Various - Moving Shadow 99.1

Moving Shadow: 1999

The late ‘90s were easily Moving Shadow’s peak years. The home of E-Z Rollers, Omni Trio, Dom & Roland, Flytronix, and Technical Itch, the label provided a full range of credible drum ‘n’ bass tools any self-respecting junglist of the time needed having. And not to be outdone by the majors, good ol’ M.S. even got licensing deals for their roster, especially so for the growing video game market.

If by some chance you still didn’t know about Moving Shadow, sitting snuggly on your local music shop shelves were these bi-yearly sampler discs. For pocket change, you’d get DJ mixes handled by Moving Shadow honcho Timecode (Rob Playford), plus a bundle of CD-ROM material. Though the CD-ROM stuff went by the wayside once internet promotion became the norm, the Moving Shadow samplers kept rolling out for a good while longer even as the label’s influence waned in the following decade.

With 99.1, we’re definitely capturing them at their prime. The main disc presents a solid assortment of jungle genres for the time, plus a little acid jazz business from Flytronix and Omni Trio to kick things off. It’s never a bad thing to show musical diversity in a set, and such smooth vibes mix nicely if you follow it up with jazzstep business. The actually mixing’s not the best though, some transitions held too long, others rushed and clashing. Still, it’s forgivable since we’re dealing with a sampler mix of a single label. Boy, do I ever forgive DJs that self-impose restrictions on themselves, huh.

A brief moment of sci-fi sounds from Omni Trio bridges the early jazz tunes into a furious finish of darkstep roughness for the final half. Quite a bit’s been written how darkstep set the jungle scene off on an aggressive, uninviting road that took years to recover from, but how was anyone to know it during these early days of the sub-genre? Calyx’ Acid Blues, Teebee’s Instant Irradicfication, and Dom & Roland’s Killa Bullet all sounded fresh and exciting as the ‘90s came to a close, and their power hasn’t faltered since. Speaking of power, Technical Itch’s brilliant acid workout Reborn and tech-step beast LED show up here, though are mashed with their surrounding tunes so much, I’d just rather grab Diagnostics for another spin again. Huh, I guess the ‘sampler advertising’ works.

CD2 features a mini-mix of E-Z Rollers material, the biggest stars on Moving Shadow at the time. Eh… okay, maybe because Tough At The Top was ridiculously played out in my neck of the woods, but I could never get into these guys. They had some decent variety, but it seemed everyone just wanted to hear their take on jazzstep, which struck me as Roni Size music for the Aphrodite crowd. Whatever. I’m sure I’d dig their material if I dug into it beyond Weekend World.

As for 99.1, it’s worth a glance in whatever used shop you find it sitting in, but better mixes of this music lie elsewhere.

Various - Montreal Mix Sessions Vol. 3: Dune (Double A & Twist)

Turbo: 1999

Without a doubt, this is among the strangest CDs in Turbo’s catalogue, if not the strangest. For a label that often prides itself on the quirky, that's quite an assumption to make, but keep in mind this DJ mix came out early in Turbo's life, when Tiga was still finding its identity. About all he had going for it was promotion of Montreal acts, and the occasional original production. As you were wont to do as a hip start-up, the Mix Sessions series focused on house and techno, almost unanimously with winning results. There's also a single, solitary drum 'n bass mix, because when you think of Tiga, Turbo, and even Montreal, jungle's always right up there with tech-house and electroclash. Or not.

I’m sure my fellow Canucks from the lands of French have just as vibrant a jungle scene as any major region of Canadaland, but you sure don’t hear much about it. Toronto’s got a huge following, Vancouver’s been respectable for many years, and even the Prairie Provinces earn props from semi-abroad. Quebec, though? Folksy music festivals and hipster dance-punk’s their thing, ain’it? Absolutely not, just ask Double A & Twist about it. Wait, are they still around? Damn you, Lord Discogs, and your occasional incompleteness!

Monsieurs Aaron Siegner and Oliver Sasse make up the duo, also going by the name Dune (no, not the happy hardcore act). Wait, is this the same Oliver Sasse of German trance Rodd-Y-Ler micro-fame? The Lord That Knows All suggests so, but I’m having my doubts, such wildly incompatible scenes they be. This Sasse, along with Siegner, were vital in developing what jungle scene Montreal had, produced a few tech-step singles for the legendary Reading label Basement Records, and even ran a short-lived label of their own. A decent run in the late ‘90s, then, though little that only the most ardent junglist will be familiar with. Or someone on the pulse of Montreal’s party scene.

So Tiga tapped Dune for the third volume of Montreal Mix Sessions, and the duo gives us a set of primarily tech-step sounds from acts like DJ Slip and Red One, names not exactly high on the minds of junglists even then, but decent enough offerings just the same. Midway through things go atmospheric and jazzsteppy, EZ Rollers’ Retro, PFM’s One And Only, and London Elektricity’s Song In The Key Of Knife sure to get any old-schooler’s nostalgia centres flaring. Dune returns us to the tech-step with a couple of their own tunes, then finishes out rough and nasty with Dom & Roland’s blinding darkstep cut Homicide. Oh, and a ‘classic call-back’ cut from Digital’s Spacefunk at the very end, because why not.

Montreal Mix Sessions 3’s decent enough for a d’n’b CD, though undoubtedly a victim of its surroundings. Turbo’s the last place junglists will look for music, and I can’t say Tiga’s typical following would find much use for Dune either. Best for local enthusiasts or Turbo completists, then.

Banco de Gaia - The Magical Sounds Of Banco de Gaia

Six Degrees Records: 1999/2000

Despite the brilliance that was Big Men Cry, Toby Marks couldn't mope forever. He freed himself of old label woes, established his own print in Disco Gecko, and discovered something in the process: the idea of Banco de Gaia as a proper band could work. All these factors likely contributed to the sudden, upbeat change in tone for his fourth proper LP, The Magical Sounds Of Banco de Gaia. Even the title's playfully tongue-in-cheek: nothing sombre, political, or reflective here, just happy fun-times found within, trust.

And even if all that wasn't enough to convince you that you were in for a peppier album than normal, the first track is I Love Baby Cheesy, a truly ridiculous title if ever there was, and a right hoot to boot. I've already reviewed the single for that though, and truth is it was the only real single to emerge from Magical Sounds. Back in those days, you could count on at least a pair of EPs, so what's up with that? Were there no other single-worthy tunes on here?

B’ah, what a laugh - choice cuts were selected for other releases, is all. The lovey-dubby Sinhala and spacey ethno-breaks Touching The Void made the cut on the 10 Years retrospective, while a live rendition of funky, world beat, communal-chanter No Rain appeared on another retrospective in Memories Dreams Reflections. Oh, and Glove Puppet was re-purposed into trip-hop for the follow-up album Igizeh, which makes some sense as the version here’s about as solemn as Magical Sounds gets, what with mournful strings and samples of war playing in the background (yeah, still got that Pink Floyd thing going on).

The three other tracks aren’t slouches either, and in some ways are among my favourite Banco tunes around. Harvey And The Old Ones, for instance, ranks high among the most unique tunes to come from the World Bank. Layers of instruments and rhythmic chants continually build upon each other, conjuring the sort of imagery you’d expect of a tribal gathering out in the hills of India. Things briefly break down midway, then a thumpin’ techno beat emerges as everything rejoins the party for a raucous climax. It’s a fun track all around, the sort of tune that’d go off wonderfully at an outdoor hippie jam. 144k? is another buoyant track, though it wanders around with melancholic, atmospheric ambient dub for much of its duration. Considering the downbeat nature of the opening two-thirds, having such an uplifting end to the tune’s almost cathartic, despite Marks laying the sentiment on rather thick with a chanting sample of “We are beautiful people. We are chosen ones.” Follow-up Frog’s Dinner gets back to the world beat dub style he made his name on from the Planet Dog days, but this one wanders a bit much for my liking.

So I like Magical Sounds Of Banco de Gaia, but ya’ll knew I would anyway. I like everything from Marks, right? Eh, wait until we reach the ‘Y’s.

Loreena McKennitt - Live In Paris And Toronto

Quinlan Road: 1999

When I lived in the hinterlands of Canada, I rented in a house with various other roomers who'd come and go. As I was the one with a decent stereo, my gear took up residence in the living room, where I'd often load the 3-CD tray with my own music. Fair enough, as my housemates shared similar tastes, what with being 'Rupert Ravers' and all. Every so often though, I'd play a combination of albums that threw them for a loop. One such day included a run of some EDM (I forget which now), the Hieroglyphics LP 3rd Eye Blind (“homie-b” music, the girl living with us called it), followed by this particular album from ethereal Celtic-folk artist Loreena McKennitt. They remarked how little sense it made for me to have such bizarre range of interest (for a 20 year old, anyway), and while hip-hop still had some connection to EDM, how did Loreena fit the puzzle of my interests?

It was likely my mother's influence, who was into Enya and all that New Age stuff when it broke into the early ‘90s mainstream (yeah yeah, total cliché there). Enigma was also a part of her musical rotation of the time, which led to ambient and world beat I still enjoy, but another act she liked was Loreena McKennitt. I... didn't quite latch onto her the same way, though my sister did. Hm, guess that makes sense, Enigma's 'tough' beats appealing to male sensibilities (no, stay with me on this theory!), and Ms. McKennitt's harps and singing more of a chick’s thing. What gender stereotypes?

Okay, sorry for that lengthy, anecdotal introduction. I felt it necessary to explain why, on a blog called Electronic Music Critic, there's also a live Loreena McKennitt album here. I've strayed off the EDM path often, but this must be the furthest I’ve gone yet. I don’t think there are any other ethereal Celtic folk-pop records in my collection, so at least it’s a one-off.

For those unaware of McKennitt, she gained international fame mostly through association with the New Age market. While her music is definitely of an Irish and Celtic tradition, she imbued her music with mystical qualities that set herself apart from staunch traditionalists, an incredibly appealing attribute for ladies into fantasy works and that; the guys had their Viking metal, the girls got their Arthurian romanticism (was this all Excaliber’s fault?). While having a deal with Warner Music gave McKennitt greater exposure (especially here in Canada, where the Winnipeg native enjoyed plenty of Canadian Content rotation), she’s remained an independent artist, self-producing and publishing her music through her own Quinlan Road print. Proper underground t’ings, mon! (whoops, wrong sub-culture)

There’s plenty more to her story, but I’m not the best person to detail it. Maybe try Ethereal Celtic Music Critic. All you need to know from my end is I liked her music enough to get a live album of it (essentially a greatest hits package), and that’s about it.

DJ Aaron Carter - Lit Up

Moonshine Music: 1999

Not to be confused with teeny-pop heartthrob Aaron Carter, this is DJ Aaron Carter, of the Moonshine Music star act Cirrus. Yes, I know I'm only the hundredth person to have made that joke, but seeing as how neither Aaron Carter have been relevant in over a decade, the gag's undoubtedly sat fallow in all that time, waiting to sound fresh again for a whole new audience of doe-eyed party revellers! Well, if they gave a shit about either, that is.

And really, Aaron Carter, the DJ, wasn’t terribly relevant to begin with, at least outside his native Los Angeles. As a member of Cirrus, he helped create some buzz for the West Coast acid breaks scene, but as the group was forever tied to Moonshine, they promptly disappeared when the label folded. I wonder though, what they would sound like in this day in age, had they carried on ten years longer. I wonder... *cue Wayne’s World fade*

What? I got nothing.

Okay, that was pointless. If this DJ set’s anything to go by, however, Carter may have found a home with the London Acid Techno Crew, a track list heavy with their contributions. This whole set is a straight-up hard acid rinse-out, something of a surprise from a member of a big beat group. The cover says "hard trance", but we're dealing with a proper techno tear out of the TB-303.

In that regard, Lit Up, Aaron Carter’s first and only commercial mix CD, is hardly surprising in content, though perhaps a little in track arrangement. The first three tracks are the sort of tunes most DJs of the time saved for their bangin’ finale, including Jark Prongo’s Movin’ Thru Your System and X-Cab’s own acid remix of Neuro. Dear me, I cannae take the anthemage of Neuro so soon, and nor can this mix it seems, as Carter’s slowed the track down to accommodate the surrounding cuts. Eh, not the best way to open this mix.

Fortunately, once we’re done with that, we’re fed a bevy of choice acid techno, and nothing but. Carter comes off far more comfortable in these surroundings, his mixes much smoother and clever usage of tracks. Each cut builds on the acid lines, but never so much that the subsequent one is left faltering. By the time we’re in the presence of the pummelling Dog Inc. by Uneven Surface, you’re hooked in, the set’s rough start all but forgotten and wishing for more. Oh my God, I’m gonna acidgasm!

Cheekily, he speeds Liberator & Geezer’s 303 Power as a segue to the hard, bangin’ techno of DDR’s Tweaker (going by Trip Hazard here), and DJ Micro’s remix of Cirrus’ own Stop And Panic. Huh, there’s a surprise of a cut in this mix, much less from the vanilla trance-man DJ Micro.

All said, Lit Up is far from an essential CD to have, though if found at bargain bin prices, you can never go wrong with hard acid techno. Never!

L.S.G. - Into Deep (Original TC Review)

Superstition: 1999

(2013 Update:
Woot! And finally, I now have a review of every single L.S.G. album on this blog. Except Best Of. And Unreleased. Hm, and that Hooj Choons Collected Works too. Okay, every official LP of L.S.G., and no, Unreleased is still sort-of un-official, at least to me. Give us a proper hard-copy version, Mr. Lieb, and then we'll talk.

I'm probably a little gushy in this review, but dammit, Into Deep just doesn't get the love it deserves. What does it take, huh?)

IN BRIEF: His best.

And then Oliver Lieb peaked.

Oh, I’m sure many out there could point to several different singles across several different aliases that are better than anything on here but in terms of full-length albums, the veteran trance producer has never been better than he was on Into Deep. It seemed, having purged any and all instinctive id with The Black Album, Lieb felt free to explore his meditative ego in this follow-up - it’s the logical musical yin to the previous yang. Or he’d been working on this material alongside the Black Series but never found a proper time and place to release it until after the fact. Who’s to say at this late stage?

Point of the matter is despite the release of Into Deep making artistic sense, it was nonetheless unexpected to hear the L.S.G. moniker taken down this road (though perhaps not nearly as shocking as The Black Album was). This is, after all, the alias of such classic trance cuts like Netherworld, Hearts, and Hidden Sun Of Venus (the trance version). Didn’t Lieb already have an alias for his downtempo stuff? (kinda, but who remembers ‘O.Lieb’?)

The thing that truly was astounding about Into Deep was in how, upon hearing it, folks’ perspective of Lieb changed. He’d garnered plenty of praise for years, yet could never quite shake the stigma of being regarded as “that really good trance producer”. Though many figured he was capable of it, no one really thought he’d actually go and make an album that could be held in the same regard as any of the best efforts from such ‘90s luminaries as The Future Sound Of London, The Orb, or Massive Attack. Yet he did.

For starters, this is one of the few instances you’ll find original lyrics of any sort on an Oliver Lieb album, here provided by one Cybéle de Silveria. Whether it’s to digitally-treated spoken dialog - Spanish for No Causalidad and El Tiburon, and English for Give Me Your Hand - or verses (I’m Not Existing), it adds a fresh angle to the L.S.G. moniker, bringing a proper human element to a project that was already well known for strong emotional music.

And it almost goes without saying, but the emotional punch of this album is of the highest quality. You have tender synthy soundscapes in Jillanity, Into Deep, and Give Me Your Hand; deeply meditative atmospherics in Concatenation, Tiburon Citriño, Quick Star, and I’m Not Existing; and riveting climaxes with El Tiburon, Phorus, and Westside. We’ve heard Lieb strike gold in this field several times, yet seldom with the same level of poignancy as he does here. The whole album ebbs and flows with these moving passages as only the greatest chill releases have. Remarkably, Lieb manages to blend the best of both electronic and organic textures together so they wonderfully complement each other, never compete. In almost all cases, producers have a difficult time accomplishing this, often letting either or overtake in prominence. The closest I’ve heard in recent years that hits this delicate balance comes from the Ultimae camps, but even they have a tendency to let the organic nature of their music take over. Into Deep amazingly stands tall and alone in how it sounds.

All this, and I still haven’t even gotten started on the rhythms. My God, the rhythms! Lieb’s always been excellent in this department but, again, he’d generally been constrained to the techno-trance side of things with tantalizing teases into other beats – breaks in Get Out from Volume Two, for instance, or something experimental like Fontana on Rendezvous In Outer Space and A Day On Our Planet as Spicelab. In producing a purposefully downtempo album, Lieb got to indulge himself with fresh patterns, time signatures, and effects, once again with remarkably stunning results. From steady heartbeat throbs that either pulse (Quick Star) or rumble (Phorus) to layered builds (El Tiburon and the dubbier Bengal Rose), Lieb gives us plenty of wonderful patterns that are just as effective in tapping into the primal recesses of your brain as anything else he’s done.

The two real highlights, though, have to be I’m Not Existing and Westside. The former, having been segued beautifully from the spacey tension-builder that is Quick Star, brings us some of Lieb’s grittiest beats ever, executed with trip-hop proficiency and supported by a disconcerting melody that would have Tricky approvingly bobbing his head along. Meanwhile, Westside, in being the album closer, opts for the pure positive vibe of communal chant, inviting you to clap in unison as the song plays out.

Into Deep is one of those rare albums that tends to occur only once in an artist’s career, if at all; where a musician will tap into the best of their inspiration and execute it with all the experience of a cagey veteran. Though Oliver Lieb successfully carried on, it was never to heights of what was offered here. Even the Best Of album, where he reworked a bunch of L.S.G. singles in the vein of Into Deep, wasn’t quite as good, as it lacked this album’s sublime narrative flow.

Despite bestowing this much praise on Lieb’s masterwork, there’s probably still a number of skeptics out there; after all, Into Deep is seldom namedropped when discussions of Best Electronic Chill Releases are brought up. I honestly don’t have an answer for this. Perhaps the trance association really was too much for folks unfamiliar with Lieb’s work to get over. Whatever the reason though, it’s their loss. Don’t let it be yours too.

Raekwon - Immobilarity

Sony Music Entertainment (Canada): 1999

It all starts somewhere, and for yours truly, Raekwon’s Immobilarity was the one that got me taking hip-hop seriously. For sure stronger albums that could have done the trick existed (including, of course, Raekwon’s first album, Only Built For Cuban Linx), but by and large I regarded the world of rap music as something rather gimmicky. The biggest hits were typically crossover party jams, and the stuff my peers played to piss off our parents over-glamorized gangsta tropes and sexual misogyny to the point of ridiculousness. Thank God The RZA Hits came along when it did, shoving some musical knowledge into my ears in the process. While it clued me into the ‘musical’ potential of the genre, soon I wised onto the ‘intellectual’ potential too.

Raekwon’s sophomore effort dropped about the same time as The RZA Hits, and, eager to quickly consume more Wu, I checked it out, promptly blown away yet again. This wasn’t some cliché ridden gangsta bullshit; rather, something far more mature in tone and concept was going on, painting an elaborate story of established criminals trying to survive in an ever-changing game. Immobilarity was hardly the first hip-hop album to do this, but it was the first that I properly heard.

Raekwon’s debut had the benefit of the Wu still being something of the streets, thus their tales of criminology still had a degree of honesty to them. In the four years following it, however, the group had conquered the globe, and it just didn’t make sense to still rap about roughin’ it to get by. They were made-men now, so to take the concept of ‘criminology raps’ to the next level (not to mention distance themselves from all the copy-cats), Raekwon changed the concept of Wu-gambinos to reflect that. They’re at the top now (or very near it), and they have to protect what’s theirs from all the up-and-coming hustlers. Maybe even find a way out of the game altogether, if the opportunity arises. If Cuban Linx could be considered a Scarface tribute, then Immobilarity is Godfather.

That could have made for an incredible album, if not for weighty expectations holding it down: heads only wanting Cuban Linx, Pt. 2, and RZA’s absence in the producer’s chair. Instead, we get a slew of relatively unknowns (sans Pete Rock) using rather cheap-sounding drum kits coupled with loops of heavily synthesized Mediterranean music (especially Chris Spheeris). Maybe it’s my Italian heritage, but I love hearing these loops, perfectly complementing Raekwon’s crime stories, but I can understand why others would dismiss Immobilarity on these ground, at least back in the day.

Now that hindsight’s clued folks up that RZA wouldn’t be on every Wu release (and we did get Cuban Linx, Pt. 2), folks have since softened on this album. Problems remain that keep it from being a hidden gem in the Wu discography (too much filler in the end; the beats still lack), but Immobilarity’s a worthy pick-up if you prefer your hip-hop having sophistication and class.

Warren G - I Want It All

Restless Records: 1999

Though he arose from the same g-funk scene as Dr. Dre and Snoop Dogg, Warren G took quite a different path compared to his contemporaries. Rather than signing with Death Row Records like the rest of 'em, he took his talents elsewhere, hopping around labels as an independent artist and producer during his '90s run. The gambit paid off, establishing a strong solo career when he could have instead been lost among the Death Row stars (to say nothing about escaping the tribulations that came with being on Suge Knight's label). After a while, his former association with Long Beach faded from the public consciousness, despite having quite the hand in helping define the original g-funk style of music. He may have broke big with the Nate Dogg duet Regulate from the Above the Rim soundtrack (itself released on Death Row), but the biggest hit I recall him having was a take on I Shot The Sheriff in '97, a tune with ‘crossover appeal’ square in its sights.

Still, his former friendships endured even if Mr. Griffin The Third went elsewhere in the world of hip-hop. As the ‘90s drew to a close (and most of his old associates finally freed themselves of Suge Knight), it seemed all the original g-funk party crew were reconvening, collaborating with greater frequency. It was almost as if something big was going to happen, like a return to the glory days of Dr. Dre’s The Chronic. What could it be, mang? Oh, wait, we already know. Chronic 2001. Well shiiite, no wonder then.

I Want It All, Warren G’s third full-length, has collaborations galore, especially from his Long Beach days (or would that be... ‘daze’? Ahahaha! Haha! Ha. Er...Um, what was funny again?). Tha Dogg Pound’s here! RBX is here! Nate Dogg is here! Snoop Dogg’s here! In fact, the inclusion of both Snoop and Nate on Game Don’t Wait marked a proper reunion of the trio’s original group, 213, which existed even before they showed up on The Chronic. Small surprise it’s one of the best tunes on I Want It All, an easy, breezy, spliffy recollection on their music careers and where they may head (though they never properly released anything as 213 until a number of years after).

Most of this album’s like this - laid back and mellow, even for g-funk. Not much in the way of club bangers, ‘hood anthems, or r’n’b crossovers, yet still maintaining the ‘everyday is summer days’ vibes you’d expect of West Coast hip-hop. As for Warren G himself, he mostly steps back into the studio, letting his guests handle the lyrics (also included: Jermaine Dupri, Eve, Drag-On, Slick Rick, Memphis Bleek... holy Hell, I could go on). As Mr. Griffin The Third’s never been an exceptional rapper (similar to Snoop’s drawl, but with less playfully smug sneering), it’s just as well he lets his beats do the talking, as the music’s mint for recalling those warm sunny days you just want to cruise.

Banco de Gaia - I Love Baby Cheesy

Six Degrees Records: 1999

Windows Media Player has some odd organization. Ignoring articles in titles, that makes sense to me – who wants long strings of ‘the’s, ‘a’s, and ‘an’s? Yet here we are in the ‘I’s, and it regards the pronoun ‘I’ as its own entity, lining up all my albums starting with “I…”. On the other hand, it treats the word ‘is’ as lesser than ‘I’, as demonstrated when Khooman’s album Is A Flexible Liquid cropped up in the ‘F’s. All of this, of course, has nothing to do with the music on Banco de Gaia’s I Love Baby Cheesy. If you’ve actually been wondering how this alphabetical thing works though, here’s your answer, since there’s not much to discuss regarding this single, and I have to eat up self-imposed word count somehow.

Truth is, aside from one or two cases, Toby Marks' project doesn't translate well to the singles format. His albums generally are enjoyed as a whole, and the odd tune that does get plucked out for EP use often comes off weaker without the surrounding tracks as context. Still, DJs gotta DJ, and they'd much rather have a shorter piece of wax or disc without all the fuss of partial blends and multi-tracks.

I Love Baby Cheesy was the lead single off Magical Sounds Of Banco de Gaia (and the lead track, incidentally), marking a return to big, exuberant fun-time music from Marks after the relatively somber Big Men Cry. As a jump off point for that album, it's fantastic, the combination of funky rhythms, catchy nonsensical vocal samples, hooky synths, and dashes of world beat grabbing you by the lapels for a flailing good time on the dance floor or open field. It's about as light-hearted as you'll ever find Banco de Gaia (and if you don't believe me, gander at those goofs in the video). Shame the stupid Radio Edit on this single ruins all of that, but his Skippy Mix makes up for it (aside from a few cosmetic changes, it's the same as the album version).

Two remixers join in on the cheddar love, the first care of Dub Pistols, a group who broke out during the big beat era and are still kicking it today. Best way to describe their take on this tune is… ‘hard-step’ breaks? Whatever, it’s typical late-‘90s fodder, and mostly forgettable.

The second comes care of a chap going by Wayward Soul, offering two rubs here. Lord Discogs says this is actually Anthony Thorpe. *blink* Wait, original acid house Thorpe, he of Addis Posse, Moody Boys, and such? You sure of that, oh Lord? Huh, if so, that’s quite a coup on Marks’ part to snag him. His remixes are pretty cool too, the first (Electric Cheddar Remix) a dubby, tribal breaks thing, and the second (The Afro-European Remix) going deeper into the dub and tribal haze. Yeah, I can vibe to these. They’re definitely unique offerings within the Banco discography, even for those who are not completists. (*tugs at collar*)

Various - Human Traffic

FFRR: 1999

Movies properly capturing club culture are rare and often crap, but Human Traffic’s one of the few that got it close. Sure, it's a comedy, exaggerating all the highs and lows associated with “clubs, drugs, pubs, and parties”, and it only highlights one aspect of a global phenomenon – specifically the UK in the late '90s. Still, I can't think of another country that had as much sway within dance music as the Brits did at the turn of the century, what with so many self-important DJs, clubbing brands, and magazines exporting their narrative across the world. Even in the hinterlands of Canada, we were lapping it up. Groove may have been more realistic in the parties we actually went to, but we yearned to be a part of the Human Traffic ones.

Funnily enough, us far-flung Northwest Coasters almost never learned of the movie's existence. Quite by chance, I’d stumbled upon the soundtrack in a local shop, a double-disc of music featuring names and tunes I was familiar with. Upon realizing there was a whole picture associated with it, I special ordered the DVD to sate my curiosity over what sort of movie could have such mint music. It fast turned into a hit within my party crew, getting umpteen repeated plays almost every weekend as we showed it off to any and all (almost always while stoned). For most of 2001 (yes, we were really that late to the Human Traffic revelry), we would not stop quoting the damn thing, and I somehow suspect similar occurrences went down in other areas to the world who dug the flick.

But enough about the movie, how's the soundtrack? Pretty darn good, I'd say, though like its cinema counterpart, very much a product of its time. Almost all the big producers and genres of the late '90s are accounted for, plus nods to classic tracks of clubbing yore are included too. Interspersed throughout the discs are clips of dialogue from the movie itself (like I said, damn quotable!), often leading into music associated with those scenes (Orbital's Belfast after the Comedown Sermon, for instance; or William Orbit's Ogive after What Was I Talking About?).

The two-discs also separate the music between a DJ mix (handled by Pete Tong) for CD2 and a 'miscellaneous' CD1. For my money, the mix disc is most fun, running from garagey house through trance and finishing hard with techno – a proper clubbing disc. The first one features mostly broken beat music (trip hop, gangsta rap, downtempo, breaks, etc.) with a few ambient pieces added; in other words, where all the music that couldn't fit on the DJ mix ended up.

Whether fresh-faced ravers will find much of interest in Human Traffic, I'm not sure, as there's almost an entire generational gap from when this came out. On the other hand, there's yet to be another movie celebrating dance music hedonism as entertainingly as this one did, retaining a timeless quality to it. Nice one, bruv.

DJ John Kelley - High Desert Soundsystem

Moonshine Music: 1999

Back to Moontribe. Though the collective isn’t as prominent as it was back in the ‘90s, they recently celebrated a twentieth anniversary party. Right as the full moon passed us by, in fact. Holy cow, that was just a few days ago now! I swear I didn’t plan to get back to the desert party posse in such a timely fashion. Okay, they've had a couple ‘anniversary’ parties this year, but the Full Moon Gatherings were what made Moontribe so memorable, where many of their DJs became local legends for the hippie-leaning side of Californian rave culture.

Amongst the most prominent of these DJs was John Kelley. No, not the UK guy who played at superclubs - this is John Kelley, one of the earliest champions of the West Coast chemical breaks scene. His first pair of mixes for Moonshine, the FunkyDesertBreaks series, helped expose rising acidy goodness acts like Bassbin Twins and Friction & Spice to wider audiences, and also elevated Kelley’s status among the growing Moonshine roster of DJs.

Time forces changes within musical tastes, however, and ol’ John couldn’t keep peddling the same brand of breaks forever (especially since all those awesome chemical breaks had fallen by the wayside at the turn of the century – thanks, big beat and Florida). So when it came time for his fourth mix CD on Moonshine, there was nary a breakbeat to be found. Instead, we have… um, lots of other stuff?

High Desert Soundsystem (what’s with the lack of spaces for these Moontribe guys?) is very much a transitional set, in that you can hear Kelley working out kinks as he gets used to all the tribal, techno, and house he’s working into his programming. Almost as a crutch, there’s quite a few anthems in this tracklist, which I admit was darn cool to hear back when this was new. However, I’ve since heard tracks like Dave Randall’s Bombay, Jark Prongo’s Movin’ Through Your System, Jonesy’s Independence, and Krome’s The Real Jazz on several other CDs now, and ol’ John’s use of them fails to give them fresh context (except one instance). In a nutshell, this is the sort of set that sees lots of quick mixing in an effort to reach several peaks along the way, strong flow from beginning to end be damned. It’s not a terrible CD, but any tracklist that moves from Prongo’s stomper to the festive house vibes of Grant Phabao’s Tub to That bloody Zipper Track from DJ Dan (seriously, were all Moonshine DJs contractually obligated to use it?) can’t help but suffer.

I will give props to Kelley for his final run of tracks though. While using Independence as a climax is obvious, he follows it with some proper deep-tech vibes that eases the listener out with class. So good are the final two cuts, I almost entirely forget everything that preceded them. I’d love the set to continue from there, but then it wouldn’t be an ace finish, now would it.

DJ Brian - Hardesertrance3 - Son Of The Moon

Moonshine Music: 1999

And so he did. Erm, keep the hard-hitting tech-trance vibes going for the duration, I mean. DJ Brian, that is. For the follow-up, Hardesertrance3? Goodness, didn’t you read the previous review? What do you mean you’re in the future and stumbled upon this review by accident? Reading this blog in reverse chronological order, I can understand, as Blogger’s layout isn’t exactly conducive to continuity attempts. But from the literal future? That’s far out, man. Far out of space and time!

Okay, enough of that. Someone must have mentioned those plusses and minuses I brought up on Hardesertrance2, as DJ Brian’s jettisoned almost all progressive trance for this instalment. There’s Salt Tank’s Rezmorize near the end, getting you two progressive names for the price of one (if you don’t know why, please hand in your ‘progressive card’ to the lady at the exit), and that’s about it. For Hardesertrance3, Mr. Brian Golub starts out hard and trancey, and barely lets up.

As before, you get a goa-leaning opener, this time care of Human Movement’s Traveller’s Theme, and for a whopping ten minutes at that. Yeah, it’s one of those ‘journey’ tracks, but pretty cool nonetheless. Shortly after, it’s back to our good ol’ friend Oliver Lieb again, but this time under the one-off Snakeman guise, which he used to indulge himself with some proper tribal beats, and Medicine don’t disappoint, son.

And the hard techno keeps coming. Geezer’s Tickling The Trout is here, its raw, thumping acid goodness almost out of place for a set supposedly meant for the desert (harsh my vibe, yo). Even deeper into the tribal techno is Electronic Home Entertainment’s Traffic EP (yes, it’s called that), which mixes wonderfully into another vicious Lieb tech-trance beast, Quantensprung as S.O.L. – if you ever wanted more in The Black Album style, there’s your cut, my friends.

DJ Brian can’t help himself from pulling out an anthem though, but for once he’s ahead of the curve. Joshua Ryan’s bleepy, fist-pumper Pistolwhip was yet another inescapable trance hit, featured on tons of obvious track lists and compilations throughout 2000 and especially 2001 when the single was re-released on NuLife Recordings. This here Hardesertrance3 CD’s a ’99 offering though, the same year the original Pistolwhip came out on Fragrant Music. And according to Lord Discogs, this was the tune’s first major release. What I’m getting at in this long-about way is, even though Mr. Ryan’s hit was quickly played out by the end of 2001, I’m quite content hearing it on this CD due to these conditions. Okay, and the surrounding tracks are kick-ass as well.

So Hardesertrance3, an overall better set than the previous one, if you like your hard desert trance (techno) with a proper kick to it rather than all psychedelic and wibbly. Surely this is the direction of sound that will take this series to the next level, establishing it as a string of classic DJ mixes. Wait, this was the last one? Well, f-

Various - Global Underground 014: John Digweed - Hong Kong

Boxed: 1999

In a bizarre coincidence, John Digweed’s our next offering of Global Underground on the cheap. Funny, since he and Sasha were still intimately tied at the hip as far as the clubbing consciousness was concerned in '99, such that Boxed likely thought it'd be right jolly having the two DJs release separate editions of their DJ mix series one after the other. Of course, the prior GU to Digweed's Hong Kong was Sasha's ridiculously popular Ibiza, but I get to enjoy the same cheeky fun what with having just done San Francisco.

And why has this particular copy of GU014 made its way to the bargain bins? Well, the jewel case pivots are cracked, and, um... hmm. Gee, there’s nothing else wrong with it. Even the original cardboard sleeve’s still intact, surprising since it’s almost a given you’re not getting those from a resell. Maybe the previous owner ...just hated it?

But... this is a Digweed set from nineteen-ninety-f'n-nine, at the height of the man's clubbing clout. His Bedrock label had become firmly entrenched within the burgeoning prog market (when the term ‘prog’ wasn’t even a thing yet), Heaven Scent was an inescapable hit with critics and punters alike, and he'd even broke Hollywood with his cameo in the movie Groove (pft, Carl Cox did it better in Human Traffic). How could anyone not like GU014?

Well, that second disc is rather muddled in execution. While it’s obviously the ‘peak time’ CD, with tons of big names (Tilt! Breeder! Bedrock! Quivver! Hole In One?) and big tunes, it doesn’t flow like you’d expect a Digweed set to. Track selection and mixing isn’t the problem here, as they all go well together, but that sense of journey most progressive trance sets have is lacking, songs playing one after the other and little else. It’s rather like an anthem trance set in that regard, only this being Digweed, like hell you’ll hear anything the Crasher Kids would cream their pants over – even Heaven Scent is the subdued Evolution Mix.

Most likely, he’d grown bored of trance in general (almost all the old progressive jocks had by ’99), thus he focused more on CD1’s arrangement. This is the Digweed that came to define his sound of the new millennium: deep, dark, tribal progressive tech-house (oh hell, that’s convoluted; just call it prog). While a bit dull in the background, it’s ridiculously infectious and absorbing once you’re locked into it. Hooks reveal themselves in patient, due time, making the peaks that much more rewarding. It’s music that forces the DJ to work harder to keep the listener’s attention, with teases, mixing, and phrasing that coaxes out a track’s full potential, and Digweed pulls off the challenge expertly here.

GU014 isn’t the best pair of mixes you’ll find in ol’ John’s discography, as his transitional period is apparent while listening to it. It’s still a solid Global Underground offering though, and a worthy companion piece to Sasha’s Ibiza, assuming that was Boxed’s intent.

Various - Goa Trance - Psychedelic Flashbacks 2

Rumour Records: 1999

That Psychedelic Flashbacks box set must have been reasonably successful for Rumour Records, as there couldn’t have been any other point in them releasing another volume of it (much less dropping ‘Goa’ from the title, and carrying on with four more afterwards). How could they even manage it though, when they barely scrapped together enough material from the first seven editions of the main series?

Remember that Jake Stephenson guy? Yep, he’s all over this collection – well, the first disc anyway. And if you can fool costumers they’re getting a bargain with so many unique, exclusive names once, why not do it again and again? The result is a different producer on each CD, all operating under numerous aliases, a ‘gimmick’ the series would continue peddling to the very end. Goodness, even Beechwood wasn’t this overt in their antics. Still, it’s too easy to rip into this sucker based on that knowledge alone, thus I’m taking the high-road here, and pretending each disc is a separate artist ‘album’ (since each producer retains distinctive aesthetics, they pretty much are).

So Stephenson's gets the first CD, and he carries on with the same 'wall of sound' style he used before, again a unique approach to goa, but tedious to endure if the loops used aren't all that interesting. His downtempo efforts are better, but if the Super Skunk stylee didn't work for you before, it likely won't here.

Faring better is Dave Hendry on CD2. Dare I say it, but this disc could have been a proper artist album. Despite the production coming off dated (even by '99 standards), his ideas and arrangements are sound, with enough variety between tranced-out groovers, bubbly psy-dub floaters, and acid freak-outs to satisfy goa heads with at least some aesthetic leniency. Seriously, Rumour, why didn't you release this as a regular album? Did Hendry even agree to have his tunes treated like this?

Much of the same can be said for Mr. CD3 chap, Phil Merrall. His sound is lighter, a little goofier at times, and very mid-rangey, if that’s any way to describe goa trance. Again, these tunes have some good ideas in them, even a few memorable hooks and amusing use of samples, but still under-produced for the year this was released. Merrall’s efforts make me think of Eat Static demos, not necessarily a bad thing given how ace that act’s material typically is.

Bringing up the rear is Dalisto Sajiawandani, which Lord Discogs lists as his only credit. His stuff’s woefully under-produced and forgettable, though some of his piano anthems are charming in their own right.

I can’t give Psychedelic Flashbacks 2 much of a recommendation, as the whole package just reeks of dodgy marketing on Rumour’s part. Should you stumble upon it though, it’s not quite as bad as you’d expect, as at least Hendry and Merrall offer agreeable tunes. Whether they continued to do so in the later editions, I haven’t a clue, as I’m done with this series.

Rascalz - Global Warning

BMG Music Canada: 1999

Every few years, the Canadian media jumps on some home-grown hip-hop act as our country's ambassador for that scene. So long as that one act is at the top, nearly every other one is seemingly forgotten about. Currently that title is owned by Drake, but this phenomenon stretches back at least two decades. The earliest I can recall receiving the MuchMusic push was Dream Warriors, who were then supplanted by Choclair as the Most Important Canadian Rapper. Rascalz soon followed him on the success of their second album Cash Crop (not to mention a Juno Award they famously snubbed), but their time in the spotlight was swiftly usurped by Swollen Members. The media finally gave K-OS a bump once folks grew tired of Swollen Members, and now we're with Drake. *Phew*... did I miss anyone?

As for these Rascalz, they'd been around since the early '90s, existing as a complete 'Four Pillars Of Hip-Hop' contingent based out of Vancouver. As such, it's no wonder it took so long for folks outside the Lower Mainland to notice, their strengths often lying within the live scene (sure can't capture breakin' and graffiti on a CD). Their talents couldn't be kept hidden forever though (especially when Canadian media's always dying for that next Great Rap Hope), and after the collaborative hit Northern Touch (which included Choclair and Kardinal Offishall) got them all the plaudits, anticipation was high for their follow-up album, Global Warning.

And why not? With their new found fame, they also had new found funds, able to bring in guest collaborations and slick production while remaining true to their underground roots. KRS-One! Barrington Levy! All those Canadian rappers too! Heck, even French rappers Consice and Sazon show up – how Canadian is that? Pre-fame comedian Russell Peters also gets a couple appearances with skits, and final track Sharpshooter samples Bret “The Hitman” Hart. Oh my God, I’m gonna Canadagasm!

Guests aside, the music on hand maintains mostly an Eastcoast conscious flavour (well, aside from that Beatnuts collaboration Can’t Relate, their stock gangterisms sounding totally out of place following the smart raps of Priceless). DJ Kemo handles most of the music, but rappers Misfit and Red 1 get time in the producer’s chair too. As Misfit and Red 1 share a strong dynamic between the former’s regular flow and the latter’s dancehall toasting, the music also plays to their strengths. Reggae jams, minimalistic funk (hello, Wu-Tang influence), boom-bap, all mint for those who crave their hip-hop underground and streetwise, not thugged out.

Whoops, maybe that’s why Global Warning didn’t perform as great as expected. Conscious hip-hop was still firmly in the underground, and despite strong singles in Top Of The World and Gunnfinga, not to mention the ridiculous amount of Canadian promotion, folks soon forgot about Rascalz’ efforts (to be fair, Dr. Dre’s resurgence that year overshadowed nearly all of hip-hop). While I wouldn’t call this album a lost classic, it’s held strong after all these years, as only timeless underground hip-hop can.

Nine Inch Nails - The Fragile

Nothing Records: 1999

This doesn't feel right. For those singles, sure, no problem. Remix EPs? Ain't no thang. Even a critically hailed album in The Downward Spiral? Relatively straight-forward, as I'd heard most of the big tunes off that one at one time or another, not to mention all the positive press its received several years after-the-fact made it easy figuring out what to expect and enjoy.

The Fragile is an entirely different case though. As Trent Reznor's third proper Nine Inch Nails album, an absurd amount of expectation was weighed upon it. Not only were folks wondering if he’d maintain his creative momentum, but might he even rescue industrial-rock from the doldrums the genre was suffering? Let’s be honest here: that scene had turned passé as nu-metal’d risen to prominence in the late ‘90s, nor was it done any favours by goofball hits like Rob Zombie’s Dragula. If ever there was a time to re-establish industrial within the public conscious as music with creative ingenuity and passion, that time was now (er, then).

Since all most remember from alternative rock at the turn of the century are bands like Limp Bizkit and Creed, it’s safe to say The Fragile failed to make the impact many hoped it could. To be fair to Reznor though, he may never have intended the album to generate such acclaim. It’s always a dubious endeavour for rock musicians to attempt the double-LP, critics ready to pounce with claims of hubris overshadowing talent. Still, Reznor had built up a decade’s worth of good will, thus The Fragile garnered plaudits for ambition, if not sales numbers.

So here's my conundrum: this album's been regarded as something of an 'art rock' experience, one that won't reveal itself with immediate catchiness, but with subtleties to be enjoyed after repeated listens - and I'm sure I will after a few more plays; hard, thrashing rock and oozing, ambient experimentation definitely makes this one enjoyed in a proper play-through. Unfortunately, due to my ridiculous self-imposed constraints, I don't get repeated plays to provide an in-depth analysis of The Fragile, merely what a couple quick listens offer mere days after I've removed the shrink-wrap. So... essentially how most enjoyed the album that first week it hit the streets.

And...? It's a good album, with subtleties I'll enjoy after repeated listen, but lacking those instantly memorable tunes one could still expect on a Nine Inch Nails release. No Closer, Wish, even Perfect Drug (the stop-gap single released a couple years prior). For sure, good songs abound on The Fragile, but they feel more as a part of a greater whole, whereas tunes off The Downward Spiral could stand alone just as well.

Yes indeed, it’s unfair that I must write a review of The Fragile without ample time to properly digest its contents. Oh well, I’m sure there’s exhaustively in-depth reviews of it floating out in interwebland. I’ll just leave off with the confirmation that, yes, it’s a worthy addition to the Nine Inch Nails legacy.

Gang Starr - Full Clip:A Decade Of Gang Starr

Virgin Records America, Inc: 1999

This double-disc collection of Gang Starr material opens with a live ‘rest in peace’ call-and-response recording for the then-recently deceased rapper Big L, a once rising star in the New York scene. Though Full Clip was released over ten years prior to Guru’s own death, I have to say it’s somewhat eerie hearing such a shout-out in the here and now. Like, as though the specter of death continued to lurk in the shadows. Waiting... Waiting...

Anyhow.

Gang Starr was comprised of producer DJ Premier and emcee Guru, and were one of the longest-running successful acts within hip-hop that comprised of just those two elements, neither overshadowing the other. Often it’s the microphone handlers that get all the attention; or a DJ will strike out on his own to become a top-grade turntablist; or the producer’s craft behind the mixing boards turns him into a hot commodity within the scene at large. Gang Starr was all of this, a remarkable feat considering all the factors that should have held them back beyond their Golden Era breakout. The whole ‘DJ and MC’ dynamic was a bygone relic of the ‘80s, overrun by the emergent gangsta scene, yet somehow they kept going when many of their peers fell by the wayside. Did folks mistake them for a gangsta act as well, what with a name like Gang Starr? D’oh, of course not. It was all about respect.

First off, Guru’s smoky style of rap was as smooth as beatnik flow. He had no need for aggressive shouting or profanity-laced lyrics; his words are sharp and to the point. Whether taking other MCs to task, telling street life tales, or giving shout-outs to jazz, he comes across as a wise elder, someone you best pay attention to when he speaks, as you’ll undoubtedly learn something after. If only DJ Premier wasn’t always making such fine beats, I wouldn’t be accidentally zoning him out so frequently.

Therein lay Gang Starr’s other weapon: DJ Premier’s impeccable sense of sampling. While he likely wasn’t the first to pilfer jazz and funk records of New York City’s past, he definitely became synonymous with the sound, almost single-handily dictating how underground eastcoast hip-hop would sound for the ensuing decade. If you weren't lucky enough to get Premier's touch on your track, chances were you'd end up style-biting the smooth, jazz-loop form for credibility.

Or perhaps all that is just the impression this Full Clip two-CD retrospective wants to impart. I'll admit I haven't delved into Gang Starr's proper albums, in part because this one provides almost all that you could want from the duo in a nice, tidy package. Their classics are accounted for (Words I Manifest, Militia, Rep, Steez ...plenty more!), plus assorted guest spots and rare one-offs make this more comprehensive than the Mass Appeal best-of released in 2006. Of course, Gang Starr’s style, with their unapologetic old-school approach to hip-hop, may not be for everyone. Like, those who figure trap-rap the height of sophistication.

Various - Freebass Breakz & Sub Funk Beats

Shadow Records: 1999

First, apologies for the crummy image at left. The only one I could find online was too small to use, thus I resorted to taking a photo with my phone. I’ve reviewed obscure stuff before, but always found a decent cover pic' (sometimes uploaded to Lord Discogs myself back when I had access to a scanner …maybe I should get one?). I know this CD isn’t terribly well-known, but surely something from Shadow Records wouldn’t be this obscure.

Yes, in a total coincidence, we’re dealing with another release from Instinct’s sub-label. Hey, they released a ton of music during their run, and believe you me we'll be dealing with more of their output down the road – they were very affordable CDs, after all. Still, Shadow's hit-to-miss ratio varied wildly, and this particular mix with the ghetto title Freebass Breakz & Sub Funk Beats is definitely a miss.

Well, not a full-on miss. More like hitting the border of the target, if you were after the hottest offering in breaks of the late '90s. Progressive, Florida, big beat, and even the burgeoning nu-skool was what folks wanted, and Freebass Breakz only sparingly has that. Instead, we're dealing with proper street-funk breaks and ...um, space breaks? I'm not sure what to call it, as it doesn't really fall into any conventional genre of that scene.

Before that though, let’s deal with some straight-up, dirty acid funk! Aw yeah, Chester Rockwell’s Alice In Wonder’s a fine way to kick things off, and following it up with a couple big beat jams is mint as well - Crossfader Dominator from Sniper is good fun, and a shame it ends so quickly. In fact, the entire opening bit is over in but seven minutes, which wouldn’t be so bad if this was a set featuring plenty of quick mixes but that’s not the case. The next cut runs nearly eight minutes long, with plenty more after that of significant length.

Then there’s that abrupt transition. Narco Dogs’ Breakbeat On Mars is such a sudden turn in tone, it may as well be an entirely different CD. This is where that ‘space breaks’ thing comes in, and though General Midi’s Outa Orbit leans more nu-skool than the others, many of these tunes seem to pilfer old school trance hooks to complement their sub-bass rhythms (though with the ’98 remix of Total Confusion, I can see why, what with borrowing elements from the original 1990 Heavenly Mix, almost a proto-trance cut itself). Unfortunately, a lot of this sounds muddy, and by the time we get back to regular big beat action near the end of the mix, most of that initial momentum’s been lost.

Still, despite a wonky track list and average-at-best mixing from Brock Landers, Freebass Breakz is an interesting listen. I honestly can’t say I’ve heard many breaks sets that sound like it, which probably was the reason I picked it up so long ago. Better than another damn DJ Icey CD anyway.

Zenith - Flowers Of Intelligence

The Music Cartel: 1999

It almost seems like an accident. After a few years making acid techno and trance under various guises for various labels, Federico Franchi brought his Zenith moniker over to IST Records, they of the kick-ass mushroom logo. A sub-label of American hardcore outlet Industrial Strength Records, it made sense for Mr. Franchi to follow suit in what he offered them. The ensuing EP, titled The Flowers Of Intelligence, suddenly became an instant classic within hardcore circles, and the vinyl it was pressed upon a highly sought after piece of hardware for any discerning IST follower and bosh-head. The reason for this, as far as I can tell, is due to the melodies employed within the tracks, spritely counterpoints to the abrasive acid and thudding kicks in a genre that shuns any and all moments of melancholy. Okay, it’s essentially the same sort of thing that Aphex Twin was doing when he started on his ‘drill’n’bass’ style, but for the hardcore scene, Zenith’s music was fresh and unique.

Fair enough, but this curious tale doesn’t end with a much-beloved piece of rare-ish vinyl. A few years after that EP’s release, demand was high enough to warrant a proper album release. But IST don’t do CDs, mang. Enter The Music Cartel, a label more known for trippy, stoner rock and metal than anything electronic orientated. They did dabble in industrial music though, and Zenith’s work suggested an influence from that scene’s noisy, coarse aesthetics. Good enough for a proper release on their label, so the Flowers Of Intelligence was brought on over, with various other unreleased tracks in Mr. Franchi's backlog rounding things out to proper long-player length.

The result we have is an interesting mix of gabber beats, touching melody, and rough mastering. It's hard to tell whether the low-fi quality of this music was intentional or not; again, maybe a happy accident. Part of the appeal in the industrial aesthetic is how it takes conventional music and warps it into a parody of itself. Enjoy thundering 909s? Now they're diluted to such a point you feel their intent, but not their power. Haunting winds and mournful synths are abstracted such that they turn into something mysterious and puzzling. It's these attributes that gives Flowers Of Intelligence a degree of class you'd never find in regular hardcore circles, and wound up getting Zenith noticed by the IDM crowds. Say, he makes some interesting stuff, kinda in a retro-Warp sort of way. What else has he made- oh my God! What’s this hardstyle nonsense?

Flowers Of Intelligence isn’t likely to blow anyone away who’s digested the entire works of Richard D. James, as Zenith’s song craft primarily relies on extended loops fed through effects. They are catchy loops though, especially so if you enjoy crunchy acid or trancey hooks. Hell, the tunes are worth a look-see just to find out why they were so highly sought after back in the day. It’s definitely a cut above your typical hardcore schlock.

The Irresistible Force - Fish Dances (Original TC Review)

Ninja Tune: 1999

(2013 Update:
I feel like an idiot for not realizing this at the time, but Mixmaster Morris had done a remix of Coldcut's classic Autumn Leaves way back, which became something of a classic in itself. Well no wonder Ninja Tune invited him over to join their roster after the Force left Rising High. There's also some ropey info in this old review regarding the state of chill rooms. While it's true most of them had died out at regular parties, they've persisted in the psy scene, where Morris still occasionally plays out in. Erm, yeah, I've no excuse for that oversight on my part.

I should also mention there are two versions of Fish Dances out there, the other having an additional two remixes from Fila Brazilia and DJ Food. Just my luck I'd end up with the short one.)


IN BRIEF: A final dance from the Force.

Changing trends can be cruel. Mixmaster Morris, once a fixture in the chill scene, seems all but forgotten now. How could an individual whose star was as bright as The Orb’s disappear from the public eye? As with all things in musicdom, the answer is a change of tastes.

Morris’ brand of mellow, trippy ambience was a lovely soundtrack to many a backroom when rave parties were mostly an underground vibe; it wouldn’t be uncommon to see hippies and candy kids lounging together as the lengthy Force track Flying High pleasantly noodled out of speakers. Once club culture invaded the chill rooms though, most of Morris’ fans were shooed away. And when Moby’s Play blasted all traces of druggy connotations out of chill rooms with its bankable MOR tones, the old ambient masters’ fates were sealed: downtempo music was no longer the refuge for ravers, but rather their mothers.

Actually, that’s not entirely accurate. We mustn’t forget the influence Ninja Tune’s brand of trip-hop was having on folks. While they wouldn’t see the kind of commercial success reserved for Moby and co., their critical praise continued undaunted while psychedelic styles were regarded as old-hat.

Perhaps this is why Morris ended up on the label. On Ninja Tune, he could continue to produce his kind of music without either selling himself out or being lost in the backwaters of tiny labels still making lovely mushroom music. It may not have worked out as intended though, as Morris’ music was too psychedelic for even the open-minded Ninja Tune faithful, whom prefer their reefer above all else. The album It’s Tomorrow Already was the last produced with the Irresistible Force alias, and Morris has scarcely been heard from since. Does this mean the material on that release was bad? Oh hell no. As is evidenced by this final single Fish Dances, the Irresistible one was in as fine of form as ever.

The two cuts produced by Morris himself - the remix of Power and an instrumental of the titular track - contain all his trademark tricks in abundance: dreamy melodies; trippy atmospherics; bubbly drumming; floaty vibes; and, as always, a strict adherence to loose music. This last attribute has often caused Morris to lose potential listeners; for those who enjoy structured music with definite hooks, his free-for-all approach can leave many confused despite the lovely textures heard. And, as is usually the case with such music, it can go on for tedious amounts of time with go-nowhere sections. Fortunately, these two cuts show enough restraint so you don’t tire of anything looping on you.

An eclectic assortment of producers are on hand to lend their talents in remixing tracks from the album as well. Nepalese Bliss, the other single from It’s Tomorrow Already, gets a dubby trip-hop work-over from Jimpster; his blend of jazzy vibes with Morris’ floaty melodies are a wonderful combination. Meanwhile, Frédéric Galliano treats Fish Dances to a brisk acid jazz workout on the percussion end before bringing in the original’s dreamy synths to end out on a smooth bit of chill. Positively delish’.

The remixes by Voda (on Playing Around With Sound) and Plaid makes for an interesting contrast to the rest of this single’s material. Paranoia drips from Voda’s go, with eerie, choking sound effects and skittery spoken dialogue that is rendered nearly unintelligible; all the while, grimy trip-hop rhythms clump along. But if Voda’s remix is paranoid, then Plaid’s remix is downright schizophrenic: it starts with similar eerie effects while anxious melodies flow in the background. Eventually though, it settles into an easy electro rhythm before ending off in a pleasant, light-hearted tone.

It’s a shame Morris never had a chance to continue working with Ninja Tune, as his style does bring an already strong label added depth in the blissy chill categories. However, ‘twas not to be, and the Irresistible one’s output has been scarce since (you can find fresh material online though, should you be interested). All in all, if you’ve never cared for Morris’ early material, then perhaps this single will offer you a chance to reconsider. You still have vintage Irresistible Force tracks here, but the variety and skill of the remixes adds to Fish Dances’ worthiness if you’re in the market for non-MOR chill.