Let's Get Killed

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

Just wasn't a fan of this.

Honestly terrible. Literally noise with a beat behind it.

Groovin'

Interesting. Great use of the street-recorded spoken word. Great background music for creating.

This is not my kind of music. At all. As such, I can't find anything I like about it. 1/5.

When thinking about my appetite for music without lyrics, a few contradictions appear. I'm not someone who focuses on the lyrics, if it sounds good, then I'd listen to it. Lyrics is just a bonus, or a part of the context for me. Good lyrics with terrible sound... I might just read poems instead. But music without lyrics seems... incomplete sometimes. It's seems difficult for songs -- if they ARE called "songs" -- like these to be a solid whole experience. But I do listen to songs without lyrics, or even without context. Pink Floyd's epic 20+ minute "Atom Heart Mother" comes to mind. The track is as nonsense as the title, yet I like it. But I'm still struggling to justify why, for example, I like classical music of Chopin or Beethoven but dislike something like jazz. What makes a wordless track listenable, at least for me? "Let's Get Killed" is an hour of electronica fiddling with an aim to create movie soundtracks, and I enjoyed it. I was moved by the beats and the instrumental fiddlings in this album. But why? My hypothesis is that some wordless tracks, like the ones in this album, takes me into an adventure. It makes me conjure images of scenes or emotions. The way a violin passionately rejoices, or the beats weave a sense of conflict. Whatever the reason. I like this album. Though I might only come back to it if I want a good background music. But still, it's energetic and quite fun for a background music (ignoring the conversation snippets, of course).

It was pretty cool and had some real vibes, but I had it on in the background and nothing necessarily jumped out at me.

Hmm, I like to think that I remember this era pretty well but I'd never heard of this artist or album. The music was decent - it was like a soundtrack for a movie set in NYC - but I'm not sure of the criteria for inclusion on this list.

A couple of tracks in I caught myself thinking out loud "What is the PURPOSE of this music?". That feeling didn't budge.

Electrónica. No tan malo como se podría esperar.

I didn't hate it, would listen to it again. Seems very specific to the era in which it was created.

As I’m listening to Rodney Yates I’m thinking — this has an Ocean’s Eleven (2001) vibe… sure enough, David Holmes is all over that soundtrack.

Sounds like a 00-a film soundtrack

Wasn't a fan.

Would make for an awesome old school rap album if it had lyrics, but just eh without.

ok

Instrumental prawie murzynski, bo trip hop stworzony przez wyspiarza z belfastu Davida Holmesa, ktory jednak brzmi zadziwiajaco hamerykansko, przyczyna tego jest to, ze inspiracja do plyty byla wycieczka do hameryki, stolicy murzynskosci, wiec nowego jorku, stad rowniez sam tytul krazka, lets get killed, bo gdy roamujesz bronksowe getta z drogim sprzetem audio nie trudno zostac za niego zabitym, wiec luzny koncept tworzy sie preaktycznie sam za sprawa samplowanych postaci getta i brzmienia miasta, album ma prawie rowna godzine i podzielony jest na 13 trakow, z ktorych najbardziej zwraca na siebie uwage radio 7 przez zsamplowany motyw klasycznego bonda, poza nim na plejke dodalem jeszcze rodney yates, ktory jest utrzymany w zdecydowanie szybszym tempie niz reszta plyty, ktora moze aspirowac nawet do miana downtemo jako glownego stylu, no i jeszcze tytulowy lets get killed, ktory swietnie oddaje klimat suspensu walki o zycie na nieznanych ulicach obcego miasta, jestem zaskoczony, ze tak rowny albumik utrzymany w klimatach okolo hip hopowych przywedrowal od dja z belfastu

Very good album…. This is one for the revisit!

beh sì discone, musica per il cinema, anche da sottofondo

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

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

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.

Oceans 11 sound, cool bond theme as well.

Loops of mediocre beats. Nothing that was over the top and my toe hasnt tapped on one single single song yet. Its just trying.

Not my bag, but interesting to listen to.

Aardige beats soms, maar verder niet heel interessant. Ik vind het allemaal wat lafjes op een paar nummers na. Mijn favorieten zijn "Gritty Shaker" en "Radio 7". ***

It makes for good background music.

Not usually my thing, but enjoyed some of it, the conversation preamble at the start of tracks is annoying.

Beat-heavy, sample-heavy, filmic, with spoken-word samples for the gritty sound of the streets, and hints of Roy Budd's Get Carter soundtrack - probably state of the art when it was made but sounds dated now.

Seemed mostly like background music to me. 0RS

Whole lot of meh

6/10

I like this style of music on occasion and this is an album of the genre I like. I like the concept behind it and the tracks were easy to work to.

Big beat mit technoider Eskalationsfähigkeit. Dazu die damalig so viel aufkommende wie wirkmächtige Verwendung von Field Recordings. Zwischen Norman Cook und James Lavelle sitzen Bass-schwere 3.8

Noped out after 3 tracks. I don't need to listen to music for 90s incels

La versió del tema de James Bond no està pas malament. Tampoc la revisió de Gainsbourg. Per la resta, elèctronica de supermercat que suposadament va marcar tendència... ok

Nice electronic / trip hop music to listen to but doesn't grab my attention. Tracks are too long without going anywhere, compared to say the Big Beat genre where songs evolve consistently throughout the song, justifying their lengths. There is diversity in these tracks, "My Mate Paul" like house, "Let's Get Killed" like a scifi rave, "Rodney Yates" like jazz, etc. Not enough to leave much of an impression. Vocal overlays are ok. Highlights are "Rodney Yates," the James Bond "Radio 7," and "Don't Die Just Yet."

Generic. All I could think of the whole time was that I was showering through a scene in Ocean's 11..... S I looked it up.. and yeah.... David Holmes did the whole soundtrack. Not offensively bad. Just nothing that would warrant a second listen: unless I was feeling clooneyish

No

Really liked this 4*

Not for me this.

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

It's just generic electronic music, with extended pointless spoken word passages. Kinda sounds like the interludes on a massive attack album, except less good and a whole album of them.

boring electronic music. some guy says "it'd be over if James Bond was hispanic"

Kind of like a soundtrack to a movie. Background music really. Best Tracks: My Mate Paul; Radio 7; Don't Die Just Yet

Meh, I guess it's ok at neutral music to work by, but not very interesting for me.

This was a tough one to get through

I'm a big fan of David Holmes work on the "Ocean's" movies, so when I saw this album come up, I knew I was in for a treat. This album almost feels like a movie within itself, the tellings of the lower class of NYC and the diverse scenes that make up their landscape. You get the dialogue snippets from unusual characters, and dance beats that breath life like Time Square itself. Thinking of this as a film score certainly enhances your experience with the record even if electronica isn't your wheelhouse, much like it isn't mine. Having a 007 Theme remix in there certainly helps too! Overall though, it's not something I would listen to recreationally. Favorite Song: My Mate Paul Least Favorite: Caddell Returns

1/5. Nothing but background music with some annoying "piece of shit motherfucker" talk.... Not one notable song. How does this make the list?

More electronic music! This wasn't bad, I feel like when I come across an electronic/house album I enjoy it more when I'm too busy to pay attention to it lol I liked the interspersed recordings, especially the one about the Continental Club.

-I like the rock vibes in the bass and guitar in "Don't Die Just Yet" -It was quite good. A strong 3. Nothing really compels me to go listen again though, which holds it back from being a 4

Pro tip: If you're copy-pasting the same rhythm to make up the majority of the track, then it probably doesn't need to be 7 minutes long.

Eh. Gritty shaker is the best so far. Rodney Yates, most listened song not that bad, kinda groovy

A fine Trip Hop album.

Yeah...I don't love this. The technical aspect of some of the songs are fine enough, but the random chattering of crazy people is not enjoyable. Pass.

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.

Decent background music. Nothing special or fancy here.

nice but a bit repetitive

Spaced!

Rating: 5/10 Best songs: Radio 7

I actually like how the album starts, just listening to the sounds of the city as it slowly moves into a beat. Good transitions between the songs; good background listening music.

bad

An album full of one song.

Some cool samples and break beats, but otherwise pretty boring - not enough variety to keep me interested. Alright for background music, but that's not how I tend to listen.

Album title says all. After listening to this album I want to kill someone. Myself maybe. It’s electronic noise mixed in with some decent grooves, lots of New York City stuff in between. Album had potential but I was not impressed by it.

Background music, really. But only at home, doing chores or something. Probably would fall asleep behind the wheel if it was on in my car.

Interesting intros. creative beats and samples. It didn't grab me.

interesting

hhhh

VAMOS A VER PELÍCULAS DE TARANTINO

Weird hodgepodge of drum and bass with easy listening, with voice samples to not get bored, meh.

ну из всего чила пока что самая годнота. прикольные внятные мотивы, настроение чувствуется, сэмплы довольно интересные (последний трек вообще эпик). Конечно, это всё ещё фоновая музыка, но хорошая фоновая музыка, за работой вполне могу включить, 7/10

Говнарь не пропёрся. Унылый пустой звук, который хоть как-то адекватно смотрелся бы лишь в формате сандтрека. Но это не саундтрек, даже не фейковый, это - полноценный релиз! Я бы, в принципе, признал ценность, будь альбом записан на заре электронной эры, когда-нибудь в конце 70-ых например. Но нет, это 1997 год! Да ещё и коммерческий успех. Зачем это люди брали? Тут не пофлексить, не почилить, по эмоциям не отбивается, просто музыкальные обои. Кое-как может запомниться лишь мотив My Mate Paul, да и тот не стоит своих 5 минут хронометража. Ухо выцепляет тему Джеймса Бонда, но мозг смысла её наличия здесь не выцепляет. По итогу - одна из самых посредственных работ в рамках 1001.

Too noisy and scary eletronic music

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.

Cool transitions between songs and a few highlights, but nothing really drawing me back.

I think it's boring! Was it in lots of soundtracks? Lock, Stock? Did we play it in Andy's Records? Very familiar.

Niet geheel mijn ding.

De eerste tonen waren veelbelovend, maar uiteindelijk bleek het toch meestal niet zo goed te zijn.

Gave it a couple of listens but nothing grabbed me. Pretty ho hum to be honest. 2 Stars!

2/5 didn't really leave a trace...

More electronica! Yaay! Pretty good, but I wasn't overwhelmed.

Nope nope nope.

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

You know that situation where you don't really know what to think of it so you just smile and say: "oh, da's speciaal!"? Well, this album is exactly that.

Iznice

Ñe la electrónica, pero me gustaron un par de canciones

Not a genre I’m familiar with but enjoyed it nonetheless. An atmospheric and largely enjoyable range of tracks set against narrative that paints an engaging and sometimes troubling NY backdrop

This album sounds like it has been clipped together from lots of film moments. The sort of music that fills a none scripted filler scene. Undoubtedly for me that doesn’t make an album to listen to.

Had some funky sections especially some of the bass lines which I enjoyed but largely bored me. The tracks do sound to me like they were made with films in mind. The odd track here and there were decent enough for that but not interesting enough as an album to listen to start to finish. 2*

Bored me to tears from start to finish. Background music at best

Didn't care for it.

Meh

Molt top! Creació de imatges sonores

Better than expected

I liked this album quite a bit. Weirdly, it gave me almost Khraungbin vibes

Viiiiiibes

ok, fairly forgettable

It wasn't bad, but pretty sleepy and uneventful. I liked the james bond remix, and Don't Die Just yet was good too. Skits were fun

Un po' troppo elettrica per me

false

5

Some really subtle and lowkey work, but it scratches a certain itch

David Holmes album was a pleasant surprise. For something listed under the “Electronic” genre it wasn’t what I expected. Coming out the same year as “Homewark” by Daft Punk I wasn’t sure what to expect. I hadn’t really heard of Holmes either. The album gives off a soundtrack vibe that sticks you into New York. The only vocals are that of New Yorkers in conversation that had been recorded by Holmes on a trip in the late 80’s. The music and style puts you there, some of the bass lines and drum beats are very late 80’s but can also have a 90’s flare. It is not in any way French house, nor is it meant to be. “Radio 7”” is the only song that I felt was a little cheeky. Essentially it is a remix of the classic James Bond film theme, it is well done. Overall I’d give this a 7.5 out of 10.

A poor attempt to be Brian Eno.

Un bon album electro pour travailler, c’est parfait 3.5

A lot of the same thing over and over. Would have been a lot more effective as a 25 minute EP.

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 was some pretty hiphop type music

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!

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

The interviews sprinkled into the mix add a sense of time and place. The music itself can be a bit forgettable at times, though.

I liked it. I had head some of it before not knowing the name. Some of the street talk was amusing some annoying. The music was very cinematic and energetic. Good stuff.

I don’t get the appeal. It’s okay. But it’s not fatboy slim or the propellers or chemical brothers. It’s not that interesting.

Surprisingly good

I was made curious after having read the album information. Listened to it, nice, but I don't think it will get a replay. To me it is a lot of samples put together. The song ‘Gritty Shaker’ made me think of the Elvis Presley mix from Junkie XL ‘A little less conversation’.

trippy, atmosphere noises. lots of f-bombs

3 stars

Not very memorably instrumental stuff. Not bad, just nothing too special.

House music that seems derivative in 2021

Made me feel like I was in a Mr Robot montage where I was probably hacking something in a garage while someone else was spray painting in a dark alley. Definitely got Tetris 64 vibes from a lot of the tracks. Not really my bag this, but not awful!

Definitely going to find more by this guy

Daí que vem oceans 11

It was something

Techno-style house music, very 90s but i dig it

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.

Nice album

Heel vet, ga dit zeker op zetten tijdens het chillen, zijn tijd ook ver vooruit nog nog steeds relevant, gave mix van verschillende soorten edm

Taustamusaa

It's ok. not really my kind of music, I don't think. 2

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.

I respect the skill that goes into making this kind of music, but the repetition kills me. 90% of the album was like a chisel being hammered into my skull. However, the one track I liked, I really liked. Best track: Don't Die Just Yet.

For the most part, the drum-driven grooves are of their time and genre. Every track could live as part of a soundtrack, but the skits fail to attach them into a free-standing structure. My body doesn't pick up anything particularly danceable either (N.B. I can't dance and this criticism is hypocritical given my enjoyment of Autechre's more abstract moments). This is something I notice with a lot of breakbeat: It's music that seems to be "about" other sound, but in an unpleasantly distant way. Because of all that, the Bond cover (for its explicit object), Rodney Yates (for its lounge jazz), and Caddell Returns (for its novel instruments) are highlights. I could see myself enjoying an album of cuts similar to Caddell in particular. Looking back, I see I gave Play this same rating, which feels a bit strange. For now, this seems like a strictly worse project. But it's not offensively bad at all and that response may come down to simple unfamiliarity.

Fun, carefree, vintage and summery 8.5/10

While it is unique, I did not enjoy it at all.

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.