Adrian Nicholas Matthews Thaws, who performs as Tricky, has always been interested in the swankier side of trip−hop.
When Portishead, one of the best−known acts in this little−known genre, was first delving into the hazy jazz inflections that would shape trip−hop, Tricky was finding sultriness in darker places.
His debut album "Maxinquaye" (1995) deftly mixed the foreboding with the sensual. Humid, layered samples gelled perfectly with vocalist Martina Topley−Bird's voluptuous voice, producing a dark and alluring record.
Tricky's best albums since his debut have cashed in on the artist's keen ear for compatible textures and tones. Even when Tricky ventured beyond his earlier sound on albums like "Blowback" (2001), the upbeat character never infringed on his meticulous aesthetic.
With these standards in mind, Tricky's latest effort, "Mixed Race," is a complete disappointment. The strongest elements of Tricky's sound are hardly displayed, leaving the listener with an itch for his earlier albums. Where is the dense, atmospheric sampling? The sultry vocal work? There are hints of Tricky's skills on tracks like "Every Day" and "Ghetto Stars," but the rest of the album feels cobbled together from incongruous parts.
Tricky's earlier albums sampled tribal drumming and Smashing Pumpkins with equal zeal, but "Mixed Race" seems hardly capable of such diverse juxtapositions. The acoustic guitar and flanged Arabic vocals on "Hakim" feel forced, as if Tricky was more interested in promoting his eclecticism than writing a genuine song with Middle Eastern influences. Similarly, the surf guitar riff on "Murder Weapon" sounds stilted and overly deliberate, like Tricky just wanted to get another genre under his belt. In its efforts to synthesize different kinds of music, "Mixed Race" often produces caricatures of the styles it references.
Thankfully, however, this is not true for every track on the album. The opening track, "Every Day," shows how cleverly Tricky can incorporate bluesy sounds into his oeuvre. While the song is a far cry from a strict blues piece, the influence mixes seamlessly with Tricky's own aesthetic, creating a moody, affecting introduction to the album. Tricky's successful efforts on "Mixed Race" make the flops all the more frustrating, since the listener can see how his talent could have been applied.
Vocal redundancy is one of the most pressing issues on the album. Tricky's distinctive mixture between sung and spoken− word delivery always complemented his guest vocalists. On previous albums, singers like Alison Goldfrapp and Stephanie McKay provided the music's melodies, while Tricky's rap singing offered a gritty contrast. On "Mixed Race," Tricky favors his own vocals too much to keep the songs interesting. Even though his vocal style is distinctive, it's hardly versatile enough to sing lead on over half the album.
Songs like "Early Bird" skirt a satisfying vocal climax, but Tricky's subdued delivery keeps the melodies from reaching the intensity they need. Even though his duets with various contributors keep the songs interesting, Tricky's vocals often feel like an impediment to his partner, who must lower her own volume to accommodate him. While this approach could work for a few songs to vary up the album's flow, its use throughout the entire record makes "Mixed Race" less dynamic and fulfilling.
By the conclusion of the album it is clear that "Mixed Race" is far less cohesive than most of Tricky's catalogue. For all their eclecticism, "Maxinquaye" and "Blowback" felt like they were drawing from a common musical idea. In this sense, "Mixed Race" feels centerless. Each track tries so hard to be its own musical unit, making the album inconsistent and patchy. The exotically tinged "Hakim" doesn't sit comfortably with the '80s aesthetic of "Ghetto Stars" or the rockabilly clap−along on "Come to Me."
Hopefully, Tricky's next effort won't compromise quality for variety.
