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An instant classic. Few records contemplate such grandeur and fewer still achieve it.
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Simply put, you need to own this record.
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Out Hud also back up their flash with remarkable substance, setting their music apart from anything as one-dimensional as standard club offerings or moody trance cuts.
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With such a variety of moods and sounds, "S.T.R.E.E.T. D.A.D." turns out to be the rarest of albums: able to make you think but more interested in making you dance.
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UncutA brilliant fusion of no-wave disco, dub-punk, early Factory aesthetics and post-rock technique. [Dec 2002, p.134]
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Has a laid-back, gleeful quality to it, one that gives the listener the sense that its musicians are making things up as they go along, unable to hide their excitement at the fact that it all sounds so unexpectedly awesome.
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Although some aspects of the group's live show threaten to turn the entire thing into an ironic joke, the excellent music here betrays no such mixed messages.
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It's a languid and elaborate affair -- a throbbing amalgamation of wiry, Au Pairsian art-funk, steely Gang of Four resolve and Cabaret Voltaire-inflected industrial howl.
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SpinWhat could have been an assless art-groove experiment turns out to be a synth-pop idyll. [Feb 2003, p.99]
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Alternative PressTo conveniently label it elecroclash would be a disservice to Out Hud's myriad dynamic contours. [Jan 2003, p.96]
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Had little, lyric-less Out Hud arrived in 1993, their recombinant shoogity-oogity would have eliminated the need for a Tortoise, and I never would've had to pretend Iannis Xenakis was "interesting" or take that junket to Nobukazu Takamura's ostrich farm.
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Street Dad is one of the coolest, most fun releases that I've heard in quite awhile.
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Equally cerebral and hip-shaking, with pulsating grooves and webs of intricate adornments tangling for an otherworldly type of psychedelic dance music.
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It sounds hard to imagine these influences joining harmoniously, but they do.
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Out Hud's scaled-back sonic template doesn't always necessitate its lack of vocals, but at its best, S.T.R.E.E.T. D.A.D. whispers toward a worthy future rather than shouting down the past.
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Rolling Stone[Out Hud] uses guitars like proper rhythm instruments, meshed best with penetrating drums, space synths and a dash of sticky dub. [23 Jan 2003, p.67]
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BlenderThe result approaches sublimity, but remains geared toward dance floors. [#13, p.96]
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The WireYou are reminded that yes, this has all been done before, but Out Hud get by with the wistful innocence of well-intentioned brainiacs. [#225, p.71]
Awards & Rankings
User score distribution:
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Positive: 3 out of 4
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Mixed: 1 out of 4
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Negative: 0 out of 4
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DPDec 23, 2002