Showing posts with label Moist Music. Show all posts
Showing posts with label Moist Music. Show all posts

Friday, February 24, 2017

Various - Unfold #2: Christopher Lawrence

Moist Music: 2008

It's taken forever to finally get Christopher Lawrence into this blog’s archives! Whatever is the matter with me? Don’t I have any of his CDs in my collection? Sadly not, this one technically an abandoned TranceCritic promo that I neglected to review for reasons that utterly escape me now. As for never having picked up a C.L. mix or album, I have no excuse for it other than inexplicable apathy. I’ve seen his name for almost as long as I’ve been buying trance CDs, the chap a fixture on Moonshine after the turn of the century. Though I didn’t buy them, I generally liked what I heard, a tougher take on trance at a time when most jocks were getting fluffier and banal (or abandoning the genre altogether). When that label folded, he soon set up his own Pharmacy Music print, which he continues to run and promote podcasts through to this day. Along the way, he joined John ‘00’ Fleming in championing psy trance as the new hotness for proper trance t’ings, so aces in that development.

It’s during this period we find ourselves with Unfold #2, a short-lived series from Dutch label Fektive Records, and given an American release by Moist Music. Interesting note about Moist, a number of Moonshine refugees found new homes there, though it’s merely a roundabout coincidence that Lawrence finally ended up there too. Unfold itself was designed to highlight some of trance’s most notable old-school DJs still kickin’ out an underground sound, the first volume of which featuring Fleming (of course). A third edition had Marco V - an odd choice for the late ‘00s as he’d moved on from trance by that point - and that was all she wrote for Unfold (so sayeth The Discogs).

As for ol’ Chris’s go here, yeah, it’s a full-on psy set. Perhaps another reason I wasn’t quick in doing a review of this was my interest in the sub-genre had dwindled when this came out. I’m pretty sure I did like it somewhat, just not enough to inspire fingers to keyboard. Weird, because this stuff is pretty good all things considered. I only recognize a few names here (Mad Hatters, Cosmonet… Spacecat?), and I think I’ve heard some of these elsewhere (Basic’s Toyster and Audio-X’s And We Survive have very familiar, punchy hooks). For the most part though, it’s a classy, energetic collection of tunes for this style, with little of the random wibble the Israeli scene churned out. A few early tracks – Brain Damage’s Waiting For My Angel, Mad Contrabender’s Illegal Hardware and Killer from Gaudium Vs Dualsnug (god, these names) – even get my vintage senses tingling. Unfold #2 isn’t the best starting point for Christopher Lawrence, but it’s serviceable if you fancy the psy of the era.

Eh? CD1 of this two-discer? Oh, it’s just C.L. fitting in with the electro-progressive-plod-house of the time (hey, Mark Norman!). The opening track from Spooky (New Light (Strobelight Mix)) is nice, but the rest… yyy-eeah.

Thursday, September 19, 2013

Markus Schulz - Ibiza '06 (Original TC Review)


Moist Music: 2006

(2013 Update:
Are these the same CDs? Yeah, the problems I bring up in this bloat of an old review (1500 words - you've been warned) are there, but they aren't as big of a deal as I remember them. Was I really so burned out on trance that year? Perhaps, as McProg truly
was stale by the end of '06. It's not much of a surprise almost all the jocks, including Schulz, were moving on to other things within the year. Yet after hearing Ibiza '06 out of that context, in the here and now, I find there's a lot more to enjoy than I initially gave it credit for. Maybe that's all it takes, eh? Let an overplayed genre of music sit fallow for a few years, then return to it with fresh ears and (hopefully) matured insight. Then, and only then, can you properly take the music on its own merits, not weighed down by excessive marketing but as the original producers intended. Yeah...

Nah, this stuff's honestly just of higher quality than all the side-chaining, electro, 8th notes, and noise that followed in McProg's wake. If anything,
Ibiza '06 can be regarded as the genre's last gasp of glory. If you enjoyed the stuff but passed this by because of genre fatigue when it first hit the streets, maybe take another look. After all, it's not like you're gonna be getting anything new in this style.)

IN BRIEF: Pleasant atmosphere, but little else.

We passed an anniversary of sorts this last week. Prior to November 2005, TranceCritic was still a relatively low-key review site with a small but consistent reader-base. We’d cause a stir here and there with some of our more opinionated reviews, but nothing drastic. That all changed though, when one of our writers, Cobalt, gave a less-than-favorable review on the debut artist album from Miami-based DJ Markus Schulz.

The aftermath of this review resulted in a slew of hate mail from Schulz’ loyal, dedicated, almost cult-like fanbase, a flaming the likes we’ve yet to see since. Of course, for a fledgling site such as ours, that kind of publicity did wonders to increase our profile, and in a weird sort of way, we owe some thanks to The Cult Of Schulz for that. Therefore, it seems fitting we should sit here with a new release from Mr. Schulz a year later, this time in the form of a DJ mix.

Much has happened in clubland this past year, and Schulz’ profile has diminished during this time. For a DJ who was apparently on the road to superstar status, this comes as a bit of a shock. After all, he’d done everything required to be amongst the big players: solid underground reputation; unique accessible style of music; popular internet radio show; cult-like fanbase to preach the Gospel of Schulz everywhere they went. What went wrong?

Two things, by my eyes. Firstly, the aforementioned debut album tanked at a point when a solid release would have cemented his status in clubland. It chased away his underground following and was met with apathy from casual folks, leaving only his newer fans to enjoy the results. Naturally, he continued pandering to this new fanbase, but it lead to the second problem: popular tastes were rapidly changing. His brand of feather-light prog was wearing thin by the end of 2005, especially with dirty tech the burgeoning hot sound. All the hype surrounding Schulz’ rising star faded away, the Swedish House Mafia now the topic of discussion.

It’s safe to say all the momentum his career had been building significantly slowed down this year. Obviously, he still has plenty of tour dates and the Cult of Schulz remains as loyal as ever, but one gets the impression he’s reached a crossroad in his musical direction. Should he carry on with his ‘McProg’ sound that helped him gain all that momentum in the first place, even though it has grown stale? Or might it be best to search new avenues, taking his old ideas along with him?

Ibiza ‘06 is this year’s annual mix from the Schulzer, representing the sort of music he played at his residency on the island this past summer. Additionally, he’s decided to showcase mostly new talent here rather than make a mix with obvious anthems, which as the head of a label (Coldharbour, d’uh) is always smart business practice. If Markus has moved on or stayed the course, we should find our answer here. Into the player goes Disc 1.

And judging from the opening chunk of tracks, Schulz is still playing his ‘twinkle’ prog (heh, there’s a million-and-one terms for it). If you still haven’t heard of it, McProg tends to have heavy grooves, airy sweeping effects, and, the clincher, little melodies that sound like they were sampled from ballerina toy boxes. It makes for pleasant music but doesn’t have the depth of other forms of prog. The fact most of it is similarly arranged like epic trance (lots of long unnecessary breakdowns and builds) has caused many of the progressive elite to disown the sound altogether. Still, it is charming music when handled well.

And Markus does handle this sound very well for the first half of disc one. Benya’s Mimas may have you rolling your eyes, mind, but after that we are taken into some nice, grooving tracks with deep, immersive soundscapes. Progresia and Francis Blaid offer synthy hooks as well in their tracks for those who like something to hum along to.

Addictive brings the rhythmic intensity up, and it seems this mix is ready to be taken to the next level. Then, the breakdown hits; and, God, is it awful. Seriously, that wailing... guitar, is it? Who knows, but it’s terribly hokey (but probably will be a smash anyway) and the complementing trancey hooks in the build are so rote, it kills the mood in an instant. A shame, because Monakhov’s follow-up Feels Lonely is an interesting track, with a nifty grumbling bassline. It certainly would have segued better from Mystery than Addictive.

From here, this mix goes absolutely nowhere. Oh, there’s some nice sounding tracks to be had - Benz & MD’s Turning The Curves is a wonderful euphoric trancer, and Technology & Computer is a decent groover - but Markus seems interested in showcasing songs rather than making any kind of thematic set. If there is a theme, it’s the running amiable atmosphere these tracks provide. Unfortunately, many of them contain lackluster hooks, most of which you’ll forget after the disc finishes. Well, maybe Chuck Luis’ Collision will be remembered, but only because it’s such a laughable try-hard.

Most telling though, is the second half doesn’t contain any of Schulz’ trademark sound. It would appear he’s moving into standard van Buuren styled trance, although with a thicker groove and slightly less emphasis on the uplift. How does this affect discero numero deux, then?

By going all trance, it would seem, but don’t run away just yet. Ormatie establishes a deep atmosphere, and Joonas Hahmo brings us the groove with a charming hook, which opens the second CD promisingly.

Some pleasant deep tracks go by, including a little bit of twinkle in Glimmer if you still crave it, but these are just warm-ups for YearZero, which is vintage Andy Moor: chopped-up vocals, angelic pads, twinkly melodies, and body-movin’ rhythms. Well, Orkidea has a hand in this track too, but folks will be thinking Moor all the way here. He might have become predictable as fuck, but Andy’s style does work, and YearZero makes for a nice peak in this mix. Achems [sic?] Razor from Kenneth Thomas works nicely as a follow-up, with a simple, pounding lead and mechanical sound effects.

Markus pulls a surprise in throwing down some techno from Roland Klinkenberg, which for a moment made me think we were going to see a completely unexpected tangent from the Schulzer. Alas, it’s not to be, but it does change the focus of this mix, leading us into deeper pastures where lots of floaty pads and minor melodies dominate. It’s an utter bore though, with rudimentary hooks, placid rhythms, and very little sticking in your mind. Sure, I enjoy some atmospheric soundscapes in my trance, but when it’s done in a DJ set, it had better lead to something, and none of these tracks do. It’s just track after track of similarly arranged tunes, and no interesting flow at all.

Even more damning is the fact the final stretch suffers from ‘too-many-breakdowns’ syndrome. This isn’t an energetic set to begin with, so you’d think excessive breakdowns wouldn’t be a problem. Yet by the time Markus’ own First Time hits, it’s become annoyingly predictable. A couple of interesting sounds will briefly draw your attention (Sassot’s Where It All Began probably the best of the lot), but most of it will fade from your memory by the end. Altogether, not a remarkable finish.

It is quite clear Markus has shifted his musical focus, as much of his old sound is absent. While I respect his decision to change, he could have chosen something better than what we have here. Instead of a unique, if simple, form of prog, Schulz seems to have been converted to the Armada trance sound, and most of Ibiza ‘06 follows their manifesto: airy, melodic trance without an original idea in it that hasn’t been aped from the year 2001. In this regard, Markus just sounds like a slightly slowed-down mellow Armin, which isn’t going to do him any favors if he wants to make a bigger name for himself.

Ultimately, there’s very little on Ibiza ‘06 that distinguishes Schulz from the Armada pack. There’s a bit more emphasis on groove and atmosphere, but it’s still Armin’s style of trance, which has been stale for ages. Markus doesn’t bring anything new to the table here, and if he continues down this road, he’s going to be stuck in van Buuren’s shadow for a long time to come.

Things I've Talked About

...txt 10 Records 16 Bit Lolita's 1963 1965 1966 1967 1968 1969 1970 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 2018 2019 2020 2021 2022 2023 20xx Update 2562 3 Loop Music 302 Acid 36 3FORCE 3six Recordings 4AD 6 x 6 Records 75 Ark 7L & Esoteric 808 State A Perfect Circle A Positive Life A-Wave a.r.t.less A&M Records A&R Records Abandoned Communities Abasi Above and Beyond abstract AC/DC Ace Trace Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno acoustic Acroplane Recordings Adam Beyer Adam Ellis Adam Freeland Adham Shaikh ADNY Adrian Younge adult contemporary Advanced UFO Phantom Aegri Somnia AEI Music Aes Dana Afgin Afrika Bambaataa Afro-house Afterhours Agoria Aidan Casserly Aira Mitsuki Airwaves Ajana Records Ajna AK1200 Akshan album Aldrin Alex Smoke Alex Theory Alice In Chains Alien Community Alien Project Alio Die All Saints Alpha Wave Movement Alphabet Zoo Alphaxone Altar Records Alter Ego alternative rock Alucidnation Ambelion Ambidextrous ambient ambient dub ambient techno Ambient World Ambientium Ametsub Amon Amarth Amon Tobin Amplexus Anabolic Frolic Anatolya Andrea Parker Andrew Heath Androcell Anduin Andy C anecdotes Aniplex Anjunabeats Annibale Records Anodize Another Fine Day Antendex anthem house Anthony Paul Kerby Anthony Rother Anti-Social Network Anzio Green Aoide Aphasia Records Aphex Twin Apócrýphos Apollo Apollo 440 Apple Records April Records Aqua Aquarellist Aquascape Aquasky Aquila Arcade Architects Of Existence Archives Arcturus arena rock Arista Armada Armin van Buuren Arpatle Artifact303 Arts & Crafts ASC Ashtech Asia Asian Dub Foundation Astral Engineering Astral Projection Astral Waves Astralwerks AstroPilot AstroPilot Music Asura Asylum Records ATB ATCO Records Atlantic Atlantis atmospheric jungle Atom Heart Atomic Hooligan Atomine Elektrine Atrium Carceri Attic Attoya Audiobulb Records Audion AuroraX Autechre Autistici Autumn Of Communion Auxilary Auxiliary Avantgarde Avatar Records Aveparthe Avicii Axiom Axs Axtone Records Aythar B.G. The Prince Of Rap B°TONG B12 Babygrande Balance Balanced Records Balearic ballad Bålsam Banco de Gaia Bandulu Barker & Baumecker Battle Axe Records battle-rap Bauri Beastie Boys Beat Buzz Records Beat Pharmacy Beatbox Machinery Beats & Pieces bebop Beck Bedouin Soundclash Bedrock Records Beechwood Music Benny Benassi Bent Benz Street US Berlin-School Beto Narme Beyond bhangra Bicep big beat Big Boi Big Dada Recordings Big L Big Life Bill Hamel Bill Laswell Bill Leeb BIlly Idol BineMusic BioMetal Biophon Records Biosphere Bipolar Music BKS Black Hole Recordings black metal black rebel motorcycle club Black Swan Sounds Blanco Y Negro Blasterjaxx Bleep Blend Blood Music Blow Up Blue Amazon Blue Hour Blue Öyster Cult blues blues rock Bluescreen Bluetech BMG Boards Of Canada Bob Dylan Bob Marley Bobina Bogdan Raczynzki Bombay Records Bone Thugs-N-Harmony Boney M Bong Load Records Bonobo Bonzai Boogie Down Productions Booka Shade Botchit & Scarper Bows Boxed Boys Noize Boysnoize Records BPitch Control braindance Brandt Brauer Frick Brasil & The Gallowbrothers Band breakbeats breakcore breaks Brian Eno Brian Wilson Brick Records Britpop Brodinski broken beat Brooklyn Music Ltd Bryan Adams BT Bubble Buffalo Springfield Bulk Recordings Burial Burned CDs Bursak Records Bush Busta Rhymes Buttertones bvdub C.I.A. Calibre calypso Canibus Canned Resistor Capitol Records Capsula Captain Hollywood Project Captured Digital Carbon Based Lifeforms Caribou Carl B Carl Craig Carlos Ferreira Carol C Caroline Records Carpe Sonum Novum Carpe Sonum Records Castroe Casual Cat Sun CD-Maximum Ceephax Acid Crew Celestial Dragon Records Cell Celtic Centaspike Cevin Fisher Cheb i Sabbah Cheeky Records chemical breaks Chihei Hatakeyama Children Of The Bong chill out chill-out chiptune Chris Duckenfield Chris Fortier Chris Korda Chris Liebing Chris Sheppard Chris Witoski Christmas Christopher Lawrence Chromeo Chronos Chrysalis Ciaran Byrne cinematic soundscapes Circle of Pines Circular Ciro Berenguer Cirrus Cities Last Broadcast City Of Angels CJ Stone Claptone classic house classic rock classical Claude Young Clear Label Records Clementz Cleopatra Cloud 9 Club Culture Club Cutz Club Tools Cocoon Recordings Cold Spring Coldcut Coldplay coldwave Colette collagist Columbia Com.Pact Records Coma Eye comedy Compilation Comrie Smith Congo Natty Conjure One Connect.Ohm conscious Control Music Convextion Cooking Vinyl Cor Fijneman Corderoy Cosmic Gate Cosmic Replicant Cosmo Cocktail Cosmos Studios Cottonbelly Council Estate Electronics Council Of Nine Counter Records country country rock Covert Operations Recordings Craig Padilla Craig Richards Crazy Horse Cream Creamfields Creedence Clearwater Revival Crockett's Theme Crosby Stills And Nash Crossing Mind Crosstown Rebels crunk Cryo Chamber Cryobiosis Cryogenic Weekend Cryostasis Crystal Moon Cube Guys Culture Beat Curb Records Current Curve cut'n'paste CYAN Cyan Music Cyber Productions CyberOctave Cyclic Law Cygna Cypher 7 Cypress Hill Cyril Secq Czarface D-Bridge D-Fuse D-Topia Entertainment Daar Dacru Records Daddy G Daft Punk Dag Rosenqvist Damian Lazarus Damon Albarn Damon Wild Dan Terminus Dan The Automator Dance 2 Trance Dance Pool Dance With The Dead dancehall Daniel Heatcliff Daniel Lentz Daniel Pemberton Daniel Wanrooy Danny Howells Danny Tenaglia Dao Da Noize Daphni dark ambient dark disco dark psy darkcore darkside darkstep darksynth darkwave Darla Records Darren Emerson Darren McClure Darren Nye DAT Records Databloem dataObscura David Alvarado David Bickley David Bridie David Cordero David Guetta David Morley DDR De-tuned Dead Coast Dead Melodies Deadmau5 Death Grips death metal Death Row Records Decimal Deconstruction Dedicated Deejay Goldfinger Deep Dish Deep Forest deep house Deeply Rooted House Deepwater Black Deetron Def Jam Recordings Del Tha Funkee Homosapien Delerium Delsin Deltron 3030 Denshi Danshi Depeche Mode Der Dritte Raum Derek Carr Detroit Deviant Records Devin Underwood Devroka Deysn Masiello DFA DGC diametric. 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Records I.F. I.F.O.R. I.R.S. Records Iboga Records Icarus Music Ice Cube Ice H2o Records ICE MC IDM Iempamo Ignis Fatum Igorrr Ikjoyce illbient ILUITEQ Imogen Heap Imperial Dancefloor Imploded View In Charge In Trance We Trust Incoming Incubus Indica Records indie rock Indisc Industrial Infastructure New York Infected Mushroom Infinite Guitar influence records Infonet Inhmost Ink Midget Inner Ocean Records Innovative Leisure Records Insane Clown Posse Inspectah Deck Instinct Ambient Instra-Mental Intellitronic Bubble Inter-Modo Interchill Records Internal International Deejays Gigolo Interscope Records Intimate Productions Intuition Recordings ISBA Music Entertainment Ishkur Ishq Island Def Jam Music Group Island Records Islands Of Light Italians Do It Better italo disco italo house Item Caligo J-pop Jack Moss Jackpot Jacob Newman Jafu Jake Stephenson Jam and Spoon Jam El Mar James Blake James Holden James Horner James Lavelle James Murray James Zabiela Jamie Jones Jamie Myerson Jamie Principle Jamiroquai Javelin Ltd. Jay Haze Jay Tripwire Jaydee jazz jazz dance jazzdance jazzstep Jean-Michel Jarre Jefferson Airplane Jerry Goldsmith Jesper Dahlbäck Jessy Lanza Jimmy Van M Jiri.Ceiver Jive Jive Electro Jliat Jlin JMJ Joel Mull Joey Beltram John '00' Fleming John Acquaviva John Beltran John Digweed John Graham John Kelly John O'Callaghan John Oswald John Shima Johnny Cash Johnny Jewel Jon Hester Jonny L Jori Hulkkonen Joris Voorn Jørn Stenzel Josh Christie Josh Wink Journeys By DJ™ LLC Joyful Noise Recordings Juan Atkins juke Jump Cut jump up Jumpin' & Pumpin' jungle Junior Boy's Own Junkie XL Juno Reactor Jupiter 8000 Jurassic 5 Kaico Kay Wilder KDJ Keith Farrugia Ken Ishii Kenji Kawai Kenny Glasgow Keoki Keosz Kerri Chandler Kevin Braheny Kevin Yost Kevorkian Records Khetzal Khooman Khruangbin Ki/oon Kid Koala Kiko Killing Joke Kinder Atom Kinetic Records King Cannibal King Midas Sound King Tubby Kitaro Klang Elektronik Klaus Schulze Klik Records KMFDM Koch Records Koichi Sugiyama Kolhoosi 13 Komakino Kompakt Kon Kan Kool Keith Kozo Kraftwelt Kraftwerk Krafty Kuts Kranky krautrock Kriistal Ann Krill.Minima Kris O'Neil Kriztal KRS-One Kruder and Dorfmeister Krusseldorf Kubinski KuckKuck Kulor Kurupt Kwook L.B. 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