CD, LovePoem Records, 2009
Ido Tavori’s “Rhythm is a Beggar” illustrates two things very well: firstly, that Israel has a lot more to offer to the musical diaspora than just psytrance producers. Secondly, it is proof positive that the music industry is more concerned with pumping out mass-produced Disney clones that dance better than they sing than it is in showcasing real compositional talent, or Ido Tavori would be a household name by now.
The commercial success electronica may have enjoyed at the beginning of the millennium, with artists like Fatboy Slim, Tricky, and the Prodigy leading the pack, may have dissipated somewhat, but Ido Tavori resurrects the fever they initially brought to the genre with some truly inspired blending of trip-hop, ambient and experimental electronic sounds. His ‘blip-hop’ sound teeters precariously between these disparate realms, occasionally faltering in a burst of glitchy static before carrying on regardless. But that’s not all he manages to pull out of his hat: some truly spine-tingling atmospheres can be found throughout the record. The throbbing low-end on the aptly-named instrumental “Haunted Tophats” haunts you, indeed, as it rumbles through your guts. “Ascension” is a masterful (if slightly confrontational in its approach) piece of production in the vein of Moby, with guest vocals courtesy of Yve. Kay Juviler-Bacon also lends vocal talents to “I Was Born to Love You”, which, despite its mainstream overtones, is nevertheless a beautiful piece of music, proving that you don’t need gimmicks, paparazzi and overproduced videos to create widely accessible music. “Portion”, on the other hand, is a definite nod to the Chemical Bros’ particular take on Trip Hop. Clever lyricism (thanks to collaborator Blacksmith) is reminiscent of the ‘punkier’ element in modern hip-hop, such as that of Sage Francis, delivering social commentary rather than just a lyrical equivalent of notches in a bedpost.
In summation, Ido Tavori does far more than simply produce electronic a on “Rhythm is a Beggar”; he suffuses his compositions with life and human emotion, matching musical styling to vocal performance, a skill that seems all but forgotten in a lot of contemporary music.
— David van der Merwe