Friday, February 26, 2010

King Cannibal - Let The Night Roar


Best Price: $8.99











Ninja Tune: Cat. # ZENCD151
Released October 2009

Track List:
1. Intro (0:59)
2. Aragami Style (6:14)
3. Murder Us featuring Jahcoozi (6:16)
4. Virgo featuring Face-A-Face (5:03)
5. So… Embrace The Minimum (5:48)
6. Dirt featuring Daddy Freddy (4:58)
7. Colder Still (6:07)
8. A Shining Force (6:12)
9. The Untitled (5:40)
10. Onwards Vultures (5:32)
11. Flower Of Flesh And Blood (6:40)


IN BRIEF: Grit, gunk, and grime.

For the longest time, Ninja Tune was regarded as one of - if not the - premiere labels for streetwise EDM. Cultivating trip-hop, abstract-hop, jazz-hop, jungle-hop, and all that rot, the Coldcut crew brought several future funky head-beat stars to the forefront. Oh yes, there’s a few that need name-droppin’: The Herbaliser, Mr. Scruff, DJ Food, Amon Tobin… I’ll stop now. Yet, as seemed to happen to a number of big 90s labels, this previous decade saw Ninja Tune struggle to break form. The quality was never in question but was the buying public really all that interested in buying yet another collection of spliffed-out hip-hop jazz? Supposedly not, as the newer generation of ‘heads started flocking to upstart grime and dubstep labels like Hyperdub and Tempa while Ninja Tune pursued interests in stuff like post rock instead.

Still, Ninja Tune never forgot its UK street roots, and though it had a bit of catching up to do, the label managed to drop one of the best damned dubstep albums the genre has seen: The Bug’s London Zoo. Though they continued to flirt with genres since, there was a bit of curiosity whether Ninja Tune could match that release with whatever dubstep follow-up came out. A couple years later, the debut album of newcomer King Cannibal, Let The Night Roar dropped. And, well, doesn’t quite reach The Bug’s lofty peak. Not that we should have expected it, mind.

Dylan Richards has opted for a collection of tunes that’s quite straight-forward where EDM is concerned. Dubstep being his chosen domain, you have a few standard half-step numbers with ample wobble bass effects, a few grimy dancehall efforts, a couple flirtations into minimal techno, and even an experimental drone ambient offering (Onwards Vultures). It’s all finely produced, with a murky atmosphere that will appeal to those who prefer their dubstep sinister rather than gimmicky.

In fact, it’s this consistent atmosphere that makes Let The Night Roar work better than it probably should. There’s no denying Richards is a capable producer but he jumps between styles of music so much that the album’s flow always seems to be in danger of derailing. For instance, second track proper Murder Us is a sludgy bit of techno which, some nifty melodic-glitch near the end notwithstanding, feels totally out of sync with the surrounding tunes. It’s as though Richards took one of dubstep’s more annoying attributes - herky-jerky rhythms - and applied it to minimal techno (the cut-up vocal effects don’t help either); yet, there’s something about Murder Us that works in spite of that, such that you’re not really tempted to skip by (probably that melodic section).

His diversity will also undoubtedly split opinions on this album for most listeners. I quite love the dubby techno of Embrace The Minimum (even if the tune includes a pointless growling bass noise in the middle), but others may prefer the pure dancehall bedlam of Dirt. Or more obviously, straight-up atmospheric dubstep cuts like Aragami Style and Flower Of Flesh And Blood (which is some excellently sinister!) will get the party kids excited, whereas beat-heads will get their funky-feet on with A Shining Force. If anything, Richards has hedged his bets, even if it created a disjointed album in the process.

Again, it’s the overriding murky tone that keeps things flowing as well as it does. I’ll grant if you don’t like murk’n’grime in your music, then Let The Night Roar won’t be getting much rotation in your player any time soon. It is a fine debut from King Cannibal, however, and one of the better dubstep albums you’re likely to find these days. Here’s hoping for more from Ninja Tune in the future.


Score: 7/10

ACE TRACKS:
So… Embrace The Minimum
A Shining Force
Flower Of Flesh And Blood


Written by Sykonee, 2010. © All rights reserved.

Saturday, February 20, 2010

Felix da Housecat - Kittenz And Thee Glitz (Original TC Review)













Emperor Norton: Cat. # ENR 70472
Released June 2001

Track List:
1. Harlot (intro) (3:10)
2. Walk With Me (4:10)
3. Voicemail w/Miss Kittin (0:47)
4. Madame Hollywood (2:51)
5. Silver Screen Shower Scene (4:40)
6. Control Freaq (5:11)
7. What Does it Feel Like? (2:36)
8. Happy Hour (5:02)
9. The Enter View (1:14)
10. Glitz Rock (3:40)
11. Analog City (1:18)
12. Pray For A Star (3:54)
13. Sequel2Sub (3:50)
14. Magic Fly (3:00)
15. She Lives (3:03)
16. Runaway Dreamer (3:22)
17. What Does It Feel Like? (Röyksopp Return To The Sun Remix) (6:59)
18. Silver Screen Shower Scene (Thin White Duke Mix) (8:34)


(2010 Update:
Possibly one of the breeziest reviews I wrote. I honestly didn't anticipate it turning out the way it did. This was a case of me writing everything that immediately came to mind, and even if the idea was wacky, I ran with it. Not exactly a 'gonzo' review but definitely unconventional for us at the time. Hey, it's fun to read, ain'it? Oh, and the album still holds up excellently, as its inclusion in so many 'Best Of The 00s' EDM lists can attest to.)



IN BRIEF: If the mods had an 808...

It's time again for another edition of Trendsetting Albums: Do They Hold Up?, folks. This time, our glorious host, the straight-edged, gives-any-music-a-chance-provided-it's-not-CJ-Stone host Sykonee takes a look at yet another of the electro house movement's pioneers. Up to the plate is the album that practically set in stone the template for the genre we still hear today: Felix da Housecats Kittenz & Thee Glitz.

Hard to believe it's been half a decade since this was released. It doesn't feel that long ago all the underground hipsters were going apeshit over the raw, rocking analogue sounds coming from Felix and his compatriots (Electrikboy, Dave The Hustler, Miss Kittin, Junior Sanchez, Tommie Sunshine, Melistar, and Harrison Crump all lent their talents to this project). Yet here we are, five years later, and this music has been given the official stamp of mass-popularity approval thanks to Madonna's latest album. Now even your mothers can discover that awesome wicked cool sound you were gushing over in trendy clubs just after the turn of the century.

For no better reason than my electroclash camp was firmly with Tiga's Turbo label (and by association International Deejay Gigolos as well), I initially never jumped on the Felix bandwagon until after the hype died down. Of course, I'd heard some of the big singles but hadn't felt it necessary to pursue his material when I'd had The Hacker, Vitalic, DJ Hell, and so on to fill my needs. As such, I'm diving into Kittenz & Thee Glitz fresh. Let's see if time has been kind to the Muzik Magazine 2001 Album Of The Year.

And Harlot, billing itself as an intro track, is an encouraging sign of things to come. The mood is slinky, the synths are stuttery, and the rhythm is energetic. Only trouble is these elements rarely line-up together to form a standard song. Okay, fine, it isn't really trouble since this is an intro track (why blow your load all at once, right?), but it is a substantial tease, making you beg for more like it. With that in mind, Harlot is probably one of the most effective intros I’ve heard in a long time. Can't wait to see what's next.

Deep house, it would seem. Only... it's not. Structurally, Walk With Me has all the trappings of deep house -laid back rhythms, soulful lyrics, unobtrusive backing hooks and pads- but the sound patches are in a completely different world. The pads are a warm analogue synth, the percussion is perfectly suited for techno, and the lyrics are finely filtered into robo-land. Of course, at the time this was produced, these tricks had already been in use in numerous other styles of EDM. But deep house? Felix would have to be quite cheeky to tamper with that sacred genre.

Following a voice message from Miss Kittin, we're thrust into the two huge singles from this album. Since everyone's undoubtedly heard them by now, I'll just move along. Eh? You want some commentary from me anyways? How about I never really cared for these much. Sure, they're undeniably catchy, and Silver Screen’s march-a-long rabble rousing nature is irresistible on a dancefloor, but I personally feel it was done better on this album.

Happy Hour -now that's the one (yes, I know I'm going out of sequence; bear with me on this). It's structurally similar to Silver Screen but is a lot more fun. The fuzzed-out bass has some actual melody to it, there's great analogue synths, and the lyrics are a hoot! C'mon, I dare you to resist singing along to "808s, gives you power" as that beat throbs in the background. Happy Hour should have been an even bigger hit than Silver Screen. Why wasn't it? Probably the Miss Kittin factor had something to do with it. She was the rising starlett at the time, so her collaborations would get more attention. It's a shame, too, because I actually kind of prefer Melistar's sultry voice to Ms. Herves deadpan delivery (dammit, did it again!).

As we go further into Thee Glitz, I'm beginning to wonder where all the '80s revival theme' music journalists at the time were proclaiming made up the bulk of this album. Yes, there's plenty of 808 drum machines and analogue synths being used but only as a sound source. The musical styling, however, feels more like mod than synth-pop.

Another thing that strikes me is the diversity of all these songs: house, techno, soul, rock, italo. Every track borrows from a different style and is given an electro gloss-over without abandoning the substance of their attributes. With this much variety on hand, I can see why the music media was so quick to lump Thee Glitz into the electroclash camp -there's just no easy way to shuffle this into a tidy genre.

And that, my friends, is the mark of a great album (yes, I also know I’m not detailing all the songs anymore; just continue to bear with me). When a producer or team of them can craft an album that defies easy genre-fication, spawns tons of imitators, and still manages to sound fresh after the fact, you do indeed have something special on hand. By leaping across all sorts of scenes, Kittenz & The Glitz has created its own little bubble that exists outside of the trends of time. It sounds just as relevant being a part of the electroclash movement as it would have were it part of the mod rock movement or synth-pop movement. And it will undoubtedly be required listening for whatever the next post-modern hipster movement will be. Pick this up to be ahead of trends before they even start up again!

...Or better yet, just pick this up because it is a great collection of songs that, barring any production miracles in the electro house scene this spawned, will probably never be matched again.

Hmm. That kind of wraps up this review nice and tidily, doesn't it. It'd be redundant of me to go back now and detail all the songs like we normally do so I'll introduce my patent pending Interactive Review here. It's quite simple: I'll give you a selection of words, and you can arrange them however you see fit to help me describe my reactions to the songs on this album.

Step 1:
Choose from one of the following styles of music:
House
Techno
Soul
Mod Rock
Italo

Step 2:
Add Electro as the prefix.

Step 3:
Choose from one of the following words I felt describes what I heard in this release:
Awesome
Sweet
Rocking
Smooth

Step 4:
Add Fucking as the prefix.

Have fun!


Score: 9/10

ACE TRACKS:
Happy Hour
Glitz Rock
She Lives


Written by Sykonee. Originally published 2006 for TranceCritic.com. © All rights reserved.

Wednesday, February 17, 2010

Every trance cliche in one fell swoop.

Well, maybe not every one, but there sure is quite a few here. Then again, that's the point! Though not as funny as the classic "Tiesto played my record" spoof (dut dut dut!!!), this is a pretty good send-up of generic A State Of Global Harbors Around The World stuff. Heck, this sounds like something Richard Durand would have seriously produced, naff vocals exempt of course. The full title is I Believe In Miracles In The Ocean Underneath The Sky (Magic Miracle Tayle Vocal Mix).



Oh, and here's the lyrics. Now you can sing along!

Do you want to see forever
In the ocean
Beneath the white sky
In the dreamz

Can you believe in trance
Can you see the lazerbeam
Shining
Shining for you


You are the one for trance
Can you dance?
With the lazer

I believe in miracles
In the ocean
Underneath the sky

Goodbye
Goodbye
Hello
Goodbye
La la la la la
AAA
OOOOOOhhh


And here's another, called The Alienz Came For Me (Tech Mix).



Sky0cean, I tip my hat to you.

Tuesday, February 9, 2010

Setrise vs Kay Wilder - Poetry Clash














SPX Digital: SPX007
Released January 2010

Track List:
1. Poetry Clash (Original Mix) (7:15)
2. Poetry Clash (Ron Van Den Beuken Remix) (8:19)
3. Poetry Clash (Steve Birch Remix) (6:46)
4. Poetry Clash (John Gibbons & Scimon Tist Remix) (7:33)
5. Poetry Clash (Julius Beat & Eddy Karmona Remix) (7:42)


IN BRIEF: Routine.

It’s not every day some teenager gets playlisted by a top trance jock like Ferry Corsten, yet that’s what one Melle Bakker managed to do with an early digital single of his, Sunny Canon. Though it wasn’t much more than a typical melodic trance cover of Pachelbel’s Canon (you know, with the pleasant sweeping string arrangement that most associate with weddings or New Age meditation sessions these days), it was enough for the youngin’ to get his online label, Sunset To Sunrise Recordings, going. He’s since produced several singles for other labels like Redux and Infrasonic and Phoenix. Oh, and now also SPX.

Tagging along with him in this case is DJ Kay Wilder, who’s eight years Bakker’s senior. Together, they’ve produced a track called Poetry Clash, a title that doesn’t make much sense since there aren’t any lyrics involved but then what is in a name, oh pithy thee (or… something)? Anyhow, the track honestly isn’t much to get fussed over. Taking a page from Sander van Doorn, the rhythm is a deep, plodding rumble that’ll undoubtedly sound great on a large sound-system but lacks energy to get you excited for. The main hook is serviceable, though not terribly memorable, such that the duo feed it through pointless effects towards the end in an effort to somehow make it distinctive. Trancey synth washes and a brief squirt of hilariously constipated electro-fart round out the extras. That’s about it. Meh, expect this one to be lost in the annual glut quite rapidly.

Unfortunately, the remixes lack anything to recommend either. It’s not their fault, mind, as they don’t exactly have much to work with here. Rob van den Bueken offers the most intriguing of the bunch, giving a deep, spacey trance rub to the original, not to mention some vital rhythmic energy. Steve Birch ups the energy more as well but drowns the hook in effects. Meanwhile, the final two remixes are fairly typical trance rubs and almost identical in structure, with the John Gibbons & Scimon Tist Remix sounding a little clubbier and the Julius Beat & Eddy Karmona Remix sounding a little chunkier. In the end, these remixes are perfectly functional but, aside from Bueken, even less memorable than the original.

There isn’t much more for me to say here. If you hear the hook and it does something for you, then you’ll probably get more out of this single. For yours truly, however, Poetry Clash is just another drop in the sea of adequate, unremarkable trance.


Score: 4/10

Written by Sykonee, 2010. © All rights reserved.

Sunday, February 7, 2010

Azuli Presents John Digweed: Choice - A Collection Of Classics (Original TC Review)


Best Price: $8.88












Azuli Records: Cat. # AZCD35X
Released March 28/2005

Track List:
CD 1
1. Voices Of Africa - Hoomba Hoomba (4:33)
2. The Grid - Floatation (3:17)
3. T Tauri - Joy To The World (No Felt) (4:35)
4. Hypnotone - Dreambeam (Ben Chapman 12" Remix) (3:55)
5. Smith & Mighty - Dark House (4:00)
6. Peech Boys - Don’t Make Me Wait (5:05)
7. Propaganda - Your Wildlife (Red Zone Mix) (4:45)
8. The Beat Club - Security 88 (Midnight Club Mix) (5:06)
9. Sheertaft - Cascades (Hypnotone Mix) (5:08)
10. Euphoria - Mecurial (Euphoric Original Mix) (4:29)
11. One Dove - White Love (Scott Hardkiss’ Psychic Masturbation Mix) (5:23)
12. Dance 2 Trance - We Came In Peace (John Digweed Re-edit) (4:57)
13. Desert Storm - Desert Storm (6:06)
14. Abfarht - Alone, It’s Me (Alley Cat Edit) (5:40)
15. Underworld - Mmm... Skyscraper, I Love You (Jamscraper Mix) (6:46)

CD 2
1. Babble - Beautiful (Blue Mix) (6:38)
2. Waterlillies - Tempted (Spooky Mix) (5:18)
3. INXS - Disappear (Morales 12" Mix) (5:03)
4. Megatonk - Belgium (Nintendotone Mix) (3:52)
5. DSK - What Would You Do (8 Minutes Of Madness Mix) (5:14)
6. Reese & Santonio - Back To The Beat (With The Sound) (3:34)
7. Jody Watley - I’m The One (Def Dub Version; John Digweed Re-edit) (4:39)
8. Saint Etienne - Cool Kids Of Death (Underworld Mix) (6:16)
9. Hi-Bias - Drive It Home (4:47)
10. Young American Primitive - Young American Primitive? (4:26)
11. DJ H. featuring Steffy - Come On Boy (Larry Levan Remix) (5:29)
12. Secret Knowledge - Sugar Daddy (7:27)
13. The Cure - A Forest (Mark Saunders Mix) (6:46)


(2010 Update:
Man, I wish I'd spent "only" two paragraphs on the first disc too. Then I wouldn't have ended up with a cumbersome 2000+ word review. Still a fun compilation to throw on once and a while, certainly more so than some of Digweed's more recent forays into dry minimal-tech house. Bring back the classics, Diggers!)



IN BRIEF: A history of Digweed untouched upon by the media.

In this era of placing DJs on unreachable pedestals for their fans to idolize, it’s grown increasingly difficult for them to do what they do best - namely bring the listeners a variety of diverse music strung together into a cohesive flow. To quote from the liner notes of this release written by Sean Cusick: “A DJ’s fanbase can have very weighty expectations...invisible limits placed on diversity and the potential creativity that distinct music encourages. A dedicated fan-base comes to expect ‘more of the same’ from their hero and sometimes very little else.”

While not all EDM scenes are quite this picky, the trance scene, for the most part, can be very guilty of this. How many fans of, say, Oakenfold, abandoned him when he stopped playing tracks from his Tranceport compilation (and don’t give me that ‘his DJing got worse’ excuse -it was always like that; you just didn’t notice it because you liked the tunes he played). For DJs whom grew up exposed to music long before their fan-base’s niche even existed, I’d imagine this can be a very frustrating thing.

Let’s face it. Good DJs, of any style, have exposed themselves to a lot of music. Their music collections tend to be ridiculously large, even if they only get to play out a fraction of it. Labels realized this and figured out a way to not only introduce a new form of compilation, but also give these DJs a chance to do what every music collector loves: show off their records.

So maybe you could argue these sorts of compilations are just stroking a DJ’s ego, or are redundant because there’s nothing but old tracks that any connoisseur will already have. Fair arguments, but I tend to take a less cynical route with this. Compilations like Back To Mine, Life:Styles, and Choice serve as a chance for DJs to create a sort of mix-tape for their audience. No scrutiny placed on them to only have the latest tracks, no critical analyzing of their technical skill -just one music lover sharing their tastes and influences with others.

Prog house legend John Digweed was tapped for this particular edition of Azuli Records’ Choice series (which has featured mostly house legends like Frankie Knuckles and Danny Tenaglia). There’s no need to get into the history of the man, as I’m sure many already know about his raise to super-stardom from the Renaissance days on. Besides, most of that is moot here, as Digweed takes us on a little trip to an era before that. Most of the music on display here dates back to a time when the man was just a fledgling DJ, working from the ground up. As such, much of the music that tells the tale here is a far cry from what his more recent fans have come to expect of him, even if the elements that would come to define the Digweed sound are scattered about.

Indeed, who’d have ever thought a song like Hoomba Hoomba by Voices Of Africa - a world beat group more akin to Enigma than Banco de Gaia - would ever find its way on a Digweed compilation? Yet here it is, right out of the gate. The first disc is littered with willful genre jumping so don’t expect any kind of typical DJ mix here. Digweed’s aim is to showcase songs, sometimes in their entirety, that have a personal connection to his young DJing career. It also gives his newer fans a chance to hear music they may have overlooked.

Second song, The Grid’s Floatation, is a prime example. Everyone knows the groups’ ‘spaghetti western’ tunes like Texas Cowboy but who knows they did blissy, downtempo tracks like this? Not many, I’d imagine.

A good chunk of the opening act of the first disc dwells on groovey, laid back tunes. It is definitely not a sound Digweed’s newer fans are likely to connect with him but they may stick around to see where he’s going with this. With Smith & Mighty’s Dark House, it’s straight into the old Chicago clubs. Rest assured, these are some old songs on display, and folks weaned on the pristinely produced cuts of the 21st Century will probably be a bit put off -provided that infectious bassline doesn’t hook them in regardless.

Or, hey! How about some classic disco to make his new fans run for the hills? Despite being made in ‘82, Don’t Make me Wait by Peech Boys (a Larry Levan production) sounds as though it could have come straight from the glory years of disco’s birth (that’s pre-Saturday Night Fever, folks). Well, they use a drum machine instead here, but the spirit of old disco is still present. It’s a groovy song, as most old time garage is, but I’m willing to bet only the most trusting of Digweed fans will buy into his showcase of one of the most heavily sampled tunes around (Lord knows I’ve heard bits of Don’t Make Me Wait scattered about the last thirteen years).

The eclectic choice of tracks continues unabated: the Morales remix of Propaganda’s Your Wildlife is a great grooving house number, if you don’t mind some of the late 80s pop hooks sprinkled about; The Beat Club’s Security takes us through an erotic trip in freestyle’s dungeon -yes, freestyle proper, as in massive use of the good ol’ 808 drum machine; Sheertaft’s Cascades brings us back to the groovy ambient dub on display from earlier; and Mercurial from Euphoria touches on the chunky prog house Digweed would soon embrace. So much musical territory to cover, so little time. I get the impression Diggers had even more than this in his initial selection but was cut short due to trying to keep some sort of cohesive narrative to the whole enterprise; even mixtapes like to tell a story when possible.

But our man knows his audience well enough to give them something they’re familiar with. Probably striking parallels to the early Northern Exposure series, the Hardkiss remix of One Dove’s White Love certainly is a groovy gem of dreamy prog house done as only the names Andy Weatherall, Scott Hardkiss, and Dot Allison can imagine. It’s a shame these names aren’t given the recognition they deserve today. Well, at least Digweed does here.

And, of course, he let’s all of his ‘99 fans have a taste of trance towards the end -classic trance, that is (hah!). No progressive anthem schlock for you. Instead, you get the trance tune that practically defined the genre: Dance 2 Trance’s We Came In Peace. After what seems like a lengthy bit of minimal techno going nowhere, the song’s building tension is finally unleashed with synthy strings accompanied with a sample uttering the song’s title repeatedly. It’s an incredibly simple technique but is still just as effective in putting your mind in space as it must have been fifteen years ago.

With the cleverly ironic follow-up Desert Storm, the hypnotic trend continues. Again, nothing fancy with this track: looping rhythms, gently bubbling acid and melancholy three-note chord progression played on spacey pads defines the bulk of it. Yet, it’s far easier to become entranced listening to a track like this than anything with a supersaw in it.

As the disc wraps up with Abfarht (hey, it’s Nosie Katzmaan again!) And Underworld, I can’t help but notice this starts to sound like, dare I say it, an actual DJ mix! No, there’s no beat-matching or transitions fancier than brief crossfades, but the final run of tracks have such amazing chemistry together, it sounds just as smooth as any decent mix. How’s that for track selection, eh?

If you figure the end of the first disc is a sign of things to come in the second disc, you’d be partially right. For the first half of CD2, Digweed takes us on a tour of all sorts of 2nd generation house music: deep house, prog house, tech house, deep prog house, prog tech house, tech deep house, deep prog tech house, and some New York stylings, too. But, most notably, ‘choice’ house (hah, again!). Most of these tracks tend to play out without much mixing, but they all segue nicely together so as things don’t sound too disjointed.

For the final stretch of this disc, our intrepid DJ digs into his crates an unloads a bevy of rarities and obscurities that collectors would cash in their retirement reserves to own. In case Skyscraper wasn’t enough convincing, Underworld’s remix of Cool Kids Of Death is further proof we should really be hoping for that eventual reunion tour [involving Emerson, that is -2010 Syk]. And the genres begin to liberally jump again, sometimes within the same song (like Young American Primitive, a track more akin to Banco de Gaia than Enigma) before ending off on Mark Saunders’ mix of The Cure’s A Forest, a track that sounds like it could have helped spur the electroclash movement had it not been produced ten years prior.


If you’re wondering why I’ve only given two paragraphs to describe what goes on in CD2, the answer is I don’t feel it quite lives up to the expectations set out by CD1. Of course, all the songs on display are nice and make for decent listening, but aside from the tail end of it, it lacks the spontaneity of the first disc. As such, it doesn’t engage you with surprises like you might have hoped.

But don’t let this nitpick of mine put you off of this whole compilation. For folks looking for some history in either Digweed’s own musical beginnings or discovering older, obscure EDM cuts, this edition of Choice is fine buying. In fact, I’d go so far as to say this, and any of the Choice releases, should be required listening for those who wish to explore the rich tapestry EDM has created in the last thirty years. There was so much that was left to the recycle bin by major record executives, we are quite fortunate to have compilations like these to remind us where this music came from and where it is still going. However dated some of these songs may sound, their influences can still be heard over a decade later.


Score: 7/10

ACE TRACKS:
The Grid - Floatation
Desert Storm - Desert Storm
Saint Etienne - Cool Kids Of Death (Underworld Mix)


Written by Sykonee. Originally published 2006 for TranceCritic.com. © All rights reserved.
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Things I've Talked About

...txt 10 Records 16 Bit Lolita's 1965 1966 1967 1969 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2 Play Records 2 Unlimited 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 20xx Update 2562 302 Acid 36 3six Recordings 4AD 6 x 6 Records 75 Ark 7L & Esoteric 808 State A Perfect Circle A Positive Life A-Wave A&M Records A&R Records Abasi Above and Beyond abstract Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno acoustic Adam Freeland Adham Shaikh ADNY Adrian Younge adult contemporary Aegri Somnia Aes Dana Afrika Bambaataa Afro-house Afterhours Agoria Ajana Records AK1200 Akshan album Aldrin Alex Theory Alio Die Alphabet Zoo Alphaxone Altar Records Alter Ego alternative rock Alucidnation Ambelion ambient ambient dub ambient techno Ambient World Ambientium Ametsub Amon Tobin Amplexus Anabolic Frolic Andrea Parker Andrew Heath Androcell anecdotes Aniplex Anjunabeats Another Fine Day Antendex anthem house Anthony Rother Anti-Social Network Aphasia Records Aphex Twin Apócrýphos Apollo Apple Records April Records Aqua Aquascape Aquila Arcade arena rock Arista Armada Armin van Buuren Arpatle Arts & Crafts ASC Ashtech Asian Dub Foundation Astral Waves Astralwerks AstroPilot Asura Asylum Records ATCO Records Atlantic Atlantis atmospheric jungle Atomic Hooligan Atrium Carceri Attic Audion AuroraX Autistici Autumn Of Communion Aveparthe Avicii Axiom Axtone Records B.G. The Prince Of Rap Babygrande Balance Balanced Records Balearic ballad Banco de Gaia Bandulu battle-rap Beastie Boys Beat Buzz Records Beats & Pieces bebop Beck Bedouin Soundclash Beechwood Music Benny Benassi Berlin-School Beto Narme bhangra big beat Big Boi Big L Big Life Bill Hamel Bill Laswell BIlly Idol BineMusic BioMetal Biosphere BKS Black Hole Recordings black rebel motorcycle club Black Swan Sounds Blanco Y Negro Blasterjaxx Blend Blood Music Blow Up Blue Öyster Cult blues Bluescreen BMG Boards Of Canada Bob Dylan Bob Marley Bobina Bone Thugs-N-Harmony Boney M Bong Load Records Booka Shade Botchit & Scarper Boxed Boys Noize Boysnoize Records braindance Brandt Brauer Frick breakcore breaks Brian Eno Brian Wilson Brick Records Brodinski broken beat Brooklyn Music Ltd Bryan Adams BT Buffalo Springfield Bulk Recordings Burial Burned CDs Bush Busta Rhymes Calibre calypso Capitol Records Capsula Captured Digital Carbon Based Lifeforms Carl B Carl Craig Carol C Caroline Records Carpe Sonum Records CD-Maximum Ceephax Acid Crew Celestial Dragon Records Cell Celtic Cheb i Sabbah Cheeky Records chemical breaks Chihei Hatakeyama chill-out chiptune Chris Duckenfield Chris Fortier Chris Korda Chris Sheppard Christopher Lawrence Chromeo Chronos Chrysalis Ciaran Byrne cinematic soundscapes Circular Cirrus Cities Last Broadcast CJ Stone Claptone classic house classic rock classical Claude Young Clear Label Records Cleopatra Cloud 9 Club Cutz Cocoon Recordings Coldcut Coldplay Colette collagist Columbia Com.Pact Records comedy Compilation Comrie Smith Connect.Ohm conscious Control Music Cor Fijneman Cosmic Gate Cosmic Replicant Cosmos Studios Council Of Nine Counter Records country country rock Covert Operations Recordings Craig Padilla Crazy Horse Cream Creamfields Crockett's Theme Crosby Stills And Nash Crosstown Rebels crunk Cryo Chamber Cube Guys Culture Beat cut'n'paste Cyan Music Cyber Productions CyberOctave Czarface D-Bridge D-Fuse Dacru Records Daddy G Daft Punk Damian Lazarus Damon Albarn Dan The Automator Dance 2 Trance Dance Pool dancehall Daniel Heatcliff Daniel Wanrooy Dao Da Noize dark ambient dark psy darkside darkstep darkwave Darren McClure Databloem David Bickley David Morley DDR Deadmau5 Death Row Records Deejay Goldfinger Deep Dish Deep Forest deep house Deeply Rooted House Deepwater Black Def Jam Recordings Del Tha Funkee Homosapien Delerium Deltron 3030 Depeche Mode Der Dritte Raum Derek Carr Detroit DFA DGC diametric. Dieselboy Different DigiCube Dillinja dirty house Dirty South Dirty Vegas disco Disco Gecko disco house disco punk Discover (label) Disky Disques Dreyfus Distant System Disturbance DJ 3000 DJ Brian DJ Craze DJ Dan DJ Dean DJ Gonzalo DJ Heather DJ John Kelley DJ Merlin DJ Mix DJ Moe Sticky DJ Observer DJ Premier DJ Q-Bert DJ Shadow DJ-Kicks Djen Ajakan Shean DJMag DMC DMC Records Doc Scott Dogon Dogwhistle Dopplereffekt Dossier downtempo dowtempo Dr. Atmo Dr. Hook & The Medicine Show Dragon Quest dream house DreamWorks Records Drexciya drill 'n' bass Dronarivm drone Dronny Darko drum 'n' bass drunken review dub Dub Pistols dub techno Dub Trees Dubfire dubstep DuMonde Dune E-Mantra E-Z Rollers Eardream Music Earth Earth Nation Earthling Eastcoast EastWest Eat Static EBM Echodub Ed Rush & Optical Editions EG EDM World Weekly News Ektoplazm electro Electro House Electro Sun electro-funk electro-pop electroclash Electronic Dance Essentials Electrovoya Elektra Elektrolux em:t EMC update EMI Eminem Emmerichk Emperor Norton enCAPSULAte Engine Recordings Enigma Enmarta Epic epic trance Erik Vee Erol Alkan Escape Esoteric Reactive ethereal Etnoscope euro dance Eurythmics Eve Records Ewan Pearson experimental Eye Q Records F Communications Fabric Fade Records Faithless Fallen fanfic Fatboy Slim Fax +49-69/450464 Fear Factory Fedde Le Grand Fehrplay Feist Fektive Records Felix da Housecat Fennesz Ferry Corsten FFRR field recordings Filter filters Final Fantasy Five AM Fjäder Flashover Recordings Floating Points Flowers For Bodysnatchers Flowjob Fluke Flying Lotus folk footwork Force Intel Fountain Music Four Tet FPU Frank Bretschneider Frankie Bones Frankie Knuckles Fred Everything freestyle French house Front Line Assembly fsoldigital.com Fugees full-on Fun Factory funk future garage Future Sound Of London g-funk gabber Gabriel Le Mar Galaktlan Galati Gang Starr gangsta garage Gas Gasoline Alley Records Gee Street Geffen Records Gel-Sol Genesis Gerald Donald Get Physical Music ghetto Ghostface Killah glam Gliese 581C glitch Global Underground Globular goa trance God Body Disconnect Gorillaz gospel Gost goth Grammy Awards grime Groove Armada Groove Corporation Grooverider grunge Guru GZA Haddaway Halgrath happy hardcore hard house hard rock hard trance hardcore Hardfloor hardstyle Harmless Harmonic 33 Harold Budd Harthouse Harthouse Mannheim Hawtin Hearts Of Space Hed Kandi Hell Hercules And Love Affair Hernán Cattáneo Hi-Bias Records Hic Sunt Leones Hiero Emperium Hieroglyphics High Contrast Higher Intelligence Agency hip-hop hip-house hipno Hooj Choons Hope Records horrorcore Hospital Records Hot Chip Hotflush Recordings house Huey Lewis & The News Human Blue Hybrid Leisureland Hyperdub Hypertrophy hypnotic records I Awake I.F.O.R. I.R.S. Records Iboga Records Ice Cube Ice H2o Records ICE MC IDM illbient Imperial Dancefloor Imploded View In Charge In Trance We Trust Incoming Incubus indie rock Industrial Infected Mushroom Infinite Guitar influence records Infonet Inner Ocean Records Insane Clown Posse Inspectah Deck Instinct Ambient Instra-Mental Inter-Modo Interchill Records Internal International Deejays Gigolo Interscope Records Intimate Productions Intuition Recordings ISBA Music Entertainment Ishkur Island Records Italians Do It Better italo disco italo house Jack Moss Jam and Spoon Jam El Mar James Horner James Murray James Zabiela Jamie Jones Jamie Myerson Jamie Principle Javelin Ltd. Jay Haze Jay Tripwire Jaydee jazz jazz dance jazzstep Jean-Michel Jarre Jefferson Airplane Jerry Goldsmith Jesper Dahlbäck Jiri.Ceiver Jive Jive Electro Jliat Jlin Joel Mull Joey Beltram John '00' Fleming John Digweed John Graham John Kelly John O'Callaghan Johnny Cash Johnny Jewel Jonny L Jori Hulkkonen Jørn Stenzel Josh Wink Journeys By DJ™ LLC Joyful Noise Recordings Juan Atkins juke Jump Cut Jumpin' & Pumpin' jungle Junior Boy's Own Junkie XL Juno Reactor Jurassic 5 Kay Wilder KDJ Ken Ishii Kenji Kawai Kenny Glasgow Keoki Keosz Kerri Chandler Kevin Braheny Kevorkian Records Khooman Khruangbin Kid Koala Kiko Kinetic Records King Cannibal King Midas Sound King Tubby Kitaro Klang Elektronik Klaus Schulze Koch Records Koichi Sugiyama Kolhoosi 13 Komakino Kompakt Kon Kan Kool Keith Kozo Kraftwelt Kraftwerk Krafty Kuts krautrock Krill.Minima Kris O'Neil Kriztal Kruder and Dorfmeister Krusseldorf KuckKuck Kurupt L.S.G. Lab 4 Ladytron Lafleche Lange Large Records Lars Leonhard Laserlight Digital LateNightTales Latin Laurent Garnier LCD Soundsystem Leama and Moor Lee 'Scratch' Perry Lee Norris Leftfield Legacy Leon Bolier LFO Linear Labs Lingua Lustra liquid funk Liquid Sound Design Liquid Stranger Live live album Loco Dice Lodsb London acid crew London Classics London Elektricity London Records 90 Ltd London-Sire Records Loop Guru Loreena McKennitt Lorenzo Montanà Lost Language Loud Records Loverboy Luaka Bop Luciano Luke Slater Lustmord M_nus M.A.N.D.Y. M.I.K.E. Madonna Magda Mali Mammoth Records Marc Simz Marcel Dettmann Marco Carola Marco V Mark Farina Mark Norman Mark Pritchard Markus Schulz Marshmello Martin Cooper Martin Nonstatic Märtini Brös Marvin Gaye Maschine Massive Attack Masta Killa Matthew Dear Max Graham maximal Maxx MCA Records McProg Meanwhile Meat Loaf Meditronica Memex Menno de Jong Mercury Mesmobeat metal Method Man Metroplex Metropolis Miami Bass Miami Dub Machine Michael Brook Michael Jackson Michael Mayer Mick Chillage micro-house microfunk Microscopics MIG Miguel Migs Mike Saint-Jules Mike Shiver Miktek Mille Plateaux Millennium Records Mind Distortion System Mind Over MIDI mini-CDs minimal minimal tech-house Ministry Of Sound miscellaneous Misja Helsloot Miss Kittin Miss Moneypenny's Mixmag Mo Wax Mo-Do MO-DU Moby Model 500 modern classical Moist Music Moodymann Moonshine Moss Garden Motech Moving Shadow Mujaji Murmur Music link Music Man Records musique concrete Mutant Sound System Mute Muzik Magazine My Best Friend Mystica Tribe N-Trance Nacht Plank Nadia Ali Nas Nature Sounds Naughty By Nature Nebula Neil Young Neotropic nerdcore Nettwerk Neurobiotic Records New Age New Jack Swing new wave Nic Fanciulli Nick Höppner Night Time Stories Nimanty Nine Inch Nails Ninja Tune Nirvana No Mask Effect Nobuo Uematsu Nomad Nonesuch Nonplus Records Nookie Nordic Trax Norman Feller Northumbria Nothing Records NovaMute NRG Ntone nu-jazz nu-skool Nuclear Blast Entertainment Nulll Nurse With Wound NXP Octagen Offshoot Offshoot Records Ol' Dirty Bastard old school rave Ole Højer Hansen Olga Musik Olien Oliver Lieb Olsen Omni Trio Omnimotion Omnisonus One Little Indian Oophoi Oosh Open Canvas Opus III orchestral Original TranceCritic review Ornament Ostgut Ton Ott Ouragan OutKast Outpost Records Overdream Pantera Pantha Du Prince Paolo Mojo Parlaphone Paul Moelands Paul Oakenfold Paul van Dyk Perfect Stranger Perfecto Perturbator Pet Shop Boys Petar Dundov Pete Namlook Pete Tong Peter Benisch Peter Gabriel Peter Tosh Phonothek Photek Phutureprimitive Phynn PIAS Recordings Pink Floyd PJ Harvey Planet Dog Planet Earth Recordings Planet Mu Planetary Consciousness Plastic City Plastikman Platipus Plump DJs PM Dawn Poker Flat Recordings politics Polydor Polytel pop Popular Records Porya Hatami post-dubstep Prince Prins Thomas Priority Records prog prog psy prog-psy Progression progressive breaks progressive house progressive rock progressive trance Prolifica Proper Records Prototype Recordings protoU Pryda psy chill psy dub Psy Spy Records psy trance psy-chill psychedelia Psychick Warriors Ov Gaia Psychonavigation Psychonavigation Records Psycoholic Psykosonik Public Enemy punk punk rock Pureuphoria Records Purl Push PWL International Quadrophonia Quality Quango Quinlan Road R & S Records R'n'B R&B Rabbit In The Moon Radio Slave Radioactive Radioactive Man Radiohead Raekwon Ralph Lawson RAM Records Randal Collier-Ford Random Review Rank 1 rant RareNoise Records Rascalz Raster-Noton Ratatat Raum Records RCA React Red Jerry Refracted reggae remixes Renaissance Rephlex Reprise Records Resist Music Restless Records Rhino Records Rhys Fulber Ricardo Villalobos Riley Reinhold Rising High Records RnB Roadrunner Records Robert Hood Robert Miles Robert Oleysyck Roc Raida rock rock opera rockabilly rocktronica Roger Sanchez ROIR Rollo Rough Trade Rub-N-Tug Rumour Records Running Back Ruthless Records RZA S.E.T.I. Sabled Sun Salt Tank Salted Music Salvation Music Samim sampling Sanctuary Records Sander van Doorn Sandoz Sarah McLachlan Sash Sasha Scandinavian Records Scann-Tec sci-fi Scott Hardkiss Scott Stubbs Scuba Seán Quinn Segue Sense Sentimony Records Sequential Seraphim Rytm Setrise Seven Davis Jr. Shaded Explorations Shaded Explorer Shadow Records Sharam Shawn Francis shoegaze Si Matthews SideOneDummy Records Signature Records SiJ Silent Season silly gimmicks Silver Age Simon Berry Simon Heath Simon Posford Simple Records Sinden single Sire Records Company Six Degrees Sixeleven Records ska Skin To Skin Slinky Music Sly and Robbie Smalltown Supersound SME Visual Works Inc. Snap Sneijder Snoop Dogg Solar Fields Solaris Recordings Solarstone Solieb Soliquid Solstice Music Europe Soma Quality Recordings Songbird Sony Music Entertainment soul Soul Temple Entertainment Souls Of Mischief Sound Of Ceres Soundgarden Sounds From The Ground soundtrack southern rap southern rock space ambient Space Dimension Controller Space Manoeuvres space synth Spank Rock Special D speed garage Speedy J Spicelab Spiritech spoken word Spotify Suggestions Spotted Peccary SPX Digital Squarepusher Squaresoft Stanton Warriors Star Trek Stardust Statrax Stay Up Forever Stephanie B Stephen Kroos Steve Angello Steve Miller Band Steve Porter Stijn van Cauter Stone Temple Pilots Stonebridge Stormloop Stray Gators Street Fighter Stuart McLean Studio K7 Stylophonic Sub Focus Sublime Sublime Porte Netlabel Substance Sun Station Sunbeam Sunday Best Recordings Superstition surf rock Sven Väth Swayzak swing Switch Sylk 130 Symmetry Sync24 Synergy Synkro synth pop synthwave System 7 Tactic Records Tall Paul Tammy Wynette Tangerine Dream Tau Ceti Tayo tech-house tech-step tech-trance Technical Itch techno technobass Technoboy Tectonic Terminal Antwerp Terra Ferma Terry Lee Brown Jr Textere Oris The Beach Boys The Beatles The Black Dog The Brian Jonestown Massacre The Bug The Chemical Brothers The Clash The Council The Cranberries The Crystal Method The Digital Blonde The Dust Brothers The Glimmers The Green Kingdom The Grey Area The Hacker The Human League The Irresistible Force The KLF The Misted Muppet The Movement The Music Cartel The Null Corporation The Offspring The Orb The Police The Prodigy The Shamen The Sharp Boys The Sonic Voyagers The Squires The Tea Party The Tragically Hip The Velvet Underground The Wailers The White Stripes themes Thievery Corporation Third Contact Thrive Records Tiefschwarz Tiësto Tiga Tiger & Woods Time Warp Timecode Tobias Todd Terje Tom Middleton Tomita Tommy Boy Ton T.B. Tone Depth Tony Anderson Sound Orchestra Tool Topaz Tosca Toto Touch Tourette Records trance Trancelucent Tranquillo Records Trans'Pact Transformers Transient Records trap Trax Records Trend Trentemøller Tresor tribal Tricky Triloka Records trip-hop Trishula Records Troum Tuff Gong Tunnel Records Turbo Recordings turntablism TUU TVT Records Twisted Records Type O Negative U-God U2 Überzone Ugasanie UK acid house UK Garage Ultimae Ultra Records Umbra Underworld Union Jack United Dairies United DJs Of America Universal Music UOVI Upstream Records Urban Icon Records V2 Vagrant Records Valiska Valley Of The Sun Vangelis Vap Vector Lovers Venetian Snares Venonza Records Vermont Vernon Verve Records VGM Vice Records Victor Calderone Vince DiCola Vinyl Cafe Productions Virgin Virtual Vault Virus Recordings Visionquest Vitalic vocal trance Wagram Music Warp Records Warren G Water Music Dance Wave Recordings Waveform Records Wax Trax Records WEA Weekly Mini-Review White Swan Records William Orbit Willie Nelson world beat world music writing reflections Wu-Tang Clan Wyatt Keusch XL Recordings Yello Yes Youth Youtube YoYo Records Yul Records Zenith ZerO One Zoo Entertainment ZTT Zyron ZYX Music µ-Ziq