S.E.T.I. - The Geometry Of Night

Incoming!: 1996

Swell, another act that shares their name with a similar sounding one, both initially released around the same time too (dark ambient, why mid-'90s of course). Fortunately, this one's easier to clarify than all that Gas. We're dealing with Andrew Lagowski for this S.E.T.I., who retains the acronym's attributes. The other goes by Seti (or SETI), and is comprised of Savvas Ysatis and Taylor Deupree. Also, the latter only released a few (highly regarded) albums, whereas Lagowski's been going strong to this day. The most important difference, however, is just how well known each are. Seti's sophomore effort, Pharos, is something of a classic within space ambient drone circles. S.E.T.I.'s sophomore effort, The Geometry Of Night, is, um... not so much.

Actually, this album isn't drone at all. Mostly it's ambient dub, though of a much darker nature than what Beyond pioneered. S.E.T.I. sounds like what The Higher Intelligence Agency would if Bobby Bird was far more paranoid about life, as Lagowski makes use of spoken samples about government agendas and information control. Fortunately, it's not rampant throughout the album such that it drags the experience into tin-hat ridiculousness, but it does set a moody tone that can feel claustrophobic while listening. A strange theme, really, considering much of the artwork within reflects mankind's attempts to communicate with beings out in the great beyond. I can't tell if Lagowski's being pessimistic or optimistic. Maybe it's all down to how you interpret these tunes.

Still, it's not like The Geometry Of Night is highly complex or filled with stunning production. Most of the tunes are straight-forward enough, with dubby grooves accompanied with dark ambient sounds. Though a fresh-sounding take on the formula, it's rather dry at times due to the bleak nature of the music, and the rhythms are quite heavy in the mixdown, often drowning out whatever pad work or subtle melancholic melodies Lagowski crafts. The only track to break form is Mare Crisium, utilizing Gregorian chants to haunting affect for much of the runtime – a brief bit of beatwork at the end feels unnecessary, though doesn't impede the song either. It does a wonderful job of capturing the cold desolation of a lunar surface, and it can't be a coincidence ol' Andrew chose the “Sea Of Crisis” as a title, given the conspiratorial nature of this album.

Not much else to say about this one. The Geometry Of Night's one of those albums that'll make a nice addition to your dark ambient dub collection, if you so happen to be gathering one, but not the most critical to own either. I definitely hummed-and-hawed over it whenever I saw it sitting in a store, always bypassing it due to limited funds; gut feeling told me it'd be alright, but nothing mind blowing, and turns out I was right when I did bite the bullet. Funny enough, due to a pricing error in the store's system, I got the CD for free! Conspiracy? *cue Mare Crisium...*

Various - Frosty

Waveform Records: 1996

For many of my teenage years, I hadn't a clue what acid jazz exactly was, nor was I alone in my befuddlement. None of my peers knew either, though not much of surprise as I was the only chap among the 'Rupert Ravers' that even had much of an inclining towards the downtempo side of electronic music – at least enough to dig beyond the obvious names. I'd heard a little acid jazz before, but without knowing that's what it was, much less interested in exploring further. Just the name itself seemed so esoteric, a form of music that only old, mature ravers could get into. I'll grant that's partially true, but minor generational gaps didn't stop me from checking out old, respected ambient artists.

So when I saw a promotional blurb for a new Waveform compilation called Frosty, promising such trendy buzz words as 'acid jazz' and 'shadow jazz?' (yes, they had a question mark), I knew I'd get a crash course in the sound whether I liked it or not. The label was the first independent one I put blind devotion into, picking up all and everything I could, but for an imprint primarily peddling ambient dub and world beats, this was something different. Though I had faith in their musical output, I wasn't sure I was prepared for such a change of direction.

Truth is, acid jazz is a ridiculously broad style of music, running the gamut of brisk, uptempo dance-fusion work to, well, this compilation. This is about as chilled out the genre can get without becoming something else entirely, and I can see why some of the PR folks back then wondered if they could get away with calling it 'shadow jazz'. It has that Ninja Tune-like vibe going for it, with beats and melodies quite laid back, at times even dipping toes into dub and trip-hop’s pool. The cover may have an ice-encrusted buffalo, but the music paints more of a relaxing late-afternoon summer lounging on a patio with a spliff and lemonade.

A couple of prominent names appear with Howie B and A Man Called Adam, but the real standouts come from relative unknowns, supplied from the short-lived UK label 2 Kool. James Bong and The Thirteenth Sign provide tunes more on a ‘balearic trip-hop’ bent (yes, I know that’s daft), whereas Mr. Electric Triangle, Hunch, and Jaziac Sunflowers (that Moog!) lean more proper acid jazz. Round things out with quirky contributions from Beach Flea (alias of Man Called Adam; twelve minutes of downbeat haze) and The Egg (no, not The Egg; different group), and all arranged with a strong flow, and you have another winner in Waveform’s catalogue.

Back in the day, I could tell this was a strong compilation, yet I hadn’t a clue what to make of it. Thrown on at a house party or shared on headphones, none of my peers could either. We all agreed, however, it was class, worth the repeated plays. Perhaps that was all we needed.

Komakino - Energy Trancemission

Hypnotic: 1996

During my first year of following ‘techno’, I was at least aware of trance. The second CD I ever owned had that Jam & Spoon remix of Age Of Love on it, and the occasional euro-dance disc I picked up in following years would have a crossover hit like Dance 2 Trance’s Take A Freefall. It took a while before I realized the genre was something entirely separate though, and even when I did, my allegiance seldom strayed from my initial passion. Yet, euro was growing stale, and I started hearing sounds from fellow dance-enthusiasts that was similar but rawer - more underground, the only thing linking them together a Music Research seal on the jewel cases.

When I went on a shopping expedition to Vancouver, I searched for CDs with that seal. The first one I spotted had a bizarre cover of a woman in face paint, her tongue sticking out with a cap of (presumably) ecstasy on the tip. I bought the CD blind, threw it on at another shop while demoing high-end headphones (I had a lot of money at the time), and within the first minute of the first track, came to a startling conclusion: euro-dance was dead to me; Komakino had killed it.

Outface was my first proper exposure to hard German trance, and you couldn’t ask for a better example of the genre: blistering beats, stuttering voice-pads, piano hooks, and even “motherfucking breakbeats!” Under various aliases, Ralph Fritch and Detlef Hastik were highly instrumental in the development of the sound, but none more so than their live gig name of Komakino. It’s almost a shame the only full-length they released under the guise, Energy Trancemission, is little more than a collection of their prior work, but they’d amassed enough choice material to warrant a retrospective even in ’96.

Suitably, it kicks off with Outface, but then takes a backtrack to their hard-techno rave roots with Law & Order, Dark Zone, and the trancier Frogs In Space. Even in the latter two you can hear the tropes that would come to define the hard trance of the mid-90s.

It was with the driving melodies that got Komakino the most attention though, and the middle of the album features the biggest hits of that era: Feel The Melodee, Beyond Your Dreams, and Controlling Transmission, which they released as Final Fantasy. They are, without a doubt, hard German trance at its best. Energetic rhythms, acid, and memorable melodies that either send you floating on ecstasy or take you on epic adventures (no, not High Adventure, that was Sunbeam… which, erm, Komakino co-produced). The back end to the album features a few B-Sides to those tunes, solid cuts as well but not a touch on them.

I’ve no doubt Energy Trancemission will come off dated and silly to ravers weaned on post-2000 hard dance, but back in the day, this was hot shit! Snigger all you like, I don my Nostalgia Headphones for Komakino with no shame.

DJ Shadow - Endtroducing.....

Mo Wax: 1996

Speaking of record buying, here's the album that turned the quirky obsession into art. Not to say sampling obscure music hadn't been done before, but DJ Shadow's debut album Endtroducing..... changed the way many regarded the craft. Producers used to raid whatever they could, either snagging super-catchy hooks from musicians past or creating ultra-dense sound collages. Then laws put a clamp on it, and super-sampling went quiet for a while, a single loop about the only prominent type of sample anyone could afford anymore. DJ Shadow proved you could still create amazing music even within those restrictions.

More than just a classic album of sampling, DJ Shadow got the wider public intrigued by the concept of instrumental, melodic hip-hop. This was around the same time the sub-genre illbient was gaining traction, thanks in large part to DJ Spooky’s work (and yes, it’s perfectly fine if you’ve gotten the two mixed up). Though Mr. Davis’ sound skewed closer to trip-hop, the melancholic overtones of Endtroducing..... made the connection too tempting for journalists to ignore, always eager to start promoting a hot new trend. And hey, some of those hip-hop kids could become interested in ‘electronica’ if he appears on compilations and Amp rotation.

Even more than that, Endtroducing..... sold the romanticism of vinyl digging. Where did ol’ Josh find these records for samples? How did such moving pieces of musical artifacts go unnoticed for so long? The two chaps on the cover, what unique treasures might they be holding? Gee, if I started digging for vinyl, might I unearth something forgotten yet astounding? Damn it, I gotta get to the record shop pronto before some other bloke snags that rare northern soul pressing! I could be the next DJ Shadow!

So in the end, it was a perfect storm of circumstance that propelled Endtroducing..... into classic status. And yes, the music on hand was more than enough to back it up. The opening piano loop in Building Steam With A Grain Of Salt instantly worms its way into your ears, then to have it joined by a smooth hip-hop break, ethereal vocal, and additional niceness (funk guitar lick! scratches! vibraphones?), you realize you’re in for a sonic treat. The elements in play seem so simple, yet form a cohesion that is sublime.

And DJ Shadow pulls it off again and again. The Number Song and Mutual Slump are furious funk jams. Changeling and What Does Your Soul Look Like, Pt. 4 taps into acid jazz’s wells such that it’d make the Ninja Tune squad weak in the knees. Organ Donor gives the ol’ Hammond a proper showcase. Midnight In A Perfect World... you should already know how bliss this cut is. Even the few interludes and skits add to the overall package, welcome respites and teases of the choice tunes on hand.

In the end, Endtroducing..... isn’t so much about raiding the past for personal glory in the present, but about celebrating that which was unduly neglected from before.

N-Trance - Electronic Pleasure

Popular Records: 1996

Depending on who you ask, UK-based N-Trance was one of three different acts: old school rave (and later happy hardcore) darlings responsible for the classic Set You Free; a better-than-average euro dance act responsible for tunes like Electronic Pleasure and Turn Up The Power; dance pop cheese mongers responsible for cover-bilge like Stayin’ Alive and Paradise City. Everyone’s right, and amusingly this debut album of theirs features all three personas.

Set You Free was produced back in ’92, but due to confounding legal problems, never saw a proper release until much later. White labels of that original version made the rounds, however, so the group had no choice but to include the popular cut (or something quite similar) when they finally released their album. Its ravey roots are bold and bright, frantic breakbeats and punchy riffs perfectly accentuating Kelly Llorenna’s soaring vocals. One can’t help but wonder what other N-Trance tunes would have sounded like if they had managed a quick album follow-up that same year. The closer That’s All We Need offers a small hint, sounding like a UK acid house/gospel hybrid you’d find quite a bit of in the early ‘90s.

But no, it wasn’t until ’95 Electronic Pleasure finally hit the streets, and Set You Free couldn’t help but come off sounding a tad dated by then. N-Trance had kept busy in the meanwhile though, latching onto popular euro trends and knocking it out of the park with their titular cut. Owing some influence to the Abfahrt Records sound, it’s got your catchy hook, strong vocals, requisite rap, and enough subtle production tying it to the trance scene (not to mention one of those memorably daft euro dance videos) to lift it well above the sea of dance pop wanna-bes that was flooding the market at the time. Most of the other tunes here follow this pattern, with follow-up single Turn Up The Power added later. It’s a fine slice of euro as well, but coming off more like a B-Side to Electronic Pleasure.

All well and good, but these songs were hardly the reason most folks snagged copies of N-Trance’s debut off the shelves. No, that distinction goes to Stayin’ Alive. God, was that song fucking annoying…

Finding success in dance covers wasn’t anything new, but the time was right for disco-retro romanticism to set in. N-Trance capitalized in a big way, retaining nearly all of The Bee Gee song’s best attributes, adding an updated chunkier beat, and, of course, a rap. Good job, All Around The World, in clearing those rights. I can’t deny still finding my strut while listening to this, but that’s all The Bee Gees work there.

Stayin’ Alive’s the only example of such music on Electronic Pleasure, but N-Trance saw the dollar signs it brought in and modeled the rest of their career around cheap disco-dance and crap covers. It’s about all most remember them for now, which is a shame because their earlier work in euro dance is class.

Robert Miles - Dreamland

BMG Music Canada: 1996

Right, Robert Miles. Children. The Dream Version. *cracks knuckles*.

I hate this whore of a track. Loathe it. Despise it. Every time I hear the first plink of piano, I cringe, but know I cannot escape the saccharine journey that is about to unfold. Maybe, just maybe, it might be okay. There must be something to enjoy, somewhere. Strings? Yeah, those are nice, but- What? That's your rhythm!? Holy hell, I thought the melody was sap, but this is pathetic. How do you ruin off-beat basslines and kick drums all in one shot? I know trance isn't the funkiest groove out there, but there was still some jump to it, some energy. This has nothing. It's just... there, sucking.

And I hate Fable even more.

That's only the first two tracks though, and seeing as I'm reviewing Dreamland, it can't be a total write off, right? I have kept the odd crap CD over the years after a used-shop haul (collector's obsession), but I bought Mr. Miles' debut album when it was new, hence me covering the original version without One & One (thank God!). Part of it was the lack of options living in the hinterlands of Canada while getting into trance-proper. Dreamland was about the tranciest thing one could find in any shop in 1996, and beggers can't be choosers.

More than that, I actually rather like the other tunes on Dreamland. Okay, they don't deviate far from the 'dream house' template Miles made popular, but it’s enough that it shows he can craft a half-decent beat. Fantasya: a bouncy bassline! Landscape: the rhythm has skip to it! In My Dreams: breaks ...that are funky! If you can craft a rhythm like this, why you no be funky elsewhere, Mr. Miles?

I should also bring up that plinky piano. I’m not a fan of it (shock), but Miles does sometimes put it to good use as a melodic counterpoint. In My Dreams starts with lovely, mournful string pads, which thus become the focus of the whole song - the piano merely dances around it to wonderful effect. He pulls a similar composition with In The Dawn, once again backing pads driving the melody, with his piano making only a brief appearance; not to mention the rhythm in this track’s got a nice shuffle to it. It’s not revolutionary, but for the ideas Dreamland presents, it’s far more intuitive than the big hits.

And that’s not even getting into the two tracks just about everyone agrees are good, the Original Version of Children and Red Zone. They’re closer to the sort of trance most folks enjoyed at the time and worth a look-see even if you wrote Robert Miles off because of Fable and the like.

Oddly, most of Dreamland has been forgotten, many disappointed there’s not more generic ‘dream house’ bilge. My God, those are the crap tunes. When Miles goes beyond the ‘limp-beat-plinky-piano’ template, that’s where this album get’s interesting.

2 Unlimited - Do What's Good For Me (BioMetal - Pt. 1)

Popular Records: 1996

(Click here to read my original TranceCritic review)


“I take it you're Anita.”

“Yes, sir,” she replied, offering a timid hand for a shake. “And you're the pilot, Ray, correct?”

“Sure am, babe,” he said with a wink, scratching his chin.

Babe? “They say you're the best,” Anita said after an awkward pause, withdrawing her hand. “Have you ever flown a ship of this sort before?”

Ray laughed. “Not at all. A few test simulations, but I'm getting thrown into this contraption raw just like you, babe.”

Anita rubbed the back of her head. “It's unfortunate they're forcing us to do this,” she mumbled. “I'm an exo-biologist, not a fighter pilot.”

“Don't worry,” Ray said, placing a reassuring hand on her shoulder. “Just handle those shields and tell me which BioMetals I need to worry about. I'll take care of everything else.”

“Very confident, aren't you,” she giggled.

He scratched his chin again. “Gotta do what's good for me,” he chuckled.

The elevator halted, its doors opening and revealing the starship's docking bay. Nearby, they both could see the HALBRED, a sleek red and white fighter-class vessel being fitted with the latest armaments WASP could provide them. General Wilde, whom gave them private briefings prior, was waiting. “Good to see you're both ready,” he said, turning to the pair.

“Yes Sir!” Ray and Anita replied in unison.

“Do you have any questions before launch?”

“Why the urgency, sir,” Ray asked, in a far less informal tone Anita would have guessed allowed.

General Wilde smiled, as though he'd long been used to Ray's casualness. “Just how familiar are you with the BioMetals, kid?” he asked.

Anita held back a snicker. Kid Ray, she thought with a glance over her co-pilot's youthful but embarrassed face. Seems appropriate.

“Only that they were responsible for the Armageddon, during the last Galactic Alignment, sir.”

“Right,” the general nodded. “With reports of their species in the process of re-multiplying, we have to strike at the heart of their nests before they overrun the galaxy again.”

“If I may, sir,” Anita said, “but why must we attack this moon of UP457 first?”

“The BioMetals only have a small colony here,” he replied. “It's the logical base to attack first.”

“Don't tell me you're afraid of a little atmospheric turbulence, babe,” Ray chortled.

Why's General Wilde tolerating him like this? “No, Kid Ray,” she shot back. “It's hardly a 'little' turbulence. They don't call it 'the twlight zone' for nothing.”

“All the more reason to destroy this nest before it grows too infested with BioMetals to launch another attack,” General Wilde stated, his voice firm and snapping the two back to attention. “We're counting on you two. Dismissed.”

“Yes sir!”

Once the general left, Ray turned to Anita and smirked, “'Kid' Ray?”

“Sorry, I just-”

“No, it’s fine,” he said, smiling. “I kinda like it. Come on, let’s get on board. Fame and glory await us!”

At that, he rushed to the HALBRED, Anita close behind.


(If you're hopelessly lost as to what's going on, click here.)

Kraftwelt - Deranged In Space

Hypnotic: 1996

If you got through some of my earliest shit reviews, you may have noticed a minor gush over the name Audio Science. A four-piece group from Germany, they were one of the better hard trance acts of the early 90s, and seeing their name crop up on a Hypnotic Records release suggested at least some quality would be found within. They had another project too; an electro act named Kraftwelt that very much was inspired by that other ‘kraft’ German group that made it big in the 70s.

Electro was going through some lean times in the middle of the 90s. Though a few acts like Jedi Knights and Aux 88 kept it afloat, it’d take until the latter end of that decade before a proper revival occured. I can see Kraftwelt treating their project as nothing more than a fun tribute side-project but, for some reason, Hypnotic Records got behind it to an almost unprecedented level. Maybe they just really, really loved their covers on the Tribute To Kraftwerk CD?

So a whole album of fresh material was commissioned, and to promote it Hypnotic released this disc as the lead single. Fair enough, but were a dozen remixes necessary? Good lord, even the classics of dance music take years to acquire that many to their name, and here’s Hypnotic tossing out twelve in the first shot.

As you can imagine, Deranged In Space isn’t a great package. Hypnotic relies on artists signed to them (or parent label Cleopatra), and few were major names, even within the niche genres they covered. Kinder Atom, Zero Gravity, Surface 10, Coercion, and Space Ship Eyes mostly stick to spacey electro, while Leæther Strip and Virex take the EBM road. The remixes are fine for the most part, but it does grow tedious repeatedly hearing the same samples and pieces culled from the original Deranged.

Three cuts do stand out though. First, The Path is a totally different track, sounding like a proper nu-Kraftwerk track that suites the whole project. At the other end of the spectrum is the Controlled Bleeding remix, a glorious mess of a cut that befits the noisy bastards they are - it’s like hearing Deranged fed through a number cruncher, then expunged back into your face as digital vomit. Awesome! Finally, Überzone provides a rub, doing his chemical breaks thing, though rather subdued for his style (the Interfaith Super 8 Remix is probably closer to what folks would expect). ‘zone’s done better, but it did get featured on the old MTV show Amp, so there’s that. Man, Hypnotic must have pushed the hell out of this single.

If you’re curious about this project, you’re likely better off picking up one of the two Kraftwelt albums instead of picking up Deranged In Space. It could have been a respectable EP with half the content, but trying to milk a full remix album out of one relatively unknown song is bonkers. Oh, Hypnotic, always doing more than you should.

The Future Sound Of London - Dead Cities

Virgin: 1996

A true magnum opus from The Future Sound Of London. Opinion tends to divide over which of their albums is their absolute best (Lifeforms? One of the latter Environments? The Isness... no.) but in terms of cinematic narratives via expansive soundscapes, Dead Cities is hard to beat. It helps that it’s one of their only albums to have a definitive theme right from the outset in the title. What’s exactly dead about these cities? Might that creepy guy on the cover and the stark artwork surrounding him be a clue? Dive right in, noble listener, and discover for yourself.

It’s probably not thought of much nigh fifteen years on, but Dead Cities was bold for its time. Backed by Virgin’s megabucks and promotion, The FSOL were being counted on to help propagate the ‘electronica’ surge. Undoubtedly the ‘artier’ group of a roster that included The Chemical Brothers, Daft Punk, and Massive Attack, they were given relative free reign on Lifeforms and ISDN. Lacking a proper hit though, it wouldn’t surprise me if Virgin started tapping their feet while leering over The FSOL’s shoulder as 1996 drew near. Well then, here’s a track that’s all ‘big beaty’ for ya’, We Have Explosive. Hell, you can even use it as the main theme for that futuristic racing video game you’re tied to if you like. Now let us get back to our studio, thank you very much. Well, maybe.

Here’s the thing about the rockin’ Explosive, and nearly any cut off Dead Cities: as standalone pieces of music, they’re all solid offerings. Even some of their transitional interludes were good enough to earn titles (somewhere, in that mess of a tracklist on the back). Variety comes in spades, tons of genres, sub-genres, and sonic experiments finding their way in bits and pieces that it’d take a 2,000 word review to detail it all (look at one of the old ones floating around TranceCritic for proof!). Scattershot IDM breaks. Bubbling ambience. Sampledelic psychedelia. Desolate opera, charming cyber-folk, lounge jazz, and piano noodling. 303s and 808s. Cheeky hidden metal.

Cool, then. Good tracks, download the best ones and all that, right? Nah, what makes Dead Cities a cut above is how the whole truly is greater than the sum of its parts. Whether The FSOL had an intended vision or allowed the listener to come up with their own, each track details another piece of their post-apocalyptic narrative. Hell, We Have Explosive, a tune that, as an obvious ‘electronica’ single should not have fit at all, serves as an inciting cataclysm to the whole enterprise (following it with such a beautiful, mournful somber piece in Everyone In The World Is Doing Something Without Me perfectly sells it too). I’ve often imagined the latter half of the album as a chronicle of the survivors discovering remnants of civilization deep underwater but personal interpretations will vary. Take a listen for yourself and let me know what springs forth from your imagination!

Various - Club Cutz Volume 7

BMG Music Canada: 1996

Ah, Club Cutz. Now there's some history! Fine, it was strictly a Canadian thing, but at one point it was among my country’s premiere compilation series, rubbing shoulders with other greats like Dance Mix, DJ Line and Chris Sheppard’s Pirate Radio Sessions. After moderate interest in early editions mostly featuring house, the comp producers changed gears when euro-dance gained steam, and found a simple formula for success: be the first to have that hot new dance single everyone needed, and watch the sales skyrocket. What Is Love, Tonight Is The Night, Another Night, More & More …um, Cotton Eye Joe - all made their major Canadian debuts on Club Cutz.

Then, to earn the truly big bucks, the CDs also featured well-produced dance covers of 70s rock staples, an effective tactic in attracting the ‘housewife looking to let her hair down’ demographic that I guess existed in the early 90s. At least, they were the ones requesting “that dance version” of More Than A Feeling and What’s Up at weddings.

Club Cutz 7 truly was the series’ last great hurrah. The must-have hit single? Shut Up (And Dance With Me) from Sin With Sebastian. Even my non-dance friends fell sway to its goofball charm. Me, I preferred the unabashed euro fare of First Base’s Love Is Paradise.

Half the other tracks consist of fun but otherwise forgotten slices of euro. Chances are their hooks have been cannibalized by whatever contemporary dance-pop beast exists at a given time, but those wonderful galloping rhythms could forever be lost to the 90s.

The rest features big gay house and garage, including that Deep Dish remix of De’Lacy’s Hideaway that was making the rounds. Yep, there be divas galore, something of a retro return for the series, and thus no dance cover of 70s rock. No, Tainted Love doesn’t count. Besides, Senor X’s version’s not that good, and whenever I hear it, I can’t help but think of giant squid. Yes, there’s an amusing anecdote there, but I’m running out of self-imposed word-count space.

Even with this edition’s success, one could tell the good times at the Club Cutz camp were ending. Not only cannibalistic, dance-pop is a fickle beast and the tides of change were well under way in ’96. Euro dance was stuck in a creative rut, follow-up singles and albums failing to reach the highs of two years past. European shores started noticing fresher sounds from the lands of trance, while American clubs saw glamour in hip-hop. The main series lasted one more edition, then the label tapped Chris Sheppard to re-invent it in ’98 as Club Cutz 101, mashing together urban and club trance into continuous mixes. They made it all the way to 606, so I guess it was successful, but it clearly lacked the charm of its euro years. Thanks to downloading, gone were the days of track exclusivity, and so too was the anticipation of seeing what a new Club Cutz would feature.

Bill Laswell - Sacred System: Chapter One - Book Of Entrance (Original TC Review)

Reachout International: Cat. # RUSCD8225
Released 1996

Track List:
1. Babylon Ghost (6:00)
2. Dread Iternal (9:19)
3. Cyborg Assault (5:37)
4. Galactic Zone (9:31)
5. Sub Terrain (16:12)


(2010 Update:
I stand corrected. Bill Laswell did have a major hit, as he co-wrote Herbie Hancock's Rockit. Oh, and when I refer to this release as 'minimal dub', I'm talking about traditional Jamaican dub played in a very minimal way, not minimal dub-techno. Really, you should know that -it's Laswell, after all.)


IN BRIEF: Blink, and it may be gone.

I love dub, really I do. The way it takes a standard sound and layers it over and over, creating these amazingly cavernous effects, is absolute bliss to a guy who tends to have headphones plastered to his ears most of the time. The resonance in the air of dub music has a way of sucking you in as you become lost drifting on the waves of sonic delights.

Ambient dub is often the more creative domain of dub music. With less attention paid to the immediate rhythms and melodies, producers use the sparseness of ambient music to toy around with resonance, admittedly sometimes with patience sapping, self-indulgent results.

One of the mainstays since the earliest days of this style is bassist Bill Laswell. Through dozens of collaborations and hundreds of releases, he may be one of the biggest names in electronic music you've never heard of, and for good reason. Because of his fairly loose approach to musicianship, he's never really had anything close to a hit in all this time. Much like jazz music, repeating melodies may come and go but are tinkered and toyed with as the song progresses. The idea of repeating the same melody in a traditional verse/chorus method is normally thrown completely out the window, allowing Laswell to feel his way through a song's duration and concluding it when he sees fit.

I came across Laswell via his Divination alias, a dark, minimal ambient side project that I quite liked. When I discovered he'd done a bunch of ambient dub as well, I eagerly began looking for some. Trouble is, because of his huge discography, I was stumped as to where to begin. Due to his ability to leap across musical genres almost at will, recommendations were all over the place. In the end, I did what was probably best anyways: take a gamble and grab whatever caught my eye. As a result, I'm here reviewing Sacred System: Chapter One - Book Of Entrance, the first in a series of dubby releases done for Reachout.

One thing I noticed right away is this is very bass driven music. While there is percussion and keyboards about, they are mostly there to complement Laswell's playing. As a result, I can see a potential audience being quite limited.

This isn't meant as a knock on bass players in general, but fact of the matter is not many people can get into this form of music. A bass guitar's frequency range is so low that, even if you have adequate speakers to do it justice, the human ear is far more responsive to higher range notes when they are played. This is why bass is almost always relegated to accompanying the rhythm or harmonizing with the melody to give it added tonal depth. You have to really pay attention when the bass is carrying the musical weight of a song, as things as simple as a single piano key easily stick out from many of the low tones.

That all said, does Sacred System have enough chops to keep an acute listener paying attention? It's a mixed bag, I have to say.

Opening track Babylon Ghost starts out with some bubbly sound effects (alright, it’s a bong. Don’t ask me how I know) setting up a light-hearted tone. The rhythm and Laswell's bass playing is quite bouncy and repetitive throughout, allowing all of the dubby effects to spice things as the song moves along. No two bars sound identical, but unless you're paying attention to such slight details like a stutter echo or delay effect, you probably won't notice much variation throughout. At points a couple piano chords with a lot of echo and delay effects join, creating an almost strumming sound, but the chords played are mostly the same as well, relying on dub tricks for diversity.

These techniques are played out in the next two tracks as well, offering different styles to utilize them in. As the name suggests, Dread Iternal is slower and darker, making use of sparse percussion and spacey pads that Laswell uses quite nicely. However, the bass does most of the work here, and with an over-nine minute duration, it can be a bit of a tedious excursion. Cyborg Assault is much quicker, leaping into jungle's territory as Laswell's speedy bass tears along. Even the strumming pianos, while sounding a bit muted due to the very brief echo effects, get a chance to play with more than just the two basic chords at times. In fact, Cyborg Assault may just be the most accessible track to casual listeners on here, provided they don't mind speedy rhythms.

Galactic Zone moves into different territory from the previous three. While a slower track like Dread Iternal, it doesn't fall into the repetitive, noodly style the former did. As a clumpity-clump-clump rhythm plays out with plenty of dub tricks, a gentle keyboard serenely moves throughout, improvising along the way to never fall into repetitive staleness the way the pianos did. Laswell's bass playing complements the keyboard nicely, alternating turns at carrying the song for its nine-plus duration.

And, before you know it, we're already at the last track on this release. Wait a moment! How did that happen? I could have sworn I just put this thing on. Sure, this isn't a long album in general (forty-six minutes total) but even old rock albums of shorter length don't go by this quickly. I suppose because the songs sound so similar, it almost feels like you are listening to just one big song, with brief pauses to change the tempo. Is this a good thing? I don't know, but despite the pleasantness of what's been played, I still kind of feel I'm not getting my money's worth if half an hour of music can pass me by without noticing much (and this is when I'm actually paying attention to the bass leads; I'd imagine most other folks wouldn't even notice that).

Speaking of one long song, the last one here, Sub Terrain, inconspicuously breaches the sixteen minute mark. Much like everything else on here, the pleasant keyboard tones, caa-lumpity clump rhythm, benign pads, and groovy bass are nice to listen to as they are playing, but they don't grab your attention for long either as the structureless approach to them has a tendency to let your mind wander. I'll be listening to it, go do something else for a couple minutes, and come back without feeling like I missed anything important. Fortunately, the sounds and melodies are catchy enough to keep Sub Terrain from crossing into dreaded muzak territory, but only just.

So, yeah, I guess this is a nice little album to throw on and sit back to. If you pay attention diligently to the subtle little production tricks, there's some interest to be had. However, knowing the attention span of most folks these days, I can't see them getting into Sacred System all that much. Perhaps it's their loss but minimal dub of this sort does tend to appeal to only a small portion of the EDM community.


Score: 6/10

ACE TRACKS:
Galactic Zone


Written by Sykonee. Originally published 2005 for TranceCritic.com.

L.S.G. - Volume 2 (Original TC Review)

Superstition Records: Cat. # 2069 CDM 

Released 1996 

Track List: 

1. Can U Hear Me? (3:54) 

2. Hear My Voice (3:40) 

3. Novastorm (7:48) 

4. Get Out (5:48) 

5. Lectrolyte (8:20) 

6. Microfish (2:46) 

7. Netherworld (11:00) 

8. Freakme (6:36)

 9. Firefly (12:17) 

10. Centurion (11:01) 

 (2010 Update: Nothing much to update here. The grammar's still a little clunky but a huge improvement over my early reviews nonetheless. Hey, I'd had over half a year to get the hang of it by now!) 

IN BRIEF: Starring Netherworld! Co-starring a bunch of really good songs you've probably overlooked. 

This is the one. From this album on, the face of trance music would never be the same and the man behind it, Oliver Lieb, for so long hidden in obscurity behind various guises, would be propelled into the club spotlight whether he wanted it or not. And the song that would accomplish this was dubbed Netherworld. 

I'm sure it may be difficult for some of the newer fans of trance to realize this but, before Netherworld became the anthem it did, the structure of trance wasn't quite as set in stone as it is today. The concept of dropping all rhythm to allow the main melody to be presented after some lead-in, while done at times, was hardly indicative of where trance stood during those years. For the most part the genre was quite content to remain the more hypnotic, melodic, or acidy offshoot of techno. 

A funny thing started to happen around this time, though. A number of prolific DJs who had been making a name for themselves playing various forms of house music for so long (though mostly progressive) started to catch ear of some of these other-worldly songs and began to incorporate them into their sets. Thanks to heavy hitters such as Netherworld, very soon these forms of trance (dubbed progressive trance, probably because the songs fit best in prog house sets; why bother creating a whole new adjective when a previous redundant one will do) would dominate clubland, making gods of guys who play records. 

Of course, things took a turn for the worse in small part when attention-seeking DJs overplayed it in hopes of deity-like worship, but in large part from hundreds of imitators flooding the market with cheap knock-offs, perhaps striking upon the winning formula that spearheaded the initial wave once out of every five hundred attempts (they're still trying, too). Okay, maybe that's unfair. The fact remains, though, there hasn't been many songs that have managed to emulate the stormer that Netherworld is, and for good reason. There simply are very few producers out there that are as talented as Oliver Lieb when it comes to trance. The recent re-release with new remixes of the track guarantees its legacy will continue for the new generation of trance lovers. 

So what does one of the defining prog trance anthems sound like? Structurally about the same as nearly any prog trance: a couple minutes of lead-in, followed by a breakdown featuring the main melody on its own before percussion is brought back with renewed intensity; some embellishing of either rhythm or secondary melodies for a bit, then right back into the main course before finishing out. Yeah, sounds familiar, doesn't it? 

What makes Netherworld stand out from the pack, though, is Lieb's unique synth patches. Most of the percussion is abrasive and mechanical, something that wouldn't sound too out of place in an industrial track. If it weren't for the main melody, this song would have probably remained on the fringes of trance music. 

And what a melody it is. Hitting all the right emotional notes to sweep you off your feet, a stuttering synth with plenty of trailing echo contrasts wonderfully with the hard-hitting rhythm. Throw in sweet supplementary bits like ethereal voices (the same ones sampled by The Orb in their song Blue Room, although I have no idea what the original source is), secondary melodies that would have been strong songs in themselves, and electro bridges, and you have yourself a track that hasn't diminished nearly a decade since its creation. I've yet to come across a fan of trance that doesn't enjoy Netherworld to some extent. Whether you like the rhythmic or melodic aspects of the genre (or better yet, both), you'll find something to sink your teeth into here. 

But wait, my good friends! Don't hit that back button just yet. While Netherworld may be regarded as the main attraction on Volume 2, there is still a whole album's worth of material to enjoy. However, if you are expecting more Netherworlds or even just a continuation of the L.S.G. debut Rendezvous In Outer Space, you will be in for a bit of a shock. This may just be a rumor but some believe Lieb was a bit pressed to release this album due to the initial buzz over the main single. 

While I cannot confirm this, I certainly can believe it, as the facts pointing towards a slightly rushed release seem evident. A weak album title notwithstanding, for one thing Volume 2 comes just a mere year after the first L.S.G. album. You might have thought Lieb would want to focus on a different project for a while. Well, perhaps he had been, because for two things, a number of these tracks bear a striking semblance to Lieb's more experimental alias, Spicelab, than the simpler L.S.G. works. Indeed, the credits state this album was "mixed and mastered by O. Lieb & Spicelab." Who does he think he's kidding? One may be led to think this album was padded out by Spicelab material sitting in the reserves. Still, I can't think of a better source for padding. 

Mind, the opening two tracks Can U Hear Me? and Hear My Voice (really, they could be called Hear Me: Parts 1 And 2, as they have much in common) don't contain many Spicelab sounds, but then they really are nothing more than intro tracks to the album: the former being more ambient and grand sounding, the latter setting up the pace with shuffling rhythms and echoing synth stabs, amongst other tidbits of effects. No, it's with Novastorm where L.S.G. meets Spicelab. 

Right off the bat, you can tell Novastorm is unabashedly old school trance. The rhythm is simple so as not to distract you from all the hypnotic loops in effect. Layers of strings stabs, spacey pads, and eerie effects that have been heard in many a Spicelab track come and go throughout this song, none of which attempts to make itself more pronounced than the rest. Without any major melodies at work here, this track is trance music that one can easily get lost in. As the loops are gradually stripped away towards the end, a little electronic arpeggio emerges alongside the pads, fading away. 

Don't let this calming ending lull you into a false sense of security, though. Futuristic soundscapes start to drone ominously at the beginning of Get Out, growing in intensity as bits of percussion are gradually added. Finally, some two minutes in, fierce breakbeats suddenly pummel you as added, bassy effects energize you. This promises to be something special but, sadly, the payoff doesn't quite live up to the lead-in. Sure, there are some wonderfully menacing moments to be had in the second half of Get Out, but this track seems to almost serve as more of a lead-in to the next track, Lectrolyte, than an individual song of itself. 

As for Lectrolyte, this is another wonderfully simple, loopy little trancer, and the most melodic number yet on Volume 2 as it features those splendid stuttering synth chords Lieb's a master of. However, the middle portion of this track is mostly used up with embellishing sound effects and, because the rhythm is unwaveringly repetitive throughout, casual trance fans may overlook the nice parts of this track if they are impatient. The bubbly bass of Lectrolyte repeats itself on its own for a minute towards the end of its run as the ambient track Microfish starts out, an interesting little excursion of synthetic sounds slowly mimicking the songs of orca (at least, that's what it sounds like to me). However, it's more of an intermission of a track before we get back into the heavier hitters, and the heaviest hitter of the lot on Volume 2, Netherworld, follows. 

As I've already gone on about this song, let me just mention it in the context of this album. Considering how loopy, hypnotic, and relatively unmelodic this album's been thus far, Netherworld really leaps out at you. In fact, it's a stark contrast compared to what's come before. Lieb was quite correct in placing the more ambient Microfish before it, as I don't think Netherworld would have been able to fit within the context of this album otherwise. Likewise, following it up with the rhythm-heavy Freakme is just as clever, as Netherworld is a tough act to follow as well. With the main melody of Netherworld trailing off for a minute or so, the grumbling bass of Freakme that emerges from it can be quite startling, but it fits perfectly. We are entering more Spicelab-y territory, though, so don't expect anything that sounds immediate. You're going to have to do some serious paying attention to hear anything beyond random, bubbly sounds and bottom heavy rhythms. 

The rest of this album carries on with the Spicelab influences, sucking you into a deep, deep trance with the floaty Firefly and the even more experimentally rhythmic Centurion. To try and describe these songs would be a challenge in itself, one I doubt I know enough adjectives to utilize. I will say, however, those looking for big melodies to cap off Volume 2 will be severely disappointed. Aside from some very catchy mechanical percussion sounds in Centurion, everything on this final stretch is built around subtlety and hypnotic soundscapes; trance in its purest form. 

Now, I'd be lying if I said this was a perfect album. Despite the strong collection of individual tracks on hand, that sense of album flow that is common in nearly every other L.S.G. full length is missing. Rather, it feels as though Volume 2 goes from section to section, with hardly any relation to previous ones. In one sense, this isn't too bad of an idea as it can help take the listener on different journeys through the course of the CD instead of dwelling on the same theme throughout. In fact, it plays quite wonderfully for those keener on individual tracks. However, if you are looking for individual tracks, that’s what singles are for. 

When I - and I'm certain many others - go into an L.S.G. album, there is a tendency to expect the whole to encompass a specific theme -why else would you bother to have all the tracks mixed together? Volume 2 just doesn't have that, and it is a bit of a letdown when songs at the end of the album bare no semblance to songs at the beginning without a logical bridge between them. I still highly recommend this album, of course, if anything because the individual tracks are quite enjoyable for fans of nearly any kind of trance. Just be prepared for a bit of a disjointed listen if you play this release through.

Score: 8/10 

ACE TRACKS: 

Netherworld 

Firefly

Novastorm 

Written by Sykonee. Originally published 2005 for www.TranceCritic.com.© All rights reserved.

2 Unlimited - Jump For Joy (Original TC Review)

Popular Records: Cat. # PR2S 3050
Released 1996

Track List:
1. Jump For Joy (Edit) (3:42)
2. Jump For Joy (Digidance Happy Hardcore Edit) (3:19)
3. Jump For Joy (Armand's Dutch Touch Mix) (7:51)
4. Jump For Joy (Itty-Bitty-Boozy-Woozy's Dub 4 Joy) (5:25)
5. MTV Partyzone Megamix (4:55)

(2010 Update:
How can you tell I'm still in "be objective" mode here? The Klubbheads are mentioned, and there's nary a snarky snipe to be had. Seems to be a very rare single now, as the only copy available on Amazon goes for $40. Hah!)

IN BRIEF: One of the biggest euro dance acts attempts to tap into the underground. They nearly succeed, too.

The euro craze of the early 90s was at an end and one of the biggest names of that scene, 2 Unlimited, was splitting up. Before that quite happened, however, they released a greatest hits collection which included a couple new tracks that they had been working on before parting ways. One such track was this little oddity.

After the group had managed to prove they could remain afloat amongst the many imitators with their previous album, it would seem producers Phil Wilde and Jean-Paul de Coster looked back to their roots, where they would tap into the dominate underground rave sounds to use for their mainstream music. The first single to emerge was Do What's Good For Me, a simple, dirtied-up house track that may have drawn a bit of influence from the burgeoning French sound.

Another genre that was set to explode upon the mainstream was trance. Wilde undoubtedly saw potential in the sound and the result was this single: Jump For Joy.

Bear in mind though, that this is by no means anything like the form of trance that actually did go on to achieve mainstream recognition. Rather, this borrows more from the faster eurobeat style of music for its rhythms, a perky form of EDM that seems to be lost somewhere between the lands of euro and happy hardcore. Where the trance influences come into play is with its main lead. Using a sound that was quite dominant in the quicker forms of trance at the time, the synths are filtered, filled with reverb, stuttering, and oscillating with great gusto here.

Still, this is an intended mainstream dance song so you won't get any deep, thought provoking lyrics. Really, with this track's spastic speed, it'd be hard to take seriously anyways. As such, when at one point Ray raps, "Butterflies are moving fast" you can't help but laugh at the absurdity of it all. Was this meant to be tongue-in-cheek? Perhaps. Maybe it's best to just do as Anita says and, "Jump for joy!"

The Klubbheads (going by Digidance here) were tapped for remix duties this time (What!? No X-Out?), giving us an even sillier happy hardcore version for their troubles. As can be expected, everything gets pitched up with infantile organ leads and super fast pianos playing little melodies. I have to admit it does work on a harebrained level, but then that's all happy hardcore ever set out to achieve, wasn't it? It only lasts a little over three minutes anyways so it's not like you have to endure it for long.

In case there is still a lot of leftover sugar in your mouth however, Armand van Helden is here to the rescue to provide us with a bottle of Jack Daniels straight from the ghetto to wash it out with.

Armand's Dutch Touch Mix pretty much gets rid of all the elements of Jump For Joy in favor of booty shaking house rhythms and slight melodies. Only a sample of Anita's voice either saying "Jump" or "Free" in time to the rhythms (amongst some other unintelligible things) keeps this mix tied into the original. Time to grab a fine lady and get wild.

The *deep breath* Itty-Bitty-Boozy-Woozy's Dub 4 Joy mix *exhale* (also done by the Klubbheads) is a fairly minimal affair, at least compared to what's already been offered on this single. Take some stock techno rhythms (the real stuff), add some negligible, looping sounds, and utilize even less of the vocals than Armand did, and you have this mix. It might work as a transitional track in a set but there really isn't much more worth noting.

There's also a megamix included on this single, done by the MTV Partyzone. I'm not really familiar with that program but then I'm Canadian -we had our MuchMusic X-Tendamix and Electric Circus shows to keep us up to date on dance music instead. This megamix tosses in pretty much every single 2 Unlimited hit ever released and crams it all into something of a mess that runs just under five minutes. Some pieces only get brief vocal snippets while others get portions of their main riffs played out in rather disjointed merging of others. It might have worked had they used more time to arrange the tracks better but as far as 2 Unlimited megamixes go, this one doesn't nearly stack up as well to the rest.

As one of the final singles to come from the original lineup, it's a shame this track doesn’t have nearly the catchiness to carry it as many of their earlier hits. Jump For Joy just carries far too much un-mainstream baggage from its eurobeat and trance samplings for it to have made much of an impact.

Except in Japan, perhaps.

Score: 6/10
Written by Sykonee. Originally published 2005 for TranceCritic.com.© All rights reserved.

2 Unlimited - Do What's Good For Me (Original TC Review)

Popular Records: Cat. # PR2 3008
Released 1996

Track List:
1. Do What's Good For Me (Edit) (3:49)
2. Do What's Good For Me (Extended) (6:03)
3. Do What's Good For Me (Alex Party Remix) (5:06)
4. Do What's Good For Me (X-Out Remix) (5:22)
5. Do What's Good For Me (Aural Pleasure Mix)(8:58)
6. Club Megamix (9:34)


(2010 Update:)
I didn't realize it at the time, but Dobre & Jamez would go on to see some success as Trancesetters. So now you know.)


IN BRIEF: 2 Unlimited go old school.

1996 was a year of transition for many following EDM. Most of the sounds that had defined the early rave era had begun to fade away as newer, improved gear and software replaced it. Genres that had proved immensely popular before were growing stagnant as ideas continuously were recycled with great redundancy, causing many fans of certain niches to search out different styles of music.

Probably the style most heavily affected was euro house. Just a scant two years before, the music was on top of the EDM world, and even making an impact on general music as well in typically anti-electronic regions. However, as with all things that catch onto the mainstream, many imitators began to flood the market as well. Every week there were new acts featuring some bird on choruses, some bloke on rap verses, and producers hiding in their studios providing the musical backdrop. Where innovative takes on the sound once kept it afloat, ideas seemed to dry up towards the end of 1995, and completely burn right out in '96.

Possibly affected the most by this trend was euro powerhouse 2 Unlimited. Not only was this group one of the original acts to bring the euro sound to giant heights of popularity, they also managed to keep themselves relevant in the following years, knocking down almost all of their competition with their always catchy riffs and excellent rhythms -those that did manage to have bigger hit singles than the group never managed to have as many hits as 2 Unlimited did. The Dutch euro act was, without a doubt, one of the best.

Unfortunately, even they could not stop the coming change in popular tastes. Trance music was on her way to overtaking euro as the dominant EDM genre of choice (although the media would attempt the electronica take-over before that) and there would be no place for quirky raps, catchy melodies, and belting divas (at least initially -it seems everything but the raps were eventually integrated into trance anyways, but that’s another topic). What was 2 Unlimited to do?

Go back to their roots, it would seem.

Do What's Good For Me sees Phil Wilde and Jean-Paul de Coster taking away the once glossy polish of their previous albums work and relying on the house sounds that had remained nestled in the underground clubs while euro held the limelight. Sure enough, you have a bouncier rhythm and that high octave string note during the minor builds and fills. Of interesting note, however, is the main riff. Like many of their earlier sounds, this one has an unproduced tone to it. Sure, the actual sound used is quite typical of many early 90's house songs but, even with the most piddling of stereos, you can hear a distinctive distortion to it, especially when it pitches up to higher tones. I'm glad to hear that edge Wilde and de Coster held over their contemporaries with unique sounds for their hooks is still evident even at this late stage of euro's game.

Ray and Anita provide some lyrics that seem to indicate they were also aware of the changing climate of dance music. It's no secret that around this time they were expressing interest in leaving the group to pursue their own careers. I guess this was their subtle way of letting their fans know that they were going to “do what's good for [them]”, and perhaps for the 2 Unlimited legacy as well by going out on top of their game like so many of the best pop acts in history (The Beatles, The Police, etc.) before they fade off into irrelevance and obscurity.

Or maybe I'm reading too deeply into it and Do What's Good For Me really is just a good old fashioned 'take matters into my own hands' 90s rallying call. We may never know.

Visnadi returns on this single to give the track another one of his sexy Alex Party mixes. The structure remains the same but the rhythm makes use of snaps instead of snares to give it a little more punch. And by replacing the main riff with a more subdued take using a deep organ, this mix grooves along nicely.

As usual, Andy 'X-Out' Janssens provides a more dancefloor friendly take as well, doing away with most of the main ingredients to use one of his typically peppier riffs this time with big organ chords.

The Aural Pleasure Mix (done by Dobre & Jamez) is something of a surprise. The way a bubbly bass line slowly emerges as Anita's "If it's good enough" continuously loops with slight echoes is unlike any 2 Unlimited remix or song I've ever heard. Minimal looping layers of percussion and pitch bending acid gradually appear as well and what do you know! We actually have ourselves a trance track here (classic trance that is). Once all the building elements peak midway through, all but the rhythm recedes to allow a deep synth reverb to slide about for a while until all the elements are progressively built back up again. The song peaks once more and fades off with voice echoes and the barest of rhythm. While not anything groundbreaking, the Aural Pleasure Mix certainly strays from the 2 Unlimited norm and would definitely turn heads of trainspotters.

Included on this particular single is a club megamix of 2 Unlimited hits. While there have been countless of these done (heck, it was a 2 Unlimited megamix that initially got me more interested in the group beyond just a few hits), this one easily stands out from the pack.

Why? Simply put, the versions of the songs used here are mostly remixes instead of the better known ones. Get Ready For This gets treated to a more refined house sound by capitalizing on the dreamy chorus; Twilight Zone replaces the familiar Wooo! with a gentler aaah.; Tribal Dance remains the same but the sexier Alex Party Mix of Here I Go gets used instead; The Real Thing's energetic take on the famous Bach organs is retained, mixing quite nicely into the wonderful Automatic Breakbeat of No Limit, capping the megamix off with apocalyptic choirs. All in all, it's a fun collection.

As for the rest of this single, it's a decent enough effort. Had the group not split shortly after this, it would have been interesting to see where their music would have taken them if they followed this more non-mainstream route.

Sadly, the 2 Unlimited legacy was nearing its end after a hugely successful four year run. Their time had passed and, if anything, Do What's Good For Me's back-to-basics mentality is as fitting a way to come full circle.


Score: 8/10


Written by Sykonee. Originally published 2005 for TranceCritic.com. © All rights reserved.

Various - Trance To Planet X: Influence 3.3 (Original TC Review)

Hypnotic: Cat# CLP 9674-2 

Year Of Release: 1996 

Track List: 

1. Phasis - Visitations (6:33) 

2. Wave Shaping Age - World In Trouble (6:45) 

3. Omnicron - The Bushmen (6:12) 

4. The Dermatologist - Jupiter (Omm To The Stars) (8:56) 

5. Analog Communications - Wave Generator (7:40) 

6. Morten - Hypnotizing (7:20) 

7. Judge S. - Brainstorm (Scatanic Gap) (7:00) 

8. Audio Science - Sunstroke (11:39) 

9. Cyberjam - Alphaflight (6:46) 

10. Artificial Flavor - Deep Noizer (4:56) 

 (2010 Update: Endlessly detailed and a drag to read. Why would I go to such excruciating lengths to microscopically recount how each track sounds? Well, this was actually the first sample review I wrote for TranceCritic, mainly as one to show other writers exactly what kind of format we were shooting for -specifically of an average 6/10 release. Plus, we were actually wanting to go this heavily detailed method, which was just stupid in hindsight; live and learn. Kudos to you if you can make it through all 2500 words of this -Lord knows I can't anymore.) 

IN BRIEF: Hypnotic Records on the decline. 

This third volume of music from Music Research's sub-label, Influence, brought to us by Hypnotic (a sub-label of Cleopatra), is something of a mixed bag. Influence's early releases were quite distinct in tone and atmosphere, drawing themes from industrial music quite liberally at times, all the while maintaining trance and hard acid elements. And while the latter is present in this compilation (at times in spades), the former is not. I suppose some of trance's early association with industrial had been all but wiped out by the time these tracks were released but it's a shame to see that distinctiveness in Influence's sound go by the wayside. 

But enough about the past. Does this compilation do the label justice? Well, yes and no. There is some quality stuff here but at times on this album it seems like Hypnotic was scraping the bottom of the barrel of Influence's library. 

Like the two previous Influence compilations Hypnotic gave us, this one starts out with a track by Norman Feller's alias, Phasis. Visitations is a solid sounding affair, once it finally gets going that is. As a low acid warble starts this track off, subtly playing with some pitch effects. Bits of percussion progressively are added, making for a decent, if somewhat long, lead in. In fact, it isn't until two and a half minutes into this track that Visitations gains any real momentum. Finally, at around three minutes into this track, a minor breakdown gives the main riff, a filtered little stuttering trancey sound, some prominence. It plays around with a few reverb tricks, adding ominous filtered pads into the background before everything comes together again for a sinister sounding little number. Around five minutes in, the song goes into another breakdown, and the initial low acid line gets to play around again before building up into a great moment where the pads are given prominence, accentuated with simple, driving bass punches. The riff joins the fray again as the song plays out to its end, which is quite abrupt, especially considering how much lead in this song had to start with. 

Fortunately, World In Trouble by Wave Shaping Age picks up the pace right where Visitations left off. After a hollow, metallic banging sound plays for a bit, a quite creative and unassuming sample from The Terminator (I'll leave it to you to guess where in the movie it's from) leaps out at you, rousing you from whatever inert state you might have been in. As the sample loops, a chunky bit of low acid joins at an urgent pace. The sample fades back and a simple, beeping riff becomes the focus, a rather paranoid sounding little thing. Driving bass kicks and other percussion are progressively added as things settle into quite the hypnotic number here. The riff fades back for a bit around two minutes in as some stuttering sounds and acid effects play out for a minute and a half, never loosing momentum. A brief breakdown comes about eventually, giving the riff full prominence. The song builds back up to its original driving momentum, where the riff is then treated to some echo effects, adding even more urgency to its already paranoid sound. As the Terminator sample loops out at the end, the riff is given full prominence once again to take us out. Great trancey stuff. 

Unfortunately, it's with the next track things start to become a bit suspect with this compilation: a return of the rather mediocre The Bushmen by Omnicron. Why put this track on the third of this series when its already been featured on the previous one? And if you absolutely had to put a previous track on, why not something better? "The Bushmen trance or curing dance..." Get ready to hear this sample a lot in this song, more than I'd really care to hear. I'm not entirely adverse to the idea of repeating samples throughout a song but very rarely does it ever come across as creative; more like tedious, especially if it doesn't add much to the track in general. 

The song itself is quite driving thanks to some brisk percussion, an energetic bass line, and stuttering voice pads. The main riff, however, is kind of lacking in this same intensity, sounding rather muddy. A few bridges with acid bleeps and a trancey ping that echoes across the stereo spectrum add a bit of diversity around three minutes in but, for the most part, it doesn't deviate from its main riff, which just doesn't have enough meat in it to carry this song. Even the stuttering voice pads, always a guilty pleasure of mine, can't help in making this track more interesting than a decent transitional track. 

If The Bushmen is an example of how to use a repeating sample wrong, the next track, Jupiter (Omm To The Stars) by The Dermatologist, is an example of how to use a repeating sample right. Of course, it helps that this spoken sample is the word omm, which has an almost Zen-like quality to it when heard or said. Strange, that. There's quite a bit of subtle stuff going on with this track. The opening, crisp acid line is quite low in pitch to start but it will be given a great workout throughout this song's duration, peaking and subsiding in frequency with great embellishment. Sinister and spacey effects come and go, playing off of percussion elements that never overtake the main acid line in prominence... and here is where a problem lies. The bass kick is rather flat. Were it punchier, this could have been a great track that could pummel dance floors. As such, it merely functions to serve the pace, which is a shame. At around six and a half minutes, the song stops and an ominous voice utters "Jupiter." Interesting, but nothing is done with it afterwards besides just pick up right where the song left off. It kind of takes you out of the trance this song puts you into while listening to it quite abruptly. What's the point of this? If something new were added afterwards, I could see some logic behind it. As it stands, Jupiter is a fine enough excursion into acid but leaves the listener wanting. 

Sadly, Analog Communications doesn't seem to be up to the task of upping the ante, further dragging this compilation into mediocrity after its solid start. The opening of Wave Generator is something of a mess. A chunky bit of stuttering acid starts out, which is fine, but a flat sounding bass, hi-hats, and cymbals that are progressively added just don't mesh well, making this sounding quite cluttered. It isn't until two minutes in that things kind of settle down into something resembling a song, thanks largely in part to a kick drum and snappy, shuffling claps that gets things organized. The acid line carries on throughout this track, given a bit of a pitch workout after the five-minute mark. Trouble here is this line is so abrasive and prominent that it drowns out so much of the rest of the track; you need a very good set of speakers or headphones to make out any of the other details. Even an eerie little warbling riff that joins the fray three minutes in can't get its head over the acid. Might make for an alright transitional track if an acid techno DJ played the middle four minutes worth but other than that, this song is just too cluttered sounding to be any good. After three straight tracks now that haven't been too hot, it wouldn't be at all uncommon for a casual listener to dismiss the rest of this compilation. 

Fortunately, Morten's Hypnotizing manages to rescue it from sinking altogether. After about a minute's worth of fairly standard lead-in percussion (although there is a bit of playfulness in the use of stereo effects), a wobbly bit of acid bass joins in. Half a minute later, some trancey beeps begin to float about before the main riff, a rather simple, stuttering synth stab, rises up in a minor breakdown. Things play out for a while as extra effects adding a sense of urgency to the riff build tension. At about the four-minute mark, the song breaks down into a lovely little bit where string pads float along with the trancey beeps, all the while a female sample says, appropriately enough, "Hypnotizing away." As the song builds up again, a chunky bit of acid grows from the background, given full prominence once the rhythm sets in again. As the trancey beeps and strings pads are added, it gives a sense of soothing calm over the song's initial anxiety. Even when the main riff returns, the two polar elements play quite nicely off of each other. On its own, Hypnotizing is fairly standard sounding trance from this era. Coming off of two straight hard acid tracks though, this one is like a breath of fresh air after sitting in a suffocating room. 

Now that our attention is brought back, it's time for Judge S. to increase the intensity with Brainstorm (Scatanic Gab). A menacing sound effect weaves about as percussion slowly fades in from the background. In less than a minute, a booming gabber bass kick rears its intimidating head, fortunately at a brisk enough pace as to not loose this track's integrity. The sound effect switches up a bit, turning into actual notes instead of background noise. All this is very subtle, mind; like the calm before the storm. By the three-minute mark, an incredibly catchy riff plays out; very epic sounding despite the low-key sounds used. A minute later, a quick percussive bridge ups the ante as effects and extra hi-hats accentuate this riff. As the song builds down its layers of elements, an acidy synth gets fed through a pitch bend, repeating towards a minimal outro. Killer stuff, and not an easy act to follow up. 

Fortunately, the always intriguing Audio Science is up to the challenge. Sunstroke starts out very low key due to a pulsing synth sound fed through a low pitch; things don't really pick up until over a minute in where a subdued synth pad weaves about as a very unique sounding bass kick pattern (going something like 'thump thump-thump-thump-thump-thump thump thump-thump-thump thump') is introduced. Extra hi-hats and claps in separate stereo channels are progressively added, setting up a very quick pace. As the synth pad leave, the original wobbling synth sound picks up in intensity, getting doubled up and peaking briefly every so often at higher pitches but remaining low for the most part. By the five-minute mark, the percussion briefly leaves, giving some eerie stuttering voice pads a bit of prominence before rejoining the fray. This carries on for a couple of minutes but never sounds repetitive thanks to the ever-so-subtle pitch tweaks to the pulsing synth line. Once we're in about seven and a half minutes, the song gives a new element, a good ol' bit of tweaking acid, a bit of prominence. Finally, every element comes together for a frenetic climax where the original pulsing synth gets fed into quite a bit of echo effects. This is quite a long song compared to the rest, clocking in over eleven and a half minutes, but it never gets tedious to listen to. There are so many elements subtly lurking about that an acute listener can have quite a bit of fun with it. The only real trouble with it is there is no real defining riff, just a series of trancey movements. As such, this is trance music in its most raw form: subtle, minimal, and hypnotic. Me likes. 

Attempting to outdo Audio Science at their game is not something recommended for a follow-up track, and this compilation wisely follows this advice by delving into something a little bit different than anything heard yet here. A moody pad intro starts Cyberjam's Alphaflight out. Before long a couple different twerping acid lines emerge, building in intensity. Soon enough this intensity is released as percussion charges in with a bit of low, reverbing acid throbbing in the background. Acid lines and effects weave about, creating what is actually something rather funky sounding, a bit of a surprise given how this song started out (at least, as funky as acid trance can get). Three minutes into the song, the opening pads return in a breakdown, this time more intense as low-key acid and sound effects play off of them for a minute. Once the rhythm returns, its more driving than before and various acid effects play all about, sometimes retaining a bit of the opening's theme, but for the most part doing their own thing in a rather fun way. The song kind of pitters out at the end from a lack of focus, though, seemingly having run out of ideas. This wouldn't be so bad if the next track picked up nicely after this steady run of quality tracks. 

Ouch! What is this? Did someone record this track too loudly onto this album? Or is it the song itself? Deep Noizer by Artificial Flavor does have a danceable rhythm to it, I guess, but the sounds used here to make up its main riff (which plays through the songs entirety) and various effects are so overbearing and abrasive, I can't imagine anyone making heads or tails of it. Everything is just so distorted. Granted, it's not a very long track, but I can't see anyone using this for anything more than a joke. It certainly isn't an enjoyable listen at home. What a lousy way to end an album. Since it's the last track, this is pretty much a throwaway song. I've never been fond of the idea; wouldn't you want to go out firing on all cylinders instead of leaving a bad taste in the mouth? 

Still, there is some great stuff to be had here; tracks like World In Trouble, Brainstorm (Scatanic Gap), and Sunstroke are worthy additions to any trance collection. But when a compilation contains such weak contenders like Wave Generator and Deep Noizer, it's hard to recommend an album in good conscious. However, the former group of tracks are worth having, and given the rarity of Influence material on CD (or MP3 for that matter), for the most part the rest on here would be welcome accompaniments for a trance library. It's just a shame the lesser tracks drag the overall impression here.

Score: 6/10 

ACE TRACKS: 

Wave Shaping Age - World In Trouble 

Judge S. - Brainstorm (Scatanic Gap) 

Written by Sykonee. Originally published in 2004 for TranceCritic.com.© All rights reserved.