2. My Mate Paul
3. Lets Get Killed
4. Gritty Shaker
5. Head Rush On Lafayette
6. Rodney Yates
7. Radio 7
8. The Parcus And Madder Show
9. Slashers Revenge
11. Caddell Returns
12. Don't Die Just Yet
13. For You
- Personnel includes: David Holmes; Rodney Yates, Deflon Sallahr (vocals); Keith Tenniswood (guitar, vibraphone); Paul Noble (guitar, bass); Gem (guitar); The London Session orchestra (strings, brass); Daphne Tragaki, Steve Corley (keyboards).
- Producers: David Holmes, Richie Fermie, Tim Goldsworthy.
- Engineers include: Keith Tenniswood, Gary Burns, John Brough.
- Audio Remixers: Richie Fermie; Tim Goldsworthy.
- Irish DJ David Holmes' second album, LET'S GET KILLED, provides the perfect link between his first and third albums, THIS FILM'S CRAP LET'S SLASH THE SEATS and ESSENTIAL 98/01. The first is a brilliant reinterpretation of the "cinematic" potential of ambient and techno styles, and the third explores just how adaptable existing pieces of music are in the hands of DJ. Musically, LET'S GET KILLED features the expansive, visual qualities of the first record as well as early versions of redefined "found" samples-ambient sounds from the streets and bars of New York-upon which the third album is based.
- The seven-and-a-half-minute title track, built around a tough-guy bar narrative describing a fight, features a slow-building beat just off-kilter enough to be disorienting. Delfon Sallahr contributes rapped vocals to "Head Rush on Lafayette," possibly via answering machine. "Rodney Yates" is a curious combination of sounds that suggests a fusion of acid and lounge styles. Holmes' version of dub reggae on "Slasher's Revenge" morphs into an Ennio Morricone-like western score. The best track is probably "Radio 7," a kinetic, house take on the well-known theme music from the James Bond films.
Rolling Stone (1/22/98, pp.56-58) - 3 Stars (out of 5) - "...Holmes' love letter to the Big Apple: He lays sampled pieces of conversation and other noise from the city's streets over grooves that touch on nearly every club-music style...from trip-hop to drum-and-bass..."
Spin (1/98, pp.113-114) - 8 (out of 10) - "...Like George Clinton and Afrika Bambaataa, Holmes is a firm believer in one nation under a lot of grooves, and he crafts plenty of LET'S GET KILLED--a dark jungle session, an oversize On-U-style dub, a pumped-up John Barry/James Bond joint, and a few rounds of his beloved Latin boogaloo..."
Entertainment Weekly (10/24/97, pp.66-67) - "...Holmes loves airy cinematic beauty, but he tempers it with frisky Latin percussion, gritty electric guitar...sound-collage effects, and snippets of crazed street people. It's a stirring symphony of sleaze." - Rating: A-
Alternative Press (5/00, p.120) - Included in AP's "10 Essential Dance Albums That Rock" - "...Holmes conjures all the gritty atmosphere of New York through the eyes of an outsider."
Melody Maker (12/20-27/97, pp.66-67) - Ranked #24 on Melody Maker's list of 1997's "Albums Of The Year."
Musician (1/98, p.96) - "...Holmes disparate tastes combine to make on of the most musical techno/dance albums in recent memory....it's an exhilarating ride."
NME (Magazine) (12/20-27/97, pp.78-79) - Ranked #40 in NME's 1997 Critics' Poll.
NME (Magazine) (9/6/97, p.53) - "...Holmes both evokes the endless possibilities, claustrophobia and madness of The Big Apple and offers a critique....Not bad at all for a trendy DJ."