need to be an hour. Let's get it closer to 30. 2.5

digging the spooky vibes in track three. these tracks dont go anywhere so its hard to love them but they arent bad by any means. Track 11 rocks too

Stressaava a-puoli, rennompi ja (vähän) orgaanisempi b-puoli, löysi hyvin tasapainon. Ei puuduttava, mutta jää mulla kyllä vain taustalle.

Biitti soi. Välissä pölistään jotain.

Þetta er stuð!

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.

I liked more than I thought I would.

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".

More pause menu music. Sounds like a rip-off from some late 90s spy film. But wait a minute. That's because this guy literally scored Ocean's 11 and invented this sound, which is now ubiquitous with tense heists in every cool criminal/spy movie since then. I am somehow both impressed and hate this album even more.

Gear: Focal Clear (ZMFed) Artwork: 90s af Mix: bewusst boomy, authentisch analog, sporadisch spektakulär Musik: “Wer mit Ungeheuern kämpft, mag zusehn, daß er nicht dabei zum Ungeheuer wird. Und wenn du lange in einen Abgrund blickst, blickt der Abgrund auch in dich hinein.” ― Friedrich Nietzsche Wertung: 🎨🎨(🎨)/5

I feel as though there was a genre quota number that needed to be met and people who wanted to sound way cooler than what they are listed this.

Wow i like it and i did not knew him

This is like solid 90s basic electronic tracks - like the stuff you'd layer under other stuff. It's ok but now sounds dated. Not sure why it's on here. The talking also didn't help. Radio 7 started with potential (seemed like a cool Bond remix incoming), but then went back and defaulted to the same patterns. 2*

enjoyed it having never heard of it. Beats and melodies. Definitely a precursor to things that came later that i love

It’s kind of strange how many small and rather unknown electronic artists and albums ended up on this list. Unfortunately I think they have stayed that way for a particular reason. Because most of them are very poorly rated. And rightfully so. I have yet to find one i disagree with. They just aren’t all that good. I love electronic music. But I’m also able to acknowledge that some of the most boring music I’ve ever heard comes from this genre. It’s just so easy to mess up, and some people don’t do it right. I’m not in any position to tell someone how to make music of course. But I can still point out where poor decisions were made. Sometimes artists just aren’t cut out to be the next Aphex Twin. They aren’t meant to change the game. Which is fine, because there are people who fit that label and have still found decent success in life. But when you not only don’t fit that label, but don’t have anything going for you to keep things interesting, you end up like David Holmes here. This guy might have made the soundtrack for movies like Ocean’s Eleven and Ocean’s Thirteen, but he is still virtually irrelevant to me, and by no means a household name. If you were to take everything that makes Endtroducing..... one of the most well put together and satisfying albums of all time, and scrub it all away, you would get this album. The sampling is totally lackluster, and pales in comparison to that of which I’ve heard from other producers. Radio 7 is the best example of this. Using a 007 sample is cool and all, but I think to have it so blatantly laid out in the track with so little alteration is sad. It’s the opposite of what sampling should be used for as a medium in music. Considering that the 90s, especially in New York, were a period of peak creativity coming from all fronts like we’ve never seen before, making something this substance-less was a recipe for disaster from the start. Rating: 4/10

No Thanks

Sounds like the interstitials that play between ads on Tubi. Somehow the use of “on the street” recordings of black folks in NYC by this little British white boy feels exploitative to me. Absolutely no reason to be here.

If you were a teen or young adult twenty or so years ago - as I was - you likely had occasion to stay over at a friend's place, staying up all night getting intoxicated. When you awoke, blurry-eyed and fuzzy-tongued, on your mate's sofa the next morning your re-entry into the world was often heralded by the looping music of the DVD menu screen from the film you watched the night before. This is that music.

Started out pretty boring but improved as it went on.

Some brillant stuff here but some shite to balance it out

I love late 90s trip hop/breakbeat/techno, but this is honestly some of the most boring and uninspired stuff I've heard come out of the genre. Nothing exciting or notable this whole album honestly. 2.5/5

"Let's Get Killed" is remarkably self-indulgent

Very basic

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

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.

Yeah, I'm not really sure what I'm missing here. I like a lot of electronic music, but this just faded into the background for me. I can't remember a thing about it, and have no interest in listening to it again. Oh well

It’s pretty boring. It’s not that it’s bad, but I kept waiting for it to build or develop into something more interesting, which never happened. I think this could work well as a soundtrack, sampled in a hip hop album, or with vocals. As a stand-alone album, though, it’s just too bland.

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

Meh.

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

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

Why does trip hop sound so dated?

Horrible

I checked out Wikipedia and learned he’s scored some movies I like. Respect.

Not for me. Don't see the point.

ganz interessant

Boring

mindless, lame, and repetitive noise. this book apparently struggles to find any good electronic/EDM albums when there's so much better stuff out there

Was alright. A less good Endtroducing…

Like a bad score from a crappy video game circa 2002.

A bit too long but that was fun. 3 stars

This is dumb

💖 freaknik 🗣️ 9️⃣

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

No music, just noise

Knob twiddling - not my thing

Listen to this one. It’s Freaknik!

"Cause, if you can't dance, can't release - This energy!" If by this energy you mean soulless, bland, boring noise, yeah you right then. I would love to hear someone attempt to justfiy this albums placement in a list of 1001 albums you MUST hear before you die. If you like this, that's dope. But how can it be on this list? Fav songs: - Don't Die Just Yet

Seems undistinguished to me. 'Don't Die Just yet' was the track I enjoyed the most, but I think it is a rip-off of a Serge Gainsbourg tune?

I can’t believe I’m rating this a 3. But for electronica to zone out to or to pretend that you are the protagonist in a Steven Soderbergh flick then this record is made for you. It runs a tad long and the interstitials are a waste of space. But you can apparently turn it on and roam the streets of downtown Minneapolis and not quite hate it.

He’s not going to kill us with this blunt old thing.

The thing about writing a soundtrack to an imaginary film is that you have to write the imaginary themes and imaginary action sequences, not just the imaginary incidental music

The 007 track was a great track

One has a unified critical theory of electronica/chill: the closer the sound and more proximate the vibe, the lower the rating. The beats and flows are generally fine, if not distinguished, the best of them of only passing interest. The overall effect is of incompleteness, which makes sense given its striving to be a soundtrack. The spoken word bits just don't make up for the lack of the content which the sound is supposed to track. And shouldn't a song called "Freaknik" sound more like, you know, hip hop, and the ATL variety in particular? The 007 version adds nothing but check a low standard for Hollywood work – again, perhaps that was the goal. At some point, amorphousness becomes pointlessness, and such petitoning for work downgrades artistic ambition; this record gets there.

I think a one is a bit egregious, but don’t mistake my two for anything other than me abhorring this album. It’s just that I’ve heard more offensive ones. 2/5

Not exactly my jam

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

Første halvdel hørte jeg i bilen, næste i hovde telefoner. Det sidste er klart at foretrække. Et fint lyt med lidt 007, og fin into på numrene.

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

Just alright. listen in bed on sunday.

Painfully stupid

Interesting record!

Meh I just couldn’t get into this at all. The spoken word samples were annoying as fuck. The beats were ok if not a bit generic.

Ok, the astrologist on Gritty Shaker was a real guy in Greenwich Village at the time. He would hang out around the parks with his charts and sheets of paper and offer readings for a few bucks. But he would rattle everything off by memory. He was amazing and funny and a real local character. I’m ashamed to say that I had forgotten about him. But I’m so thrilled that he was immortalized on a popular record. The world got to meet him. The bucket drummers and street performers are all very endearing and authentic. The parts that are Holmes are okay. But the parts that are the real city recordings are the good. They are actual gems in a time capsule. 90s Manhattan was a fabulous dream. Overall, this is nice background music. Good for imagination time. A little heavy handed and obvious. But a nice relic of the time and place.

Soundtrack to my life

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!

Oh, great, more electronica. The title of this album is apt because my first thought was, fucking kill me. "Gritty Shaker" sounds like it should be a Tracy Morgan sketch. Did the dude spitting bars on "Head Rush on Lafayette" get paid for it? Cause David Holmes being credited as the "lyricist" on all these tracks for recording random people is ridiculous. The Bond song remix, Radio 7, started out with some promise, and then around 2:30 they had to ruin it with obnoxious feedback sounds. It also didn't need to be almost 6 minutes long. Don't Die Just Yet was actually kind of cool. It was an actual song. I couldn't really pay attention to the rest. Boring. 1/5

Don't Die Just Yet was OK, the rest seems ... unfinished?

It was ok, wasn't really in the best headspace for a thorough listen

Sooooo boring. If you want some typical late 90s electronica layered with messages from this dude’s microcassette using answering machine, have at it.

This has a few moments; but I find it ignorable at best. It's not even really annoying. The talking parts are kinda fun, in a dream background kinda way. I like the blues groove of Gritty Shaker. After a few songs, I was sorta roped in. I would occasionally pay attention, noting that this or that part was good. By the end I was feeling happy it was over. I would never listen to this again. The album cover art is really interesting, BTW. Took me a little time to see it fully.

There is a cool cinematic feel to this record. The ending track of a reworked James Bond theme song adds to this feeling, for sure. Let's be honest here. This record is... Well, it's here. It sounds like any Soundcloud DJ trying to create a record. A bunch of electronic instruments and layers of samples. Sure there is a following for this type of music. But what makes this any different from any amateur composer behind a macbook? Why is this on this list? I'm beginning to think that this list is compiled of expected records (Beatles, Bowie, Etc) and then, just to be different and unexpected... Some random niche genres. Furthermore, a bunch of random artists from these random genres are thrown into a hat or choice generator app, and chosen.. At random. Alright, the machine has picked David Holmes 'Lets Get Killed." And this record isn't necessarily bad. It's well crafted, I guess. But it doesn't deserve to be in a top 1001 list. Add a few more zeros in there, and maybe. Perhaps I'm wrong. I'd sure like to see why an album makes this list. Because I am starting to get confident that some 5/5 records that exist, won't be on this list. Because this list just simply doesn't make sense. Want to give it a 1 because the principle of it all pisses me off... But I'm sure this was an honest effort. And I didn't hate it. I just find it amateur at best. But who am I? This gets a soft, flacid 2.

Painfully 90s electronic beeps and boops

7/10

really did not like.

Funky and bizarre.

Nothing terrible, but so not for me. I’m the kind of person who gets distracted by music so easily, like please don’t talk through my favorite albums. But some music doesn’t register past background noise and this is a perfect example. Day 500 could’ve been better, but it also could’ve been Limp Bizkit so I’ll keep my mouth shut.

Was ok

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.

I have no idea what this is. It's boring and pointless.

This was fine. Inoffensive. If you’d told me it was the soundtrack to a B+ early Noughties thriller, I’d have believed you. It passed the time while I did a bit of work admin. Gritty Shaker, Rodney Yates and Don’t Die Just Yet, mainly because they draw on music I like for influences, 70s soul, funk and lounge music. This feels like his version of the weird deep cuts he curated on Come Get It… but watered down. It occasionally wanders into bland or shamelessly derivative territory, but Radio 7 gave me proximity mines in the complex nostalgia, so I largely forgave it. Reading about it, though well received at the time, it didn’t top any polls in dance music magazines, I don’t feel like it’s grown in stature, so why is it here? An odd choice, but not one that annoyed me.

Let’s Get Killed I really liked his album after this, Bow Down to the Exit Sign when it came out at the end of uni. I listen d to it again a while ago and it still holds up. Despite liking that album I don’t think I’ve ever listened to Let’s Get Killed. I think Ben may have had the CD back in Durham though. My Mate Paul - could this BE more 90s sounding Let’s get Killed is good Gritty Shaker I’ve heard before and like Don’t Die Just Yet - standout by far I think I would have liked it a lot in 1997, and at that time it would have been right at the vanguard of this type of thing, but listening to it now it feels a bit dated, in a way that Endtroducing doesn’t. There’s a lot of lounge/jazz organ to some of it that was popular at the time but doesn’t sound that great now. Im not massively keen on the drum sound either. When it is a bit more ‘dramatic’ like on Let’s Get Killed it works much better. Don’t Die Just yet is excellent, the real standout. Gritty Shaker, Lets Get Killed and Radio 7 were also good I thought. It’s not as good as Bow Down to the Exit sign which has a bit more to it and a bit more sonic variation. I think there are also other better albums in this style so I’m not sure I’ll go back to this much, although Don’t Die Just Yet is going on my ‘Best Songs I didn’t Know About From 1001 Albums I Must Hear Before I Die’ playlist. ⭐️⭐️⭐️

Another bleh 90s electronic album

Album was a bit boring. Samples used were fine. Felt old even for the late 90’s.

This was 1997? Dope

I remember some of these being big hits at the time. On the whole it doesn't sound very groundbreaking or unique compared to other similar artists at the time like Fatboy Slim, Moby, Basement Jaxx, etc.

Meh

This was a bit underwhelming. I prefer the film scores that he's composed for Steven Soderbergh, specifically "Out of Sight" and "Ocean's Eleven."

This was the most boring electronica album I have ever heard.

Just ok

Someone might light monotonous techno music. It’s not me.

Okay album. Some of these electronic albums are tough, but I’m sure they are better performed live. I did like the street performance aspects on certain songs. And there is a song with a melodica, which I fully support. 3/5 Probably won’t listen again

Better than expected but still kind of dull

It’s fine, I guess. It was very much background music and I have a difficult time rationalizing how this is on a list of essential recordings.

Pioneer in electronic breakout sound. Good music. Even some good movie soundtracks.

Very chill and quite nice

The most interesting part of the album was the snippets in between. Not very memorable overall, enjoyable influence from Latin and jazz beats and motifs.

More fun than I expected

RØVkedeligt og monotont! En af de værste vi har haft. Extremt uessentielt at have den på listen

Lidt for lang og det der James Bond remix var goofy as fuck, men ellers fed!

Spøjs musik, fint at arbejde til. Kunne faktisk godt lide stilen, men jeg tror sgu bare aldrig at lige præcis det her kommer på igen 🤷 2.49/5

noch nie was davon gehört

[I first wrote the below as a one-star review, was about to damn "Let's Get Killed" to the ranks of my "Worst Albums" list, but then "Don't Die Just Yet" came on and elevated the album to two stars on its own. If you're hating the album and about to give up, at least give that track a listen- it's good stuff. Anyway, one star for that and one star for the rest of the album: my thoughts still stand below…] In 1986, Belfast electronic producer David Holmes took a trip to New York and recorded a handful of soundbites on the street with anyone willing to give up their time to talk. Ten years later, he subjected the end result to anyone willing to give up their time to listen. Unfortunately, today that's me. I do try but I've struggled to like most of the electronic albums on this list, particularly the solely instrumental ones which stray towards drum and bass. But what makes "Let's Get Killed" a particularly frustrating listen is that I feel it had real promise, with a solid concept at the heart of it. The vocal samples are taken largely from dealers, pimps and prostitutes: the seedy underbelly of New York in the 80's. It's an intriguing concept, and could have been the groundwork for something really special. It's a shame, then, that these samples are married up to a series of limp, toothless electronic beats [EXCEPT "DON'T DIE JUST YET"]. I stuck with it through the opening stretch, half-heartedly bobbing along to "My Mate Paul" and "Gritty Shaker", but then the record quickly began to feel thoughtless and uninspired [EXCEPT "DON'T DIE JUST YET"]. The title track and "Head Rush on Lafayette" are covered in stuttering drum n bass breakbeats, with little else besides to carry momentum. "Slasher's Revenge" lacks any energy or pace, coming over like a high schooler's demo. "Radio 7"'s re-working of the James Bond film is audacious but pointless. The production casts a muddy sheen over the whole sound, meaning there's no clarity, no oomph and no dynamics [EXCEPT IN "DON'T DIE JUST YET"]. Holmes has gutted promising samples from a fascinating world and dropped them into a paint-by-numbers techno record with no sense of engagement with the source. I would honestly prefer it if Louis Theroux decided to be a musician rather than interviewer, and dropped some recordings into a home-made polka record. New York this ain't, and I don't think I'm ever going to listen to it again [EXCEPT "DON'T DIE JUST YET"]: sorry David old boy.

Вот вроде бы музыка для меня, весь этот трип-хоп, сэмплы и прочее из 90-ых. Но в почему-то не очень интересно. Лучшая песня - Gritty Shaker.

7/10

Nah.

Got through 3 songs & quit.

Yea, I'm never going to excited see an Electronica album. I listened through but couldn't make it through a follow up listen . Just not for me. Thought was OK at times, but that's just because it's better than sitting in silence. 1.5

2.5 I saw this was listed as electronica, so I kept waiting for a beat to drop… and it never did. Not to say that’s a bad thing, I’m not really a huge fan of electronica anyway, but I was surprised to hear that this was more chill DJ work. And that being the case, this was a decent listen to get work done to, but it really didn’t leave me with much of a lasting impression. In a lot of ways it reminded me of the DJ Shadow album we had, Endtroducing…, but much more like a lite version of that, with less creativity, versatility, and personality to it across the board. The only thing that I could really point to you as being noteworthy or that I enjoyed was how each track opened with a recording of a random New Yorker going off about something, with the guy talking about how Shaft could kick James Bond’s ass and the dude ranting about how he got kicked out of the Continental Club for moshing being highlights (I guess the place closed down in 2018, so he got his wish). But yeah, this was alright, though not particularly remarkable or memorable, in spite of the fact there’s a whole song worked around the James Bond theme. I can definitely see how this dude would go on to score films, but for an album, this just feels like it was missing something. Hope this dude’s mate Paul appreciated the shoutout at least.

Very far background for me.... guess I need more musical value these days. I got very bored in no time. Could've been at any mall for all I could tell. Speak to me, David.... or at least sing a little.....

very cool

Trip hop. Ni fu ni fa.

Some what of a fitting title, as 20 mins into it, I was wishing someone would kill me. I don't think it's the worst thing I've listened to on this list, but it's top 5. Electronic waffle, which has the same beat playing for 8 mins. It's really terrible, and I turned it off after 30 mins as that was all I could endure

I quite liked this, nice background music.

Nice background music but not life changing. Might listen again. But I’d be doing something else while listening again. Again.

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

Boring, good for backround noise, if that.

Nice, explaines the avalanches

I found this album to be more enjoyable than other British electronic albums of the 90s. The hip hop influence was a major selling point and the strength of the beats did all the heavy lifting. The New York City centric theme of the album was puzzling, but lended a sense of continuity which worked well enough.

David Holmes produces a few good songs, but his albums always feel lacking, this is no exception

Woah, two one stars in a row. This is so boring I forgot about once in the morning when I turned it off and forgot it was on and once when I had to finish it in the afternoon and forgot I had it until I went on Spotify to do something else. Also, as other reviews have said, it’s really bad how the guy is Irish but there’s a ton of New Yorkers talking about his street cred. Also, the guy screaming about not being able to release his energy before a song that you wouldn’t be able to release energy to even if you were dancing because of how slow it was was just kind of pitiful.

Terrible and boring

It was obvious he's a disc jockey from the first track. It was different to have exclusively instrumental album. I don't know what to call the genre but it was but it was like hip-hop rock house. Haters will say that it got repetitive, but I had no difficulty grooving the entire length of each song. I like the speech samples book ending each song as well. This whole album could've been the soundtrack for an open world video game about skateboarding on the PlayStation One.

How the hell did this album make it on this list? Sounds like a soundtrack to a shitty 90s action movie. Really hard to get through and mostly boring.

Each song is fun for about 30 seconds. Then they're obnoxiously repetitive. I did like the voice clips at the beginning tho.

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

what was the point of that? overlong rambling vocals followed by looped samples. Actively annoyed me.

Fairly decent. Wasn't a fan of some of the blurbs that start most of the tracks, and some of the beats were a little dull, but on the whole there were some good tracks on there. Nothing really stand out though. Pleasant, but not essential. 3.5*

jag ska skriva på svenska för nästa sex or sju vecka för jag måste lärare svenska på min universitet. det tänka om jag behöva att mig futuri i mig jobba. det album är mycket bra. artisten är från england och producera breakbeat. många låtar startat med en man talar någon shit. urkontinent = alkumanner....... heh saatana jaksa enempää...vittu kesti 5 minuuttia saada päästä nuo... eniveis, oli hyvä paitsi paskoi kuulokkeeni joten huono. dont die just yet

Boring pointless. '90s EDM.

Very 90s

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

I'm not a big fan of this genre, but - so far - this is the most tolerable album within it. It had a bit of a jazz feel the way the songs were structured. It was still too long, but - hey - worth a listen.

A little bit long winded, not so much exiting, could be anyone.

Horribly boring, painfully repetitive dreck whose songs go nowhere. This belongs on a list of 1001 albums that didn't deserve to be made.

I guess this type of electronic music is more prominent than I thought, but I still don't get the appeal. It's so repetitive and all I could do is just zone out

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

6/10 for what it is, it’s an ok compilation of sounds. definitely captures the NYC nightlife kinda vibe but not a lot of tracks really clicked with me, if anything it felt drawn out. i appreciate the variety on here though, love u james bond <33

Nicht mein Musikstil, aber trotzdem bemerkenswert anders

I find a lot of this album musically intriguing. But I just don't really vibe with instrumental music that much. The James Bond cover is pretty good. I just don't think this belongs on this list.

What a waste of time, this album is awful, boring and IMO a poor example of the genre (which I don't really go for anyway)

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

Cat: Meh. It’s cool but then nothing happens

Kind of disappointing and a tad annoying. There was some good electronica in the late 90s that should have been in here instead of this. The reworked James Bond theme is OK but Moby's is better. Just never got out of second gear.

Ok surprisingly into this

Empieza mejor que termina... Electronic, trip hop, pero luego soul ambiental ...

I had never heard of it, and on the surface level description, very much expected not to like it, but this was great a lot of fun to listen to. So much of the orchestration used on this album reminds of me of so much music that I really like. Very pleasantly surprised with how good this was.

This was a really strange one, a genre I love, by an artist I am at least familiar with, but it just didn't do anything for me at all. Except 'Don't Die Just Yet', that felt exactly how I expected this album to feel. Very strange

meh

My mate Paul was driving to Winchester when a lorrie jack knifed in front of him, and he was hurtling towards it and everything went slow-mo. And Paul, who's never been religious, spoke to Jesus and said, "I promise if I survive this, I'll believe in you." And he did survive, but he fractured his skull and broke both his legs. Why did Jesus do that to him? See, Paul never forgave him. He said "If I ever see Christ again, he's a dead man."

This works for like a 30 second montage in a movie. An hour and a half of it, is just... Boring.

Techno just is not my thing.

it was mostly there. could i write poetry to this? n

At first, I thought this was "The Pina Colada Song" guy. Turns out that's *Rupert* Holmes. Probably his brother or cousin or something. Some interesting Trip-Hop elements here. I enjoy a lot of electronic music, but as a whole, this was not a big stand-out for me. Two and one-half stars, marked up to a three because it was good background music while I was doing other things that required more attention.

Too long. Too repetitive. Too boring.

Ihan chillihköö menoo 🤌🏼 Yks bondibiisikin siellä 😱

I can't get behind these electronica albums

Made for good background noise, but wasn’t too exciting outside of that. Dug some of the funky beats, but was pretty chill overall.

I've had a couple of tracks from this saved in my library for years. Sadly, I didn't save any more after listening to all of this. It's not bad but if you look at David's career after this it feels like they've grown a lot since this.

Some of it was OK, some was a bit boring. The street recordings were more interesting than most of the music. Don't Die Just Yet had a good groove. One thing that was odd was that even though this album came out in the 90s, a lot of the tracks were mixed almost entirely in mono. I thought that was an odd choice. This really doesn't belong on an album of 1001 albums you should hear before you die. It's fairly middle of the road stuff for this era.

TripHop! Yesssss! (after actually listening to it: sadly, the drums are too hectic. Great 90s sound otherwise)

Me recuerda a Chemical Brothers "Hannah"

Als je je te lui voelt om muziek af te zetten, zegt dat dan wat over de muziek? Een beetje wel, maar echt heel boeiend was het ook niet.

Nope!

Beetje vanalles wat, maar toch ook best interessant en leuke dingen gehoord. Mag blijven.

Lekker hoor.

Groovy late 90s electronic album. Really liked the James Bond Theme sample on "Radio 7".

No thanks. I don't want to listen to this. I read the reviews before calling it quits... based on that I skipped ahead to Freaknik (seems to be a love/hate track). I found that I was relieved to finally hear a person in what otherwise feels like a desert of monotonous machine beeps, but otherwise it continues with monotony and so I called it quits.

Ég er í Big beat liðinu, eða tel mig vera það, en þetta er bara hvorki ekki eftirminnilegt eða grípandi, með einni undantekningu sem er lagið "Don't die just yet", það er töff. Þetta er svo sem ekki leiðinlegt, en ekki mjög skemmtilegt heldur.

Definitely not a big fan of the style in general, but sounds good for what it is and not unpleasant for in the background. Not more than that for me, unfortunately.

Reasonable electronic

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

Good

As far as electronica albums go, this is probably the best I've had on this list. Tracks flew by for what it's worth. A common issue I have with these albums tends to be repetitiveness. It's not absent here, but I noticed it less than I have before. It's ok music, but the genre is still not for me. Highlight: Don't Die Just Yet Lowlight: Caddell Returns Surprise Hit: Head Rush On Lafayette

4/5. These are some well-produced songs, providing a feeling of dread, like walking through a city where it feels like everyone is watching you. The samples of people talking make this album feel alive, giving some solace between the long instrumental tracks. There aren't any bad tracks here but some don't stand out as much as others. The trip hop genre provides a lot of opportunity for other genres to fit in with the music, like Latin, rock, pop, and ambient. This album welcomes those genres with open arms.

Interesting

excellent

Exploring the ambiance of trip hop while inducing the hypnotic frenzy of breakbeats. Results are fit for a soundtrack for a late 90's/early 2000's movie or video game. Lack of vocals leads to much of the album relegating itself to background music. This kind of attempt at trip hop has a lot of potential, but it often sounds stunted or never fully-realized. Don't Die Just Yet is the closest that Holmes reaches to excellence, but even then it lacks a certain focal point to give the music an extra kick.

Another artist I hadn’t heard of. This was fun and funky and I always love interesting drum beats. It first made me think of Orbital or even The Chemical Brothers. Listens: 2 Fave Track: Freaknik Rating: 3

excruciating

Mundane, unimaginative, boring, repetitive beats. Nothing redeeming whatsoever.

While this is technically an album, and the contents of this album can technically be categorized as music, it is certainly not the type of music one listens to, much less needs to listen to. At best it's the type of music that plays in the background of a shitty racing game. Bland, boring, generic beats interspersed with pointless conversation samples. Having this on the list is a massive insult to all the great music that was left off.

Encore un autre album d'electro qui n'est pas tellement mon genre. Je trouve d'ailleurs qu'il y a un gros biais pour les styles similaires (trip-hop, big beat, drum & bass, etc.). J'ai trouvé ça long et répétitif. Je ne vois pas tellement l'attrait. 4/10

Never heard it. It felt early trance hip hop

David you're not Godspeed You Black Emperor, no one cares about your shitty street interviews

What an utter pile of faff and tosh. Be better Dave, this bored the bleeding pants off me.

groovy, loved the ad libs, makes me proud of new york

Im sure it sounded better in ‘97. Skits were fine. Needs a little bit more umph

90s videogame menu music except some New York guy talks every so often. Got kind of an ambient background quality. Unlikely to listen again.

That was a meh for me. Soundtrack vibes for bad 90s movies.

A laconic stroll in search of some action that didn't materialise.

8.3/10 Fav - I'm a Man You Don't Meet Every Day

Not for me

Damn 2 DJ albums in a row, this one is better than the last one but still not a 4

2.1. Repetitive

Great listen, reminded me a lot of Moby and the soundtrack to Snatch. Never heard of David Holmes, but not surprised to learn he's a prolific soundtrack composer, including the Ocean's Eleven series.

I could of made this

Sorry, did not like it much nothing that memorable. Electro (soft, with some good samples). Background .

I thought this was going to be a lot cooler than it was from the description. It was mostly boring.

Ik snap dat dit hoogstens goede muziek kan zijn om je op te concentreren, maar dat kun je ook met rechtenvrije loungemuziek, of zelfs AI-generated shit. Wat dit dan op een lijst als deze doet is mij een raadsel. Het heeft niks, echt niks. Normaal geef ik alleen 1 sterren aan onluisterbare dingen en dat is dit niet, maar bij gebrek aan andere selling points krijgt dit gewoon een 1.

Ik apprecieer de vibe, maar de meeste liedjes komen minder goed binnen Gritty shaker wel Hiphop influences wel leuk Het James bond nummer is cringe Sleept toch wel te lang aan, dit ga ik niet meer het beluisteren 1 ster

Title is apt because I am dead (of boredom)

When I was a much, much younger man, I used to work with a delightful pharmacist from Northern Ireland. One of the best albums I've ever heard was loaned to me by her, complete with its blister-pack CD case looking like a box of prescription medication; Spiritualised's masterpiece, Ladies and Genlemen, We Are Floating In Space. Amongst the other CDs she lent me was David Holmes' Let's Get Killed, an album which I found interesting enough to remember - vaguely - when I heard the first strains of it this morning, but not interesting enough to have listened to it in over 20 years. I wonder that lovely pharmacist is up to, nowadays? Listening to Let's Get Killed again this evening, I am surprised by its familiarity. Rodney Yates is a great track and I'll fight anyone who says it isn't. Definitely worth a listen to; boy from Belfast doing well.

Eh. Long tracks, long intros. Maybe I just wasn’t in the right mood, but I don’t care for this really at all.

Cool album. Some pure electronic DJ mix stuff and some hip hop related stuff. Quiet diverse. A lot of loops.

This album feels like a 90's NYC hip-hop album that may appeal to many but not to me.

Just a bunch of noise with long songs.

Some tracks were too repetitive for me. Two tracks were interesting though: "Don't Die Just Yet" and "Caddell Returns".

Nice. Some of it reminded me of the instrumental tracks on Beastie Boys albums.

Vaag

Hip hop/almost light EDM beats, not terribly interesting

"Don't Die Just Yet" was the only interesting track on this album. I found the rest underwhelming and boring.

Uncreative and repetitive.

This is a pretty dull album in my opinion. Only track that I kind of liked was Don't Die Just Yet.

Pretty chill pretty chill

Riktigt trevligt

Pretty cool trip-hop/breakbeat kinda stuff. Not sure this justifies its position here over Amon Tobin or something, but it was an interesting listen overall, I jacked a couple songs for a playlist. Not bad. 3.5

first listen i love this kind of stuff, loved the Oceans trilogy soundtracks

Did not like

My idea of hell. Repetitive sounds made by machines with little artistic merit. Anyone with a synth/sampler and drum machine could do this. Four bar repeats with nothing, but nothing happening. Make this stop

Oontz oontz oontz... 4 stars.

Meh

Occasionally shines but really a little dull- without an actual film, film-less soundtrack albums lose all sense of meaning.

Soundtracks!

Trip hop. Ni fu ni fa.

Empieza mejor que termina... Electronic, trip hop, pero luego soul ambiental ...

I noticed that David Holmes has scored several TV series, as well as film soundtracks, which makes sense since, Let's Get Killed has a soundtrack sound to it. Nothing to get excited about, (you can guess he was a DJ) but the music is enjoyable and makes for fine background music. Kind of living my own soundtrack to the afternoon. Nice listen, but far from essential.

I like David Holmes, but I'm not sure this is his best record. It's edgy, but not in a good way, and the mix is muddy and flat. The remixes on the "Don't Die Just Yet" EP are far better, and "Bow Down to the Exit Sign" is a more coherent and mature album.

Nope! I thought I’d gotten the end of shitty electronic music purgatory with this project but apparently not. This sucks and I hate it.

3.6 - I like the use of interview recordings on the title track, "Caddell Returns" and others. I also love the freestyle rap on "Head Rush On Lafayette" - that's a hot track. Not so crazy about the haunted house-sounding squeals and yowls on songs like "Freaknik" but they don't distract from an overall solid EDM record that bumps nicely in the background.

Ctrl c + ctrl v

Wide screen filmicification. Beautifully done

I found this to be a rather pointless record. Where does this get played? Not for me.

fantastic!

After the first couple tracks, I thought this sounds like the Ocean's 11 soundtrack. Then it turns out that a lot of David Holmes is on the soundtrack, so I guess that explains it. It feels appropriate in the background of a movie, but not something I'd actively listen to.

Ok it's a decent EDM/Breakbeat album but nothing groundbreaking. The various city sound bites are more of distraction, could have done without them.

I enjoyed this more than I assumed I would, but not enough to understand it’s appearance on the list of 1001 Albums.

Really mixed on this album. I think without the talking I'd put it on again to work to. But as is, i don't think i'd listen to this again.

For some reason I thought the generator said that this was 1973. And I was blown away thinking how could this be made in the early 70s. Then I double checked. Oh, 1997. Generic electronica from the 90s, that makes more sense. It's fine. I need to learn to read better.