On David Holmes' second album, the first to be released in America, he explores with even greater depth his fascination with original soundtrack material. Recording snippets of conversation on the streets of New York with his DAT recorder, Holmes returned to England and weaved the vocal samples around his amorphous embrace of several electronic styles, including big beat techno of the type favored by the Chemical Brothers, intelligent drum'n'bass (as on the title track), and the gentler soundtrack-feel of ambient-house. The ...
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On David Holmes' second album, the first to be released in America, he explores with even greater depth his fascination with original soundtrack material. Recording snippets of conversation on the streets of New York with his DAT recorder, Holmes returned to England and weaved the vocal samples around his amorphous embrace of several electronic styles, including big beat techno of the type favored by the Chemical Brothers, intelligent drum'n'bass (as on the title track), and the gentler soundtrack-feel of ambient-house. The effect created is like that of a soundtrack, and even though Let's Get Killed isn't attached to a film, it flows with energy and grace. ~ John Bush, Rovi
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