Showing posts with label minimal tech-house. Show all posts
Showing posts with label minimal tech-house. Show all posts

Thursday, November 2, 2023

Speedy J - Armstrong / Klave

self-release: 2021

Oh yeah, Speedy J singles. I still have some of those to finish off, don't I? A lot more, if I decide to ever spring for all of his post-2010 material on Electric Deluxe and Stoor. Okay, not Stoor, that label forever only for the vinyl fetishist market. The other label looks like it might have some interesting items, should I ever get the impulsive Speedy J itch again down the line.

This particular single is a bit of an outlier though. While the music within came out around the same period as Electric Deluxe's early years, neither track ever appeared there. In fact, both Armstrong and Klave came out on totally different prints, Radio Slave's REKIDS and Chris Liebing's CLR, respectably. They were paired with other tracks on those records, so likely produced as favours to those labels in giving them some Real Techno Artists Be Here cred'. Like, ol' Jochem sure didn't need to release anything on them, what with his own labels already up and running.

It did create a bit of a pickle for Speedy, however, in that he couldn't re-issue all of his old material on Bandcamp if these specific tracks were already tied to still-existing prints, with other producers on the original flips. What do? Eh, just grab them back anyway, and release them as a brand new single, that'll do. Does that make this single a compilation then? I don't know about that, but I submitted this to Lord Discogs' tomes as one, so if They That Know All are okay with it, let's run with it.

As Armstrong appeared on Chris Liebing's label, it's small surprise the track is pretty much a heady thumper in that distinct, minimalist Liebing style. In fact, there isn't much to it at all, doing the super-gradual tension build of pounding beats with white noise washes teasing out a potential climax. It never really comes though, the loudest peak coming some two-thirds deep before fading off as though it never was. I'm sure it's an effective piece of business as a techno tool, but a little disappointing for yours truly.

Klave, by contrast, is a little more interesting, in that it treads closer to the realms of tech-house – because of course it would on a Radio Slave label. There's plenty of knob twiddling on reverb and flange effects, which keeps the track evolving for its ten-minute duration, but not much else goes on with it. Frankly, I found the fact the record Klave appeared on had Chris Liebing on the flip more intriuging in a funny sort of way – you'd think that would have been the case with Armstrong, wouldn't it.

So pretty much just a couple functional tracks, but one neat thing did emerge from this session: my discovery that REKIDS has gone techno retro! No, seriously, Radio Slave, the guy who broke out with epic tech-plod tracks, has been making ol' school rave tunes in recent years. As always, everything old become new again!

Monday, January 25, 2021

Pantha Du Prince - Black Noise

Rough Trade: 2010

I reviewed Pantha du Prince's The Triad a while ago, but kinda' forgot about it. Then some songs from it happened upon my playlists, causing me to take pause and reflect: “I think I actually like this guy's music to explore further.” Where to start digging though? The very beginning with Diamond Daze? Mm, maybe not, its shoegazey micro-haus vibes always prompting quick skips when sampling through Spotify. This Bliss, then, the one that broke Mr. Weber... well, not all the way into clubbing consciousness, but enough such that it got Very Important electronic music journalists buzzing. Perhaps I will, but at a later time, when that album's “Oh yes, it's definitely peak minimal tech-haus” attributes don't cause as much PTSD in yours truly. Conference Of Trees? What is this, person of the year 2020? I'm doing this dig in 2018.

Thus, it falls to Black Noise, the Pantha Du Prince album I'm sure everyone has, even if they're not a Pantha Du Prince fan. Without hearing a single bell tone or marimba strike or groovy bassine, you're instantly drawn in by the lovely painting of St. Bartholomew's Church. Then you hear praise and plaudits from across the continent, intriguing you further for an impulse purchase. It certainly got the attention of music journalists beyond traditional clubland:The Guardian, Uncut, Spin, Clash (fashion mag?), and ...The Irish Times? Wow, deep find there, Wiki.

I've given Black Noise multiple plays since getting it, yet I'm still struggling to 'get it', if you get me. Absolutely I 'get' what I'm supposed to 'get', be amazed at all the clever use of multiple mallet instruments and how much sonic space is left among them to breathe upon the simple steady grooves. I dunno though, some tracks on here come off trying to be too clever for their own sake, layering things in such a way that it mimics glitch production. Some portion of my brain though – the 'dumb' part, I guess – wants something to hook it in, and only occasionally does that happen, mostly in the straight-forward dancefloor tunes (A Nomad's Retreat, Satellite Snyper, Bohemian Forest). The percussion showcases of the first few tracks on this album come off cluttered to my ears, though Bohemian Forest does get that balance down right, while Welt Am Draht's dreamy vibe reminds me of what I liked about The Triad so much.

Anything else? Oh yeah, that other big selling point that got indie mags looking into Black Noise, the collaboration with Noah Lennox. Some of you may know him as Panda Bear, others as part of Animal Collective; a big f'n deal in that scene, is what I'm saying. No snark, I quite like Stick To My Side, Pantha's dubby rhythmic treatments and sparse bell tones creating a nifty moody atmosphere. Panda Bear comes in and does his vocal thing, but I'm all about those slowly escalating strings, the song peaking out quite nicely. Black Noise could have used a couple more of these.

Sunday, February 23, 2020

Various - Balance 027: Magda

Balance Records: 2015

The only reason I'm reviewing so many Balance mixes, this. Yeah, I've said I kept tabs on the series, but wasn't inspired to look back either. Magda though, I'm always on the look-out for more mixes from her, so when I heard she'd been tapped for the venerated prog and tech-house brand, you bet I double spit-taked. Ms. Chojnacka's aesthetic is so outside the traditional Balance wheel-house, it may as well be on a different planet. I suppose one could made a distant connection to Joris Voorn, in that they've both done Hawtin-esque ultra-mixes, but that's about it.

Maybe Balance felt the need for another change though, having used up just about all the prog veterans to this point. Perhaps Danny Tenaglia's heavy techno outing had the Balance staff feeling that pull (which would explain why this was followed by Stacey Pullen). Or supposedly they realized they'd never had a woman do a mix for them. With an utter dearth of prominent lady jocks within prog circles, however, they had to reach beyond the genre aisles to make amends.

So this doesn't come off like a typical Balance release, instead seemingly celebrating Magda's own history in the commercial mix domain. The cover art is like a scrapbook of her prior outings (open mouth for Fabric 49; creepy doll/mannequin from She's A Dancing Machine). As such, the music within adheres to no past trends within Balance canon, no established genres carried upon. This is a Magda set through and through, and if you only come to this series' style of prog and tech-house, you're gonna' have a bad time.

Yet I feel so hypocritical enjoying the weirdo minimal and odd-ball nu-jazz of CD1, because isn't this the sort of stuff that soured me on Agoria's set? A little, yeah, but Magda just does it better. Really, she does better what a lot of her peers do (for sure a lone bright spot during 'mnml's suffocating dominance), and its a crying shame she never got the due others received, but perhaps appearing on Balance would help endear her to a fresh audience. Or not, her quirky selections being a bit much for the prog faithful. Heck, some of the 'tunes' toward the end of CD1 were a bit much for me, and I'm usually more than willing to take the ride on whatever strange road Magda drives us on.

Anyway, CD1's traditionally the 'indulgent' set in these Balance releases, but does the clubbier CD2 deliver in any shape or form? If you like your stripped-down tech-house and acid boogie, most definitely! It's more straight-forward compared to Magda's older commercial mixes – no super-dense mash-ups of four minimal techno tracks at once, or something – but gets my shoulders shufflin' and my bottom wigglin' in my chair just the same. Once again, Ms. Chojnacka remains one of the few who delivers exactly what I like to hear in this style of music. To be fair though, it's been a very small sample size.

Monday, February 10, 2020

Various - Balance 015: Will Saul

EQ Recordings: 2009

Won't deny, I had low thoughts about this one when I first saw it advertised a decade ago. I generally liked the Balance series to that point, but Joris Voorn's contribution had me wondering whether things were taking a turn for the over-indulgent, hipster-baiting path. Glancing at the tracklist didn't allay my suspicions either, what with inclusions from Ricardo Villalobos' Minimoonstar, Hercules & Love Affair, Seth 'he so crazy!' Troxler, and that new-fangled 'dubstep' the kids wouldn't shut up about, b'gar. Throw in a cover shot that has Mr. Saul looking like he's posing for Craft Beers Monthly (“This Issue, The 20 Best New IPAs From Mercer Island You MUST Try!”), and yeah, my totally sad first impression wasn't good.

But Will Saul's 3CD set for Balance is good. Real damn good. Ignore what Late 2009 Sykonee thinks. He was getting disillusioned about things anyway.

Besides, my ignorant thoughts were mostly due to ignorance of who Will Saul is. I assume he's a fairly big deal in the UK, though I hadn't heard of him before, and haven't heard much of him since. Has a couple labels behind his belt. Recently released his second album. Look, I've limited word count here, and I'd rather spend it discussing these CDs over Mr. Saul's biography.

And what a lovely assortment of CDs we have here. We're deep in Balance's 'No Genres Off Limits!' era, and with three discs to indulge himself, Will indulges himself indeed. Instead of making each CD strict genre exercises though, Mr. Saul works a general theme while dedicating significant chunks of his sets to specific styles. CD1 gets in on that deep house and space disco vibe, with a tasty acid and Chicago closer. CD2 is the more (then) conventional set of the three, sticking to trendy, minimalist tech-house before taking a slight detour into Detroit's back alleys. Then, in a total tonal shift, Will finishes the set out with future garage (still called 'dubstep' back then). Yeah, that's probably just as trendy, but I like this stuff, so it coo'.

Opening CD3 with reggae dub though? Oh... oh my! Who in the history of Balance has done that? Okay, Jimmy Van M, kinda', but that was just one song, whereas Will spends eight. Some of it is modern 'reggae dub', sure (re: dubstep that actually honours its Jamaican roots), but as found elsewhere across Balance 015, he mixes these (then) contemporary styles with vintage stuff quite nicely. Things move on from there into funk and soul (old and new, including Wolf + Lamb), plus garage and house, with mostly (then) new stuff trying to sound like way old stuff. The retro was in full swing by the late '00s, absolutely.

So yeah, I quite like Will Saul's CD3 here, and even enjoy CD1 despite not having quite as much to say about it. CD2 feels quite of its time though, but is fine for what it offers. Plus, very little of Minimoonstar was used. I LOL'd.

Tuesday, February 4, 2020

Various - Balance 014: Joris Voorn (Original TC Review)

EQ Recordings: 2009

(2020 Update:
Probably the Most Important release in the
Balance series, and I don't claim that with snark, believe me. There had already been critically lauded releases before, but none of them got everyone buzzing quite like this one did. And despite Balance carrying on to this day, there hasn't been another grabbing the same level of attention as Voorn's contribution did. In fact, after a run of releases that served as a sort of Trilogy in DJs showing off the extreme side of genre eclecticism... well, I'll get to that when I get to it. Ultimately though, 014 was pretty much the peak of Balance being regarded as the premiere DJ mix series lauded by music journalists.

Can't say I've come back to this much. It was fine re-listening to it again, favoring CD2 over CD1 a little more now. Voorn's set still feels too reliant on the gimmick over the track selection though, and if I'm gonna' indulge in one of these massive mix-n-mash ultra-sets, I'd sooner throw on Magda's
She's A Dancing Machine - it's 'funner'! (yes, I had to get that name-drop in there as another obligatory 'it's been done' snipe)).


IN BRIEF: A trainspotter’s wet-dream.

Whether it be paid journalists, obsessive bloggers, or casual commentators, this is the kind of release such folk eagerly anticipate adding their two cents about. With a track list this big and eclectic [102 in all], Joris Voorn’s contribution to the Balance series screams for opinions, and plenty of people were ready to cast judgment on his mix sound unheard. Commercial DJ sets, after all, are traditionally done as a means of providing new music for the home listener or to promote said DJ to a potential wider audience, and you only need around ten to twenty-five tracks on a CD to accomplish this (dependent on the style of music, of course). To do something more, however, tags the mix with a bright neon “Artistic Statement” sign, from which folks will debate the merits of such a statement well before it’s even released.

Mind, Balance has long been an outlet for DJs to indulge themselves with concept mixes. EQ Recordings practically encourages it, and it’s certainly paid off for the label, in that it’s established itself as one of the premier DJ mix series – fans now tend to come away somewhat underwhelmed if the chosen jock(s) doesn’t do something unique. So, the fact Voorn seems to have willfully dove into a concept mix of this sort got all the commentators giddy. After all, here was once again an opportunity to discuss the merits of commercial DJ mixes as a something uniquely artistic which, in this age of podcasts and radio sets aplenty, does seem to be a dying artform; and this was the same reason commentators feared tackling Balance 014 as well.

Voorn’s tracklist seems to gleefully taunt any kind of criticism. Indeed, how can one be critical of something that has apparently been crafted with such passion and care? To say anything negative about Balance 014 automatically paints such a critic as someone who doesn’t appreciate artistic endeavors, thus rendering their opinions on such matters moot. Forget whether the music is actually good or not, it must be praised on concept alone.

Maybe I’d be willing to fall sway to this massive tracklist like so many others have if I thought there was something truly uniquely clever going on here. Yes, for a series that typically caters to the progressive house sect (whatever sound ‘prog’ currently represents), a CD1 with fifty-plus tracks does look impressive. But it’s not like Voorn’s playing all these as individual songs; rather, he’s cherry-picked bits and pieces to create a collage of dubby tech-house that plays out quite like a traditional prog set (re: atmospheric lead, groovy build, mid-set peak, indulgent third-act, climax/outro). On one hand, this does make it somewhat more impressive than Richie Hawtin’s DE9 mix (and indeed, Voorn’s own Fuse, a similar technical showcase), as there is ample amount of actual melody involved that creates a definite narrative. Yet compared to the wild-yet-cohesive ‘cut’n’paste’ antics of turntablists like Coldcut, Z-Trip, and DJ Shadow, Voorn’s effort here seems timid.

“Enough,” you say, “just fucking tell me if this is worth my pennies or not, f’er crissakes!” The Mizuiro disc most definitely is. As mentioned, it flows seamlessly from beginning to end, taking your ears on a lovely little journey through various atmospheres, pleasing melodies, groovy passages, and sinister soundscapes. Although the ketamine-murk of the second half may not be everyone’s cup of chamomile, Voorn ends the disc on a lovely bit of psychedelic ambiance from an obscure Alter Ego side-project, making it worth your while to let the whole disc play out – after all, such tranquility is only enhanced by the menace that comes before. The only quibble to be had is the lead into this ambient outro, as it makes use of a mild tease of a build, suggesting a more vigorous climax to Mizuiro. All is forgiven once you realize where Voorn aims to take you instead, mind, but a tease it remains.

The Midori Mix, on the other hand, comes across as a mish-mash of leftover ideas. It opens strongly with bright house beats and fresh funk, but quickly drops back into the k-hole with dark, dubby minimal-tech. This of itself is nifty head music, yet comes off redundant if you’ve just listened to Mizuiro; and makes the vigorous beginning of CD2 seem rather pointless, especially so since Voorn keeps lowering the tempo until we’re floating in beatless lounge-chill mid-way through. From there, Midori keeps jumping all over the place: disco-funk makes a return, then is promptly dropped again in favor of ambient; some jazzy-soul passages come by, yet don’t seem to relate to the rest of the mix in any way. Of course, the actual music is perfectly fine –the lack of a cohesive narrative to it all is what holds CD2 down in terms of an endearing listen.

I’m sure you’ve noticed I haven’t really been highlighting titles Voorn as used. Truthfully, there’s very little point in doing so, in that his mix isn’t about individual tracks. And to be perfectly honest, the music works better the less familiar you are with the tunes he’s used – you’ll end up just letting yourself go with the flow of his set rather than endlessly trainspotting the bits and pieces he’s used. Frankly, I found myself distracted by playing too much “I See What You Did There” with the tracks I was most familiar with. Example: Leftfield’s Rino’s Prayer: I kept waiting for the beats of the original to drop, and felt hanging when he instead just looped the dub-throb effect of the original. I’m sure there are a number of similar examples others could point out with their listening experience of this. Granted, some folks thoroughly enjoy doing so. Much like Boards Of Canada fans love hunting for sonic easter eggs, or Star Wars Prequel fans love scouring the background of Lucus’ effects-laden scenes, some could spend hours dissecting what Voorn has done with what during the course of his sets (spoiler alert: if you go to his website, you can watch a Flash animation that lays it out for you). Yet, in doing so, we’re praising production gimmickry, not musical merit.

In that regard, I cannot in good conscience give Balance 014 the super-high marks others have given it. Yes, the technical aspects are awesome, but I’m here to judge the final musical product, not studio tricks. And Voorn’s mix is musically good, not great. While I can’t fault the ambition that went into this, it unfortunately comes across as needlessly overcooked across two discs. And ultimately, were I to throw on a hour-long mix with forty-plus tracks, I’d sooner grab a Soulwax set – it may be messier, but it’s definitely more fun.

Written by Sykonee for TranceCritic.com, 2009. All rights reserved.

Friday, January 31, 2020

Various - Balance Issue N. 12: Lee Burridge

EQ Recordings: 2007

Lee Burridge's adamant he's not prog-house DJ, that he only got roped into that demarcation due to his associations with Sasha's inner circle. Even when he was tapped for the Global Underground offshoot Nubreed series, he went out of his way to include tunes outside the traditional prog-house scope (Deep house! Tech-house! Breakbeats!) And as his career progressed (har, har), he gained a reputation as that 'progressive DJ' you'd go to see if you wanted to hear a varied, eclectic set of tunes, especially on the techno side of things. Cool beans, yo', and now he's tasked with a Balance 3CD set, where previous jocks had worked outside the borders of traditional mix CDs, showcasing eclectic tastes, leftfield genres-

It's minimal. All the way through. *sigh* It is 2007, I guess, the nadir of this trend with prog circles.

I'd be fine with just one disc of the stuff - play it, conclude it's rubbish, never play it again. To dedicate all three to the sound though, with nary a bone thrown to any other genre in existence...

Supposedly Lee wanted this set to represent what you'd hear at a night out him performing, but with dance music as useless to dance to as this, I'd just as soon hang outside with the smokers all night. Maybe wander off for a street kebab before returning to hear if things have gotten better. Nope, still monotonous *thup-thup*.

This isn't even the oft' derided plinky-plonk minimal, but the much worse 'blippy-blomp' strain that 'prog' DJs typically rinsed out. No momentum in the rhythms, tracks perfunctorily played one after the other, utterly devoid of hooks, and all too inwardly fascinated by random sounds and effects. It's the sort of wibble-wankery that psy-trance gets mocked for, but at least psy has some energy to it, what with a rolling bassline cranked to 140bpm and all. No surprise one of 'mnml's biggest acts came from the prog-psy camps.

Mind, there are differences in each CD. Disc one (Orange) is the slower and moodier of the three, and at least has some atmosphere to it thanks to sporadic pads. It also kinda' builds like a traditional prog-house set (breakdowns!), though we're talking the height of a street curb here. CD2 (Red) is the most tedious of the lot, somehow getting slower as it moves along, with no track feeding off the last. CD3 (Green) at first had me thinking Lee was gonna' step things up a notch, some actual beef in the beats of opener Dubbel Problematik from Tomas Andersson. We're still a couple years before the Berghain sound came to dominate though, so it's right back into blippty-bloopy minimal. Still, the tracks in Green do maintain a fun, skippity rhythm.

If nothing else, Balance 012 provides a suitable snapshot of a clubbing scene completely devoted to the bandwagon it'd jumped upon. For a time, this was the sound many were certain would carry them into the future. None of them would ever play this way again.

Sunday, January 26, 2020

Various - Balance 007: Chris Fortier

EQ Recordings: 2005

Balance? What is this? I recall that Bill Hamel guy was involved, but when the DJ mix market was flooded with serviceable prog sets with interesting photographic cover art, you'll forgive me for passing on the series' early editions. Tell me that Chris by-God Fortier has been tapped for a whopping 3CD set, however, and you've got my attention! Dude had twice kept my prog faith alive by that point, the previous year's Audiotour all but cementing my notion he could do no wrong. And now he was unleashing a triple-discer of the stuff? Who cares if I have to import it from Australia, there's no way this could go wrong!

Balance 007 became my least played release from Mr. Fortier, some of the CDs un-played since I first threw them on fifteen years ago. Oh... oh no! How did that happen?

It didn't take long to remember the sinking feeling with CD1. With an early run of trendy minimal tech-haus, it was my first indication that the prog bandwagon jump into that genre wasn't going to be pretty. Hell, the tunes from Alex Smoke and 2 Doller Egg aren't even that bad compared to what was to come, but stacked against the deep proggy vibes of Chris' previous mix CD, it was a serious letdown. Shame on me too, because the back-half of CD1 features some mint Soma Quality Recordings techno. My brain just wasn't ready to accept it from a Fortier set, I guess.

Even worse, I was so checked out on what Fortier was doing with Balance 007 that I barely registered he supplied the prog I was craving in CD2. To be fair, the start of this disc is somewhat misleading, getting in on a little menacing robot music action. Plus, Vector Lovers is here! Oh man, hearing one of my favourite electro producers was so unexpected and enjoyed, nothing better could follow it, despite coming so early in the set. Have I mentioned I never realized there's some mighty fine deep, dubby prog in the back-half of CD2, that I only realized just now, after revisiting Balance 007 all these years later?

Honestly though, the main reason the first two discs of this triple-discer faded from my memory is because of CD3, a surprising bonus outing of proper electro from the Fade Records founder (plus a little Floridian and prog-breaks action towards the end). And when I say proper, I mean proper, Mr. Fortier firmly declaring the lamented appropriation of the word for obnoxious acid-fart house music an injustice to the roots of robot-funk music. Aw, man... brother, I feels you so hard in the year 2005, I do. *fist taps the heart* For sure, anytime I grabbed Balance 007, it was always CD3 played first and only. Such a breath of fresh air then, and still holds up remarkably well now. As do the other discs too, even if it took me this long to accept it.

Sunday, March 25, 2018

The Hacker & Eric Borgo - Zone (Original TC Review)

Tsuba Records: 2008

(2018 Update:
So The Hacker's kept himself busy, even reconvened with Ms. Herve for another collaborative album, but I can't say the same about Eric Borgo. His Discoggian data dries up shortly after this. The remixers, Ivan Smagghe and Tim Paris, collectively called It's A Fine Line - mostly did their own things independent from one another, but astoundingly reconvened a couple years ago to release a debut album under this project name. Whatever was the hold-up, guys?

As for the tunes, they're, um, there, and, uh, haven't aged well outside the 'minimal' era. So, they're, uh... meh, what else is there to say here?

Hey, did you know, for a while,
this was to be the last item I was going to listen to in this massive undertaking of mine? It's not anymore, but for a while, it was! Boy, sure is swell it's not this anymore. Would have made for a lame, limp note to end it all with.)


IN BRIEF: A fine offering, but not from the name you’d immediately expect.

Let’s cut to the chase. You’ve probably clicked on this review because you saw The Hacker in the title and are wondering what Michel Amato’s been up to since he and Caroline Herve decided to put their famed partnership to the side so he could retreat back into the relative underground. Eh? Oh, you already knew he’s continued to serve up a steady stream of perfectly sleazy singles, hooked back up with Miss Kittin on occasion, and generally maintained his name as one to keep an eye out on, even if his brand of electro-body-techno isn’t quite as popular as it once was and still should be. Damn, but you guys are good!

Ah, so it’s the lesser-known name Eric Borgo that has gotten your curiosity then. His story is quite similar to many in this business: after earning his pay as a DJ for most of the 90s, he managed to gain the attention of Amato and Olivier Raymond (Oxia) at the turn of the decade, such that he’s had the opportunity to release a few singles with them since. Last year he and Oxia had a minor electro-house hit with Another Man, and now it would seem he’s teaming up with The Hacker to see if they can work some music magic together on a new single entitled Zone.

Unfortunately, magic is rather lacking on this effort. Granted, the bassline oozes suitable sleaze, and ominous techno pads add some atmosphere on occasion, but everything else is just far too sparse and uninteresting to make Zone anything greater than an early tech-house set piece. The main hook, such as it is, consists of a tuneless looping plinky riff, harkening to techno’s robotic heritage but is devoid of the necessary craftiness that’ll lift this above the ‘minimal’ glut. And no, playing around with layered echo-and-delay effects does not give it character; such tricks have grown as tired and cliché within techno circles lately as the super-sawwave breakdown did in epic trance. Considering Amato’s name is tied to this track, the charm his productions are known for is surprisingly absent from Zone.

Luckily, the flip offers something more than ‘minimal’ monotony. Ivan Smagghe (former Black Strobe member; Fabric and Suck My Deck contributor; Word Perfect spell-check nightmare) is the larger name behind this remix, and along with Tim Paris has crafted a remix that, although gloomier than the A-side, offers much more personality. Simple choppy rhythms, eerie mangled hooks, and disconcerting atmospheric fills provide a track that’ll turn a tech-house set towards the sinister side of clubbing. And while it may not have much spring, this remix will nonetheless satisfy for those who enjoy inducing a little paranoia into their listening habits.

So a simple little release we have here, folks. The keeper is definitely the remix, but it isn’t enough to earn Zone high marks. As for The Hacker (yes, the guy you really did click this review for), this is something of a stumble for his discography. If he insists on doing collaborations, maybe it’d be best for him to stick with Oxia or Kittin.

Written by Sykonee for TranceCritic.com, 2008. © All rights reserved.

Wednesday, August 23, 2017

Josh Wink - When A Banana Was Just A Banana (Original TC Review)

Nervous Records: 2009

(2017 Update:
Josh Wink still hasn't made another album since this one. Why hasn't Josh Wink made another album since this one? Did it sell poorly due to the odd, cartoony presentation? Does he still feel squirmish about making 'album orientated music', even at this late stage of his career? Is he simply satisfied kicking out a steady stream of yearly singles, his DJing carrying the muse's load? So many questions, ones that honestly don't require an answer, but it remains a strange state of affairs that for a career as long lasting as his, Mr. Wink has never needed regular LPs maintaining it.

As this review was written late in TranceCritic's run, it's definitely of much better quality than most. Even at a rather lengthier word count, it still pops along at a nice clip. I even worked in an obligatory aside-rant about 'anti-builds' (on non-climaxes), plus threw in a couple snarky quips I'd totally forgotten about. Gave me a good chortle, they done did.)



IN BRIEF: Bountiful bananas.

First: there is no Higher State on here. In fact, there probably never will be a track like that ever again, from Wink or anyone else. It was an once-in-a-lifetime moment when that seminal acid classic was dropped, so you may as well stop expecting Wink to repeat it. If that’s the only reason you’ve clicked this review - to find out if he’s made another Higher State - hit ‘Alt + Left-Arrow’ now.

Good. Those who’ve stayed put probably already know there’s more to Mr. Winkleman than one or two big hits from the 90s but it’s remarkable just how much a man can forever be tied to chart success, even nigh fifteen years on. Ol’ Josh hasn’t let it tie his career down though. His record label Ovum continues to chug along with quality releases, his DJing career continues to groove along with quality sets, and his productions continue to, um, be produced. Well, he manages to continue to release solid singles, but has never managed to quite break that LP barrier, with albums that never seem to quite capture the same thrill or success of his EPs or DJ mixes. Wink himself has admitted that perhaps the fault lies in his attempts to make AOM (album orientated music), something that doesn’t play to his strengths.

So, it’s just as well that he’s abandoned that aspect for his latest album. The concept of When A Banana… is straight-forward enough: round up a collection of current productions that’s been getting live rotation, arrange them into a kind of DJ mix, and send it out into the wild. Surprisingly (or not), it works brilliantly, with each of these tracks strutting their stuff in strong fashion.

It’s the first half of this album that shines most brightly, with a variety of groovy house vibes, techno bedlam, and tranced-out bliss. Opener Airplane Électronique warms you up as fine as any house tune, with a funky rhythm that’ll have you wiggling along and a bouncy hook that gets a bunch of fun tugs, tweaks and tumbles twisting it about. However, it’s with Counter Clock 319 that you realize just how special of a producer Wink still is. Like so many of his tracks, he works a slow build before introducing The Hook (it seems many of his tracks contain that one element which can only be described as The Hook), which will get a thorough working over as the track continues to build in rhythmic intensity. Then, those crashing hi-hats and snares erupt, creating the kind of awesome thrashing climax Wink has practically made his trademark. The peak in Counter Clock is far more satisfying than anything you might expect from trendy upstarts like Dullfire or Radio Snore, such that- Wait a moment. That was only the mid-track peak? Oh shit, hang on, here we go again!

Actually, since I did bring up the former Deep Dish man, let me point out another thing that Wink trumps him on: what to do after the mid-track peak. I know Dubfire wasn’t the first to do it, but his single Roadkill really popularized the Total F'n Reset, wherein after a thrilling build, the track will just reset with intro beats, making everything up to it utterly pointless. Wink has a tendency to bring the energy down as well, but instead of using the Total Reset, he eases you into a simmer, which is not only effective in keeping some sort of momentum going but also in teasing your anticipation for when he brings it all back. And speaking of which, let’s get back to these bananas.

After a bit of murky, mildly funky minimalism with What Used To Be…, Wink unleashes a pair of tracks that hit all the right melodic notes. Jus’ Right is pure Balaeric bliss, but it’s Dolphin Smack that comes off as the most delightful surprise - you would never have expected Wink to produce a track that would have fit nicely on an early-90s Harthouse compilation in this day in age. It’s quite spacey and, dare I say, even trancey.

From there, Wink gets back to your requisite minimal-tech, although considering he was among the earliest adopters of this stylistic trend, the cuts offered here sound comfortable and assured. Yeah, there’s your usual plink-plonk-hiss going on, but there’s also, like, actual funk in these tracks too - imagine that, eh? He’s going to drag your head out of your k-hole whether you like it or not, and coerce you to do more with your feet than a half-committed shuffle. Finishing off with the soulful Stay Out All Night is fair game too, even if it shares the same status as Johnny D’s Orbitalife of an inexplicably overplayed track throughout 2008 (that ‘funky soul’ thing must have seemed like such a novelty to the minimal-tech crowd, despite the likes of Miguel Migs having never gone away).

Of course, When A Banana… isn’t revolutionary or anything like that. We’ve been hearing many of Wink’s tricks on here for over a decade; it’s his strong judgment of rhythm that makes it all work though. Unlike so many other minimal-tech producers who make dull plod-step beats, Wink’s veteran sense of the dancefloor knows how to get the most mileage out of the least elements, and he’s accomplished this excellently with these tracks. Throw in attributes his contemporaries seem afraid of (funk! soul! …melody!), and you have one of the stronger albums of tech-house to come along this year. Not to mention in Wink’s discography as well.

Written by Sykonee for TranceCritic.com, 2009. © All rights reserved.

Tuesday, August 16, 2016

Alter Ego - Transphormed

Klang Elektronik: 2005

That Roman Flügel and Jörn Elling Wuttke would take a stab at chart action was surprising enough, though understandable given everyone’s fondness for thrashy electro during the mid-‘00s. The fact they used their Alter Ego alias as a means to accomplish this however, baffled a whole pile of long-time followers. For in the decade before Rocker became a club smash, the name Alter Ego carried a pedigree of ambient techno and IDM class, their self-titled debut and follow-up Decoding The Hacker Myth some of the highlights of Sven Väth’s seminal Harthouse print (to say nothing of other popular projects like Acid Jesus and Sensorama). Not that those seeking more Rockers cared about such prestige, Alter Ego emerging fresh as the new acid sun with the album Transphormer for all they knew. It had been some time since Decoding The Hacker Myth, I’ll grant.

But that’s not the album I’m reviewing today. Oh, I had intended to get Transphormer, my Alter Ego appreciation of old none the sullied by the duo’s foray into electro-trash. The fact I saw the duo’s rebranding record for a fiver on the Amazons didn’t hurt either, figuring there were at least a few decent cuts worth the asking price. Somehow though, I instead ended up with the double-disc remix album that spun off from Transphormer’s success. At first I was all, “wait, there was a remix album from this?” And then I was all like, “well, it’s not what I ordered, but its two CDs for the price of a quarter of one, so I guess it’s fine.” But then I was feelin’ like, “Aw, dang, this is 2005 remixes, which means a bunch of dull tech-house and minimal wankery, don’t it. I don’t want to listen to this.” And in all the years since I got Transphormed, I never did.

Turns out my hunch was correct, but before the remixes of Transphormer, there’s CD1 of Transphormed, a collection of remixes that Alter Ego done did themselves. Whatever reservations I still had about their new sound are promptly vanquished here, wonderful rubs on tracks from a wide array of acts. Fashion Rules! from Chicks On Speed sounds like something LCD Soundsystem would have made, Alter Ego get deep into the electro-funk on Solvent’s Think Like Us, Octave One’s Blackwater treads near the realm of bumpin’ micro-house, and Riton’s Angerman is marching Vitalic bosh in the hands of Flügel and Wuttke. Throw in appearances from Human League, Primal Scream, and 2Raumwohnung, and you’ve a surprisingly fun CD of Alter Ego remixes. Not that I doubted it.

CD2 though, yeesh. Ultra-minimal micro-house from Isolée and Robag Wruhme. Dull tech-house from Rework and LoSoul. Noisy nonsense from Riton and Ewan Pearson. And twelve-plus minutes of minimal-plucky gibberish from Ricardo Villalobs (because of course he’d need that much time to go nowhere). At least Solvent turns in a fun electro tune with his rub, and Eric Prydz drops his impeccable anthem touch to Rocker. Bow down to your Swedish God.

Saturday, April 9, 2016

Various - Time Warp Compilation 07: Loco Dice (Original TC Review)

Time Warp: 2007

(2016 Update:
I didn't talk much about Loco Dice in this review, beyond the music he selected and mixed on disc. We're nearly a decade on though, and plenty's gone down in Yassine's career in that time. He continued rising in the ranks of trendy DJ circles, established his own print in Desolat, and has maintained his presence and brand in all corners of minimal and tech-house circuits. Great for when the sound was the hottest shit on the market, but it's since substantially receded, and Loco Dice's stock has... pretty much stayed right where it's always been. Never at the
very top of his scene, but still popular enough that any talk of falling off is absurd. Of course, a bunch of cooler music has overtaken minimal as the fresh hotness, but Dice's brand is much too entrenched to go quietly in the night. He's here for the long haul, with whatever great or bleak expectations you expect of the chap and this sound.

As for this Time Warp set,
jay-zeus was it ever a slog to trudge through again. The first disc has a nice dub groove going for a while, but is so mind-sapping repetitive I flake out on it midway. CD2, meanwhile, is engaging throughout for curiosity of whether the plonk-donk-bleh sounds can go anymore absurd. Oh indeed they can, brah'. We pretty much gave up trying to 'get' minimal after this at TranceCritic.)


IN BRIEF: Neo-chill.

The Time Warp festival in Germany is a fairly big deal. No, really it is! It’s been around for over a decade and often secures top DJ talent like Sven Väth, Carl Cox, Speedy J, Paul van Dyk, Adam Beyer, DJ Hell, Laurent Garnier, Richie Hawtin, and so on. In recent years, it’s even gone on to become as much a media arts festival as a musical one.

Still, there are a great number of folks who aren’t aware of it. This is mostly due to the fact Time Warp isn’t your typical electronic music gathering. Firstly, as most of those listed DJs will hint at, techno tends to be the focus. A few other genres are invited, of course, but this is a festival with phrases like ‘pushing the boundaries of musical innovation’ and ‘showcasing forward-thinking arts’ are gospel. Fortunately, the air doesn’t suffocate with hipster pretentiousness but Time Warp certainly doesn’t have the mainstream in mind when they promote themselves.

Anyhow, like any good festival, Time Warp provides a yearly DJ mix for folks to either remember it by or find out what they may have missed. A noticeable path towards the minimal sounds of techno has become apparent over the years and, perhaps predictably, 2007's edition has taken the full plunge. The man behind the sequencing this time out is none other than possibly one of biggest rising names in the minimal scene: Loco Dice.

I think the main thing you need to be aware of with Time Warp ‘07 is this isn’t much of a mainroom release. Sure, minimal has promoted itself as such in recent years, especially ever since most reputable magazine gave the music their official blessing. However, even though you’ll see many minimal acts headline now, this music is still primarily focused on subtlety and nuances, atmosphere and soundscapes; euphoric melodies or pummeling rhythms need not apply. Essentially, minimal is to techno what deep house is to, um, house.

Loco Dice is given two discs to work with here, each with slightly differing tone. The first is more atmospheric, with dubby sounds and the odd synth wave rolling through. Meanwhile, disc two takes us deeper into the murk, with a few token nods to the naughtier side of techno as well. His mixing is silky smooth, with transitions so unnoticeable, you’d think it was the same track playing for long stretches at a time. Actually, that’s part of the problem with this release.

Yes, it is all finely crafted. Yes, there are some nice sounds to be heard. And yes, Loco Dice does do minimal justice. However, this set is seriously flatlined from the start. It never builds any tension, it never leads to different ideas, and a lot of these tracks sound so damned similar to each other. A few of them are even separated by nearly a decade but you wouldn’t be able to tell unless you were familiar with the tunes. It either goes to show how groundbreaking Basic Channel (as Round Two here) was, or how lacking in new ideas the whole genre is. Since I’m not that cynical, I’ll go with the former in this case, but it still doesn’t help the fundamental problem with Loco Dice’s mix.

Which is this: anytime he lays down a track that could shift the set somewhere, the follow-up always brings you back to status quo. There are plenty of examples littered throughout, but probably most obvious is the way he ends Disc 1. The final track is from James Pennington’s Suburban Knight, a welcomed deviation of ice-cool electro breaks from the steady stream of soft beats the first disc was filled with. In most cases, a DJ will use the final track as a lead-off point to set the tone of the second disc. Not here though. Instead, we’re right back to square one with Jambi’s Lunar Park Blues, a track that could have just as easily fit into the beginning of Disc 1. And things again don’t differ much until the final track of CD2 either. Dice almost seems afraid to shake things up, lest he lose his hipster audience.

I’m sure there are a legion of minimal fans out there who’d argue there are massive differences between the tracks, yet their idea of a ‘choon’ moment is when the next song has a crisper hand-clap. But yes, there are good tracks scattered about: DJ Emerson’s paranoid Ring My Bell; Plastikman’s space acid Glob; the relatively funky Berlin Has No Cows from Serafin. And even if sonic surprises are few, Loco Dice’s mix does maintain its mood throughout, which at the least does make this release pleasing to throw on as background music.

The casual consumer should still be cautious with this release though. Minimal hasn’t always been the friendliest of genres to dive into but at least the likes of Richie Hawtin have made it somewhat inviting. However, Loco Dice isn’t quite as interested in appealing to such folk. This are minimal set for minimal fans who like their beats unassuming and their melodies subtle puzzles.

Written by Sykonee for TranceCritic.com, 2007. © All rights reserved.

Sunday, October 4, 2015

Sven Väth ‎– In The Mix: The Sound Of The Ninth Season (Original TC Review)

Cocoon Recordings: 2008

(2015 Update:
At the risk of being totally predictable, boy what a difference of six years can make. No longer the scrappy, renegade techno party, Mr. Väth's night had become an Ibizan institution as the '00s wound down, one of the requisite stops for every vacationing punter. As such, the music reflected this change, recognizable anthems replacing underground, fuck-off bangers. It's a small shame that he didn't stay the harder course, but with so much success comes some responsibility in playing to the crowd, and the typical clubber would rather bop and shuffle in place than pound the dancefloor all night long. Ironically, given the bad rep trance had at this time (and still does!) the neo-trance stuff at the tail-end of CD2 comes off more daring and underground than anything from Jonson, Dubfire, or Johnny D.)



IN BRIEF: Something new, something old.

While there are club DJs, rave DJs, and superstar DJs, there seems to be only one Sven Väth, an individual who has seen every walk of European EDM culture since its inception. He’s like that guy who went through a high-school as part of the first graduating class, remained as a member of the faculty, and will probably stick around post-retirement even if it’s as a custodian - he just loves the place so damned much to ever leave. Similarly, Väth isn’t simply a reveler in dance music hedonism - he is hedonism!

Unsurprisingly then, ‘Pappa Sven’ saw something of a rebirth once he established his Cocoon brand in Ibiza at the turn of the century, gearing it as the grittier underground alternative to the high-end gloss the party island had succumbed to from dance music’s commercial success at the time. The emphasis on take-no-prisoners techno and such certainly was out of the ordinary back then, but that outsider’s thinking seems to have paid off: Väth remains just as popular as ever, all without ever compromising his musical intuition. Success!

The yearly Sound Of The... Season series aims to be a reflection of the sounds Sven was favoring in Ibiza each summer, and as such, nine years after Cocoon was established, we’ve arrived at the Ninth Season. While this may seem redundant if you were actually there, in these unforgiving economic times plane tickets can be pricey, so it’s nice to have a snapshot for those who can’t make it. Besides, it’s not like most of the partiers in Ibiza often actually ‘remember’ what even happened there, much less specifically heard. Anyhow, Ninth Season, like most of the previous Seasons in recent years, follows the two-disc format, with each disc having a tagline that reflects that year’s theme; this time, we have Disco and Invaders. For the sake of repetition, here’s yet another paragraph ending with an exclamation mark!

Disco is typical Väth: willfully erratic, yet compelling all the same. Heck, the opening track from Mathew “Not Dear Or Edwards” Jonson could be construed as typical Väth in itself, as it jumps from mournful woodwinds to thumping techno to wonky experimentalism in the course of its ten-minute running time. Another example: following Sasha’s futuristic groover Mongoose is the Afro tribal-techno Buiya from Ahmet Sisman, taking you right back to pure primal roots after cruising the streets of neo-Tokyo. Okay, so there really isn’t anything that amazing about this transition but in terms of set flow, it’s unexpected and keeps the rhythmic tempo on the climb, which is always a plus.

As per its title, CD1 is mostly geared for the discotheque, so you get a lot of big-room techno thumping about. While I’ll admit I preferred Väth’s techno when he was slamming out the tracks a dozen BPMs higher, the cuts on Ninth are still serious movers. Heck, even if it’s played-out, Dubfire’s remix of Radio Slave’s Grindhouse remains a great peak-time tune, indicating the prolific remixer has merely been working the Law Of Averages this past year - mind, it probably helps that Väth also cuts out some two-and-a-half minutes of useless twiddle. Unfortunately, Disco ends on a rather limp note, as Prydz’ remix of Total Departure is an overlong tension builder that never offers a release, and Väth’s own Trashbindance with Alter Ego man Roman Flügel is too plinky-plonk to do the trick as a follow-up. Still, this disc is a fun romp through familiarity, which is par for the course where Ibizan-themed compilations are concerned.

CD2 is more of an afterhours affair, with deep tech house dominating much of the first half. As usual, the chill groove of this sound is pleasant enough, but tends to be mostly a flatlined listening experience. About the only track that leaps out is, of course, Johnny D’s Orbitalife, if only because it was one of those omnipresent tunes you couldn’t ever escape. Hearing it here again is fair play, but still doesn’t lift the opening chunk of Invaders above anything more exciting than lounge vibes.

Things pick up with the pure acid trance vibes of Waiting For You Again from Sven Tasnadi. Don’t give me that look, you insufferable trendster. If you don’t recognize this as trance, then you clearly don’t know your EDM history; get back to me after you’ve listened to some classic cuts from Väth’s original Harthouse label. For everyone left, Invaders continues down the loopy hypnotic road, perhaps suggesting that classic trance is due for a proper resurgence in the coming year, provided folks call it what it is rather than lumping it with ‘minimal’. With Joris Voorn’s remix of Dark Flower offering a prog-house type of climax - at least in the way Väth uses it - and the quirky world beat vibes of Spirits providing a wonderful coda, CD2 ends far more strongly than CD1.

Ninth Season definitely has more things working in its favor than against; the strength of the music on hand is always beneficial. The unfortunate thing, however, is it doesn’t come across like a necessary pick-up. Unlike, say, Third Season which had the tag-team of Hawtin and an overall ‘night-out’ theme running, or the DVD package of Fifth Season, there isn’t anything unique here to differentiate Ninth from the rest of the Sound Of… series beyond the selection of tracks. And even then, a number of them have been featured on several other compilations since the summer - as such, should you already have a bunch of these tunes, chances are you’ll be more willing to give this one a pass. If not, though, or you have no problem with Väth mixing together a bunch of well-rinsed techno records for your home enjoyment, then Ninth Season should find a comfy home in your collection.

Written by Sykonee for TranceCritic.com, 2008. © All rights reserved.

Friday, August 28, 2015

ACE TRACKS: April 2013

It was bound to happen at some point. Like, after eight years of attending, there had to be a down year among them – law of averages and all that, right? This isn’t to say I had a bad time this year, oh no! However, I can’t honestly say I had a great time either, compounding stresses keeping me from ever quite ‘letting go’ as I typically am wont to do at Shambhala. I had a forty-hour stretch of non-sleep, and believe me it wasn’t chemically induced insomnia. Definitely has given me pause on how to proceed with next year, provided I can get rid of the debt these two summer trips have accrued upon me. Live and learn. Meanwhile, here’s a bunch of cool music that I reviewed way back in APRIL 2013!



Full track list here.

MISSING ALBUMS:
Various - Frosty
Various - Freebass Breakz & Sub Funk Beats
Various - fabric 61: Visionquest
Various - FabricLive 50: D-Bridge & Instra:mental Present Autonomic
Various - fabric 47: Jay Haze
Various - fabric 36: Ricardo Villalobos
Various - FabricLive 32: Tayo
Tony Anderson Sound Orchestra - Focus On Hollywood

Percentage Of Hip-Hop: 0%
Percentage Of Rock: 12%
Most “WTF?” Track: Yes - The Fish (Schindleria Praematurus) (soo trippy)

Yes, I feel your anguish at not getting to hear those chintzy synth-pop covers of famous movie and TV themes. Maybe not so much at the lack of cuts from my first Fabric Project (on a budget) though. Shame, as the music from Tayo’s mix definitely needs more lovin’. Aside from that, this was another month of totally random music (trance, ambient dub, tech-house, acid jazz, jungle), so I went with another alphabetical arrangement. This time, however, I’ve gone in reverse! Thrill at hearing songs with titles starting with “W” and “T” early in a playlist!

Monday, August 24, 2015

Various - fabric 49: Magda

Fabric: 2009

No, I'm not indulging in another Fabric On A Budget run. I bought this because I actually wanted to have it, hear it, and most likely replay it at some future date. There's tons of Fabric mixes like that out there, though many aren't budget-conscious friendly (UK importing's killer on the finances, even when the disc itself is less than a buck/quid/pig's foot). If I'm buying a Fabric mix on a not-so-budget, why this one in particular? Why not one of the cooler names that have graced the franchise's DJ mix series, like Weatherall, or John Peel, or LTJ Bukem, or Global Communication, or (namedrop, namedrop, ad infinitum)? Heck, why settle for fabric 49 for that matter, when the nearby, milestonic fabric 50 is so much more very important? Alright, I admit it! I got a crush for Magda. Le'mee alone about it now.

Seriously though, seeing the cover of her contribution to the Balance series got me reflecting on her other mix CDs – er, all two of them - and whether they stood up now that minimal and simmering tech-house isn't as popular as it t'was a decade past. I’d long known she had a different approach to the sound, one not so hard-focused on gazing into the microscopic lint of techno’s navel. She had the foresight to see Hu-Man Friend Hawtin’s wacky minimal branding for the malarkey it was, one of the first of the M_nus camp to go their own way. She even established her own label with Troy Pierce and Marc Houle, chaps who both shared her sentiments in the way minimal was going in the back-half of the ‘00s (re: wrongly).

Magda’s a DJ whose actions have earned plenty respects from me is what I’m saying, even without taking in a huge amount of her output. Not that there’s much to dabble within the CD market anyway, fabric 49 only her second official mix disc, coming three years after She’s A Dancing Machine. Heck, if you think that’s a mighty gap, Balance 027 took twice that time to spur Madame Chojnacka back into the mixing studio (a couple promotional stints with Resident Advisor and Trax Magazine notwithstanding).

Obviously, Magda wasn’t doing another epic stitch-n-slice mix with seventy odd cuts for Fabric, but she still packs in over thirty spread out over the course of the CD, averaging about two loops/layers/mixes within each indexed portion. Artists range from old-timey weirdos (Goblin, Yello) to trendy tastemakers (Robert Babicz, Gaiser, Cristian Vogel, Jimmy Edgar), plus requisite contributions from her own close circle of contacts (Marc Houle, Heartthrob, Luciano). Of note are selections from outlier Berlin label ~scape, who I know almost nothing about. Help me, Lord Discogs!

The music mostly keeps to her realm of loose, low-key tech-house groove, with splashes of techno bleep and IDM quirk thrown in for good measure. You know what’s gone from this ‘minimal’ mix though? White noise hiss! Plinky-plonk monotony! Oh man, so wonderful hearing such a set from late-‘00s era fabric.

Sunday, July 26, 2015

Kiko - Slave Of My Mind (Original TC Review)

Play It Again Sam [PIAS]: 2008

(2015 Update:
I keep thinking
Slave Of My Mind will wear off on me, the attributes I found charming back in 2008 finally sounding campy or derivative. I keep thinking the only reason I gave it such praise was for its lack of things I disliked back then - the electro-fart nonsense, the minimal plonk-wank, the stoopid-club fodder. It never happens though, the thin line between tasteful and wack continuously toed with finesse. This is a fun album for a mild bit of brooding dance music, and is a shame Kiko never followed up on it.

Not that he hasn't been busy though, still cranking out singles by the cart load. Taking in a few of his more recent ones, it seems Kiko's gone the way of house music again. Tech-house, deep house, a little techno on the side - all the usual sounds you'll find in typical underground clubs I guess. Aww, why you no darkwave no more, Keekee? It's bound for another resurgence in the near future if nu-new retrowave movements have any momentum going for them.)



IN BRIEF: A misstep, or misunderstood?

Christophe Dallaca, or Kiko as he’s more commonly known in the clubbing community, had a promising leap into recognition during the first half of this decade. A part of the French techno connection that was injecting elements of italo and New Beat into their music, he was amongst the early adopters of electroclash, and even survived the backlash with subsequent acid hits such as Jack In The Box. Yet, while compatriots such as The Hacker and Vitalic have maintained a respectable profile as the years went on, Kiko seems to have faded off.

Do I have an answer for such occurring? It could lie within his second album, Slave Of My Mind. It would seem, as with so many others this past year, the Frenchman’s been influenced by the German aesthetic. Not to say Kiko didn’t have an inclining for moody minimalism in the past but not to the degree we have on this album. Gone is the italo, and even his native country’s influence is mostly absent; as such, so is much of what made Kiko… well, Kiko.

And unfortunately for Monsieur Dallaca, he isn’t adding anything to the German sound that hasn’t been touched upon for the last couple years. When everyone from Dutch trance producers to UK prog jocks to nearly every house producer under the sun are taking a stab at it, Kiko would have had to do something utterly revolutionary to stand out from the glut. Sadly, Slave Of My Mind doesn’t have anything close to that, and as a result we are left with a collection of tracks that are nicely produced but difficult to distinguish from the pack. Thus, Kiko fades from public consciousness.

That said, Slave Of My Mind does venture into territory few seem willing to frequent: darkwave… of a sort. The titular track and World End Rock Up reach into the gloom that made up much of the industrial-goth sound that’s been quite popular in German circles, all the while using melodramatic-yet-slight synth strings to sell the vocal angst. Wrap it up in techno beats, and you have a pair of tracks that’ll probably come across a bit too ‘hands-up’ for serious crowds, yet too dismal for general audiences. This easily makes Slave Of My Mind and World End Rock Up the best tracks on Kiko’s album, as they aren’t blatantly pandering to any group in particular, and are infectious dance numbers to boot.

Aside from additional vocal number So Time, which is a relatively average stab at injecting angst into a typical electro-house tune, the rest of the tracks don’t venture far off the murk-techno path. And although this is nothing any connoisseur of techno wouldn’t have heard before, Kiko still manages to craft hooks that are quite infectious despite being comparatively subtle; it’s difficult writing off stuff like PH-1 and Sunburn when they so easily get lodged in your head. He even takes a competent stab at that ambiguously named sub-genre neo-trance, throwing spritely glitch-melodies in Preludia and Alone In The Dark; it’s what Sander van Doorn’s album could have sounded like if the Dutchman had made a point in his tracks rather than dickering around with go-nowhere ultra-effects builds.

What Slave Of My Mind could have done without, however, are the three ambient doodles thrown about the album. They aren’t altogether awful, mind, just rather pointless; I’d have preferred seeing one of the b-sides to the singles show up instead (Maximale would have made for a killer contribution!).

I’m sure there are a number of folks out there that would disagree with my assessment of Kiko’s latest; after all, he’s no longer the Kiko most enjoyed years back, nor will he win much favor with the ‘I are serious techno serious fan’ groups. Damn it though, this is my review and despite the rough edges, Slave Of My Mind is quite enjoyable. You won’t be blown away by it, but it’s still entertaining from start to finish, which is more than can be said for most albums on store shelves. Put this one in the front-running for the Unduly Neglected Albums Of 2008 category.

Written by Sykonee for TranceCritic.com, 2008. © All rights reserved.

Sunday, July 5, 2015

Various - Sessions: Steve Angello (Original TC Review)

Ministry Of Sound: 2006

(2015 Update:
Another review with a lengthy preamble attempt at defining genre terms and all that - 2006 Sykonee sure did that a lot. He also wasn't accurate in his prediction that trashy electro house had its day in the sun, though the imminent rise in minimal definitely curtailed its trendiness. He/I was bang on, however, in pointing out how much of a time capsule this mix turned out being. No one plays out tunes as dull as those found on CD2, thank God, and even that dirty Swedish sound fell out of favor when the SHM shifted their sound to the headline festival circuit. Clap-along anthems are in, thump-stomp farting basslines are out.

As for Mr. Angello... hoo boy, there's a mouthful. I don't think anyone could have predicted just how big he and his Swedish House Mafia cohorts would get, even with the level of fame he'd already achieved by the mid-'00s. Gotta' give him credit for making such bank with so little effort, but it feels like his success inadvertently left a scorched earth in his wake. Get money, get fame, get crowds, and who the fuck cares about its lasting impact on electronic music at large. Like, it's not
his fault so many producers tried copying his stuff, diluting the scene with absolute rubbish so many years after. Or maybe I'm giving the guy far too much credit.)

IN BRIEF: ‘Elect-' no, that’s not right at all. Hmm... dirty tech...?

The dust has settled, the hype has passed, and we’ve now had time to reflect. What at the time seemed reasonable is now regarded by many as a mistake, an obvious ploy to tag an already hot buzzword to something it really wasn’t. Yes, folks, it’s true. It would seem ‘electro’ house - the simple gritty throbbing offspring of tech house - is finally falling out of favor as that music’s unofficial title. I doubt anyone was entirely comfortable with the name but with no one coming up with something more concrete, promoters ran with it, anxious to capitalize on the sound. Now that ‘electro’ house’s popularity is waning, perhaps we can finally figure out what to properly call it (as was done with ‘techno’- sorry, euro dance).

As an unlikely source as it may seem, I think Ministry Of Sound nailed it on the promo sticker of their Sessions release featuring esteemed Swedish House Mafia member Steve Angello: “fuck-off dirty house music”. That captures the spirit of their sound perfectly! Those raw basslines are as dirty as it gets, like a synth dragged through analogue gravel. And funk? Soul? Hell no. This is house music with punk attitude, designed to get your head bangin’ and your body moshin’. Fuck off with those pretentious designs; we’re here to raise a ruckus. Well, maybe the ‘fuck-off’ bit can be done away with if you’re feeling prissy, but dirty house... yeah, I likes that. Loads more than ‘electro’ anyways.

Unfortunately, it matters little now, as the music’s already had its day in the sun. When you base an entire style around a single attribute (those basslines, duh), it quickly falls into the novelty trap: producers figuring the gimmick is enough to have any ol’ hit without writing a decent song, or even a catchy hook (I’m looking at you, Dreamcatcher). Dirty house (yes, that’s what I’m unofficially calling it from now on, until something more official and less half-assed than ‘electro’ replaces it; deal with it) quickly fell into this trap, tons of knock-off imitators plaguing the shops, diluting a good, if limited, idea. One year ago, this was the hottest sound bubbling up; even trance jocks were jumping on it. Today, a respected DJ only uses it sparingly (as they should), a token gesture towards those who still demand stomping farty basslines.

This DJ mix captures dirty house’s apex. At the turn of the year, it was fresh, exciting, and storming dancefloors. Angello and his partner Sebastian Ingrosso were a pair of the hottest names around. That time has long since passed though, and all the fever over a release such as this has quietly receded to the back corners, some even too embarrassed they were head-over-heels over something so obviously gimmicky. Is this what Angello’s Sessions is though, nothing but novelty? Or did this Mafia member put together a compilation that folks down the road can throw on and enjoy when dirty house has finally gone the way of speed garage?

Angello quickly says yes, proving to us he’s more than a one-trick pony in the house scene. The opening chunk of disc one sees a nice assortment of styles to warm us up: disco, italo, Latin, and even an unashamed ‘reach-for-the-lasers’ track with Stoppage Time. Nothing groundbreaking of course, but house heads will be pleased with the variety maintaining a building flow.

And then those basslines appear.

Actually, some of the farty sounds were in the former tracks, but they complemented rhythms rather than lead the whole. From Not So Dirty on though, it’s a distinguishing characteristic, and your enjoyment of disc one will depend entirely on how much you dig the dirty house sound.

For what it’s worth, Angello does provide a decent amount of variety between these tracks. Even if most of the hooks are predictable as fuck (dun, dun-dun, dun, d-d-d-d-dun-dun, and so on), a different synth patch each time does wonders to maintain interest. I’d even consider Angello’s own Chord - a track which brings this set to a peak - electro proper, as it has that robotic Neo-Tokyo vibe going for it. And yes, the rhythms pound along just fine; drunkenly and disorderly, sometimes with hints of funk too. This is house music best enjoyed with copious shooters and played really really really really really really really really really really really really really really really really really really really really loud. Listening to this disc though, you get the impression even Angello realized the limited potential of this sound; it begins to bore towards the end and his final two tracks feel like tag-ons that have little to do with the rest of the set. It doesn’t help they plod along without any of the energy the previous tracks provided. Sadly, they hint at things to come in disc two.

His second set in this double starts interestingly enough. Opening with the moody minimal sounds of Mandarine Girl, then turning on its head with the kitschy Sexy As Fuck, it appears Angello is taking a stab at trashy electroclash and pulsing techno. Fine and dandy for a bit, and it even gets a nice peak with Trentemøller’s remix of Röyksopp's What Else Is There?

And then he goes minimal. Very minimal. Tediously minimal. Annoyingly minimal. Man, I know this stuff’s hipster points are through the roof right now, and jumping on this sound earlier in the year would have been considered a daring artistic choice, but not when it’s this boring. The end of disc one may be plodding, but it’s a Clyde Stubblefield solo compared to the tracks Angello lays down for most of disc two. Some hope of lifting us out of this ketamine daze appears at points, notably in Alto Voltaje, but the set always falls back to square one; many teases, no payoffs (Ingrosso’s own remix of Moby’s Dream About Me is brutal at this). I don’t expect minimal to be exciting or funky or contain huge riffs, but there should at least be something for my head to dig on, of which there isn’t much. The atmosphere, minimal’s make-or-break attribute, has no life. Few of the sounds bubbling about are interesting to hear, and when the only form of dancing one can do to this set is the Zombie Lurch, it makes for a very boring hour of music. At least Holden’s remix of The Sky Was Pink gives us something kind of melodic to end off on.

So, does Angello’s Sessions mix have enough charm to be enjoyed outside of its time? The first disc certainly does, although the phrase ‘this is sooo 2005' will undoubtedly be running through your head as it plays. The second disc... um, not so much. If anything, it’ll provide future music geeks with evidence why the minimal movement was perhaps a mistake - not that I think this to be true, mind, as there has been some quality in this style; just very little here. If you can find this double-disc on the cheap, it’ll serve as a nifty time-capsule in your music collection.

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

Saturday, October 4, 2014

James Zabiela & Nic Fanciulli - One + One (Original TC Review)

Ministry Of Sound: 2007

(2014 Update:
AH HAHAHAHAHAAH!! HAHAAHAAH!! Man, all the music journalists that bought into the PR hype that James Zabiela and Nic Fanciulli were going to be the next Sasha & Digweed deserves a punch in the dick. AH HAHAHAH!
*punches 2007 Sykonee in the dick* Ouch! Yeah, I kinda did too, but only as a review angle, I swear! Wait, why am I feeling that punch seven years later? Damn temporal paradoxes.

What I remember most about this DJ mix was how much it annoyed me. True, my initial thoughts were formed during a frustrated wander through a Surrey suburb (was kinda lost), but the various glitch-minimal wankey bits soured my impressions forever after. I hadn't listened to this since I reviewed it, and was struck dumb by not only hearing Rockers Hi-Fi's
Push Push here (by way of a M.A.N.D.Y. remix) but also deadmau5's Faxing Berlin - I totally don't remember hearing that track in this mix! Not that I would have immediately recognized it back then anyway, since One + One came out a few months before ol' Joel blew up big on Beatport. Guess I gotta give Zabs and Nic some credit in picking future 'classics' like that one, even if their team-up's barely remembered as a footnote in their respective careers now.)


IN BRIEF: The potential of youth.

Masters At Work; Grooverider and Fabio; Hawtin and Väth; Sasha & Digweed: DJing duos that made massive impacts on their scenes, raising standards to new highs with their unprecedented symmetry. Unfortunately, it’s been a while since we’ve seen a breakout duo of similar ilk, but if the hype centered around this release is to be believed, we just may have it. And the names that will take DJing to a whole new level? James Zabiela and Nic Fanciulli. For those still in the dark about these two, here’s a quick dosier.

More or less discovered by the now defunct Muzik Magazine, Zabiela built a larger DJing career from his Bedroom Bedlam momentum. On top of that, just as the era of digital DJing emerged, Zabs was among the first to not only support the technology, but show-off just how creative one could get with CDJs and Ableton Live. He was the new kid on the block teaching all the old timers how to use these new-fangled gizmos, impressing even the ‘Son Of God’ enough to tour with him. As for Nic... Well, he appears to be part of Renaissance’s ‘The Next Generation’, or something to that effect. He’s gotten plenty of praise from the progressive elite, but unless you follow that scene religiously his name may have passed you by. Until now, of course.

Bottom line is these two are members of the new breed of young DJs looking to shake things up in the realms of clubland. And although they both have differing approaches to the trade, Zabs & Nic discovered a strong synergy between them, making use of each other’s strengths while keeping their weaknesses in check. So of course, in an industry desperate for The Next Big Thing, it’s no wonder some music rags are jumping on their official pairing as something new, exciting, bold, visionary, and other typical journalistic hyperbole.

I suppose you’re wondering whether all this early hype is warranted. Well, no. It almost never is, to be honest, but even then this pairing has come very early in Zabs’ and Nic’s career (by comparison, Sasha & Diggers had been at the game for quite a long while before they ever hooked up). There are sections of this mix where the over-exuberance of snickering youth does get the better of them, and despite Nic’s steadying presence, Zabiela still has a tendency to get too indulgent with playing with his laptop, if you catch my euphemism. Mind, this doesn’t mean One + One isn’t without merit; just don’t go into it thinking this is Northern Exposure for the modern clubber.

Still, the first disc follows in much of the same vein as that seminal series. As the chiller of the two CDs, it is quite laid back in delivery, mostly content to cruise along at a casual pace. Interestingly, rather than the more traditional ‘slow breaks to house grooves’ sets of this nature build to, Zabs and Nic go in reverse. Deep house vibes open the show, soon sliding into dubby tunes, synthy atmospherics, and even electro breaks. Of course, with IDM production so very hip now, we get a slight detour of mild offerings around the middle of this set. As far as experimenting soundscapes go, these tunes are intriguing enough but it is nice to return to the more melodic nature of chill sets in due time. Be warned though: the glitchy clicky nature of digital DJing rears its head quite a bit in the final stretch (especially in Zab’s own offering of Human, unsurprisingly), so it does make for a rather... unique listen compared to more typical sets. It’s also amusing hearing a knowing wink from him in the form of Furry Phreaks’ Soothe; James is apparently quite aware of the comparisons he and Nic have been getting lately.

And so, we come to disc number two, which usually means the party is ready to get under way with some bumpin’ rhythms and energetic hooks. Er... that’s not quite what happens here. If the ‘Ableton House’ bits of the first CD didn’t do much for you, you’ll probably want to sit out the first half of the second one. Certainly, there are some nifty tracks used here, but this set has a hell of a time getting anywhere; there are just too many “check out THIS trick!” moments to build any decent momentum. And whether it’s Zabs and Nic doing it or the original tracks are produced this way, you end up feeling like you’re stuck in Laptop Land. It also doesn’t help that this section isn’t terribly energetic in the rhythm department and something resembling a good tune remains sparse, but I suppose that makes it easier to tinker with. Yeah, I’m sure there are legions of Ableton acolytes out there who’ll eat this up, but unless you know the tracks and hardware intimately, it’ll probably just come across as either fluff or aggravating noise. Over-indulgent IDM lives on in house music, it would seem.

Things get better when DJ Dan makes an appearance by way of his Electroliners collaboration with Jim Hopkins, bringing us into some good ol’ breaks action - finally it begins to sound like this set is going somewhere. Its short lived though, as the final stretch brings us into simple techno territory ...of the unfortunate meandering kind. There are brief moments where things perk up – the always classic Wiggin’ by Derrick May’s Mayday alias the obvious example - but a lot of it relies on basic loops and soft beats. Hardly exciting stuff - perhaps Zabs and Nic didn’t want their single No Pressure to be overshadowed? As for No Pressure, it’s a nice closer that fits with the second disc’s simpler nature, summing up some of the themes touched upon. Personally, I found the pleasant opener Rover on disc one the better cut but your mileage may vary depending on what you get out of these sets.

To be honest, this isn’t the easiest DJ mix to get into. Your expectations will be challenged because this duo isn’t afraid to tinker with convention. All fine and good: it’s interesting to hear new ideas when they are executed well (and they mostly are). But at the same time, there isn’t as much tinkering as you’d expect. They have some tracks they want to play, they have some effects they want to play with, they mixed them altogether, and we have One + One as a result. The trouble is there aren’t that many standout tracks beyond the timeworn classics we hear, and the sets play in musical chunks rather than a flow. As such, if you still haven’t bought into the fizzle hiss-hiss crrzzkkzz hiss pop nature of these kinds of sets, this won’t do much to change your mind without the Big Moments that have made some of the sets of those other famous duos so legendary.

Written by Sykonee for TranceCritic.com, 2007. © All rights reserved

Wednesday, September 17, 2014

Joel Mull - The Observer

Harthouse Mannheim: 2007

As always, it's stupid having expectations of an artist I barely heard much prior music of, yet was I ever disappointed in Joel Mull's The Observer when I got it. Not just let down by the album itself, but the process of buying new electronic music in general. It seemed, for the first time ever, I could no longer trust what I found on store shelves in delivering unexpected awesomeness, every CD potentially hiding electro-sleaze nonsense, crummy trance bollocks, or minimal-wank plonk, no matter who the artist involved was. So disillusioned I’d become that I practically gave up on 'blind purchases' for new CDs altogether, only buying sure things from artists I trusted. Well, in the local shops at least. Online buying was a whole other matter.

Goodness, Mr. Mull's sophomore LP must be dire indeed to ruin all hope I had in take-chance music collecting. No, not really, though it sat languid in my racks for a number of years. I'd already moved on from my dashed expectations (“weren't you supposed to be atmospheric ambient-electro techno?”), but the fact remained The Observer is very much a product of its time, the oh-so fashionable minimal era that many got in on last decade, and promptly abandoned this decade. The whole middle portion of this album features plenty of functional, bumpin' tech-house rhythms with requisite “this are serious music” menacing tones and random sound-effect hooks that probably sounds cool while drooling on ketamine, but utterly forgotten about within an hour. Can't fault Mull's production chops though, as I'm sure any of these cuts would work in a modern set, provided DJs still play minimal tech-haus of this sort (kinda' doubt it).

That all said, the early and ending tracks have me kicking my ass that I didn’t give The Observer another chance until recently, as these are the sort of tunes I did expect out of Mull. Enter Your Moment is all kinds of dubby, trance bliss, while Klangfarben and Sunny Hills are the sort of Norman Feller styled tech-house I can get into. Following all the minimal drudgery, we’re treated to a brief bit of ambience that is Intermezzo Aqua. Then Mull gives us some downtempo ambient techno in Mirage, a solid loop-techno workout with Altitude, spacey electro-funk on Zero Point, and finishes with, erm, another forgettable tech-house cut. Oh well, almost an ace conclusion, but man, how did I forget about these in the first place? That initial impression must of really sucked balls.

More importantly, these bookend tracks don’t come off as dated as the other middle ones. Not that I really blame ol’ Joel for getting in on the minimal tech-house bandwagon, since everyone in techno had to if they wanted their records played by the cool, very important DJs of the time. I’m just glad he found room on his album to fit in some tunes of lasting substance. It makes returning to The Observer a welcome proposition, even if it’s for half a CD’s worth.

Tuesday, June 17, 2014

Paolo Mojo - Nightlaw / Home (Original TC Review)

Oosh: 2008

(2014 Update:
Though I mention otherwise in the review, I think the
real reason I checked this single out was due to it being the latest one I noticed at Juno Records. As for why cover Paolo Mojo at all, he truly did seem like a house-producer on the rise (the Balance bump obviously helped), but he's since subsided into a comfortable role of above-average, mostly unremarkable consistency so many house DJ/producers are wont to do.

He's also continued keeping up with the trends as each emerges in the various house scenes. Some of his final Oosh material featured the brief tribal-tech sound Radio Slave and Luciano made noteworthy following minimal's collapse (not to mention his own label's demise). Moving to digital, he's now releasing deep house and garage on 303Lovers, because of course he would. He started out with progressive house and electro house when those were in vogue too, didn't he? Man, bandwagon jump, much?)



IN BRIEF: Mojo goes minimal.

When Paolo Mojo (Paul Brimson to the government) contributed to Balance a couple years back with its ninth edition, it helped cement that DJ mix series as one of the freshest and most welcome upstarts around, and definitely one to keep an eye on for future releases. Much can be said of Mojo’s productions as well. His breakout single 1983 tickled the fancy of those enjoying proper retro-electro takes on house music (having an Eric Prydz remix attached to it didn’t hurt either) and the UK resident has built up a respected reputation with subsequent releases following a similar aesthetic. Fortunately, Mojo’s wise enough to not continue rehashing his previous successes and this year of 2008 has seen him take on minimal attributes with his tech house (plinkin’ an’a plongin’ an’a white noisin’ alongin’).

He’s put out a few singles in the past few months but for the time being, let’s focus specifically on this one containing the two tracks Nightlaw and Home. Why, you ask? Because, I reply, this was about where Mojo fully dove into minimal’s possibilities, so it’s a good talking point.

Funnily enough, Nightlaw is at its best when it isn’t fiddling around with minuscule minutia. The opening two-and-a-half minutes amount to not much of anything as basic rhythms with thick bass are laid out, which is rather generous mix-in layering time. Once we’re through with that, however, a hooky melody emerges and gradually builds in prominence, eventually capping off with a breakdown-and-snare-roll combo as klaxons blast from the distance. Sounds like a great climax, right? It’s somewhat disappointing, then, that given the lead-up and the initial strength of the actual drop, Nightlaw’s release isn’t as powerful as it could have been. It’s like a lidded pot is boiling over, and just as you think it’s about to erupt, it instead gives a quick burst of hissing steam, then calmly settles back down into a simmer. I want to throw my arms in the air but I’m only compelled to give an enthusiastic shrug, as though I’m trying to cover club-BO from my armpits. Ah well.

Home is all about build-up too, but because it is dominated by rhythm (melody is practically non-existent in this one), that sense of missed potential at the peaks isn’t quite as prominent. In fact, as a set piece, Home is highly effective, making use of a ‘double-build’ arrangement set to beats that march along in fine form. While a higher BPM would give this some more energy, I don’t think Mojo had peak-time tech-house banger in mind for this b-side, especially since that’s obviously more Nightlaw’s territory.

These aren’t Mojo’s strongest efforts but as a stab at style-biting Dubfire, he easily trumps the former Deep Dish man. He’s managed to find a comfortable niche within minimal tech circles and will undoubtedly ride this current trend with credibility intact.

Written by Sykonee for TranceCritic.com, 2008. © All rights reserved.

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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