Various - Groove Armada: The Dirty House Session

Muzik Magazine: 2002

Most of the free CDs music magazines gave out often had some sort of article tie-in: year-end retrospectives, hot new genre exposes, etc. I'm at a loss as to why Muzik tapped Groove Armada for a mix CD though. The duo was between albums, and their commercial clout had significantly dwindled in the time since Vertigo, only Superstylin’ having made any kind of impact in the interim that I can remember (were they still a big deal in the UK?). Muzik itself had seen a revamp on the issue this CD came with, but nothing hints at celebrating that accomplishment here. Even the cover’s all about The Chemical Brothers, nothing to do with a ‘dirty house’ session from the London boys. Really, the only thing I remember from the April 2002 print was Muzik’s panning of Boards Of Canada’s Geogaddi - the sheer audacity of even going there, mang! Incidentally, they also gave “tulip trancemaster” Tiësto’s debut In My Memory the same score; Boards and Tijs, on the same level? Scandalous.

Alright, I’m getting bogged down in that back issue. I need to stop that, but unfortunately The Dirty House Session isn’t terribly interesting, even as a freebie. Whatever the reason behind Muzik calling up Andy Cocup and Tom Findlay for a mix CD, the duo didn't put much effort into it.

Assembled in a day, it's primarily a collection of tribal funk house, the sort of thing they claim one might hear were you to catch them at a club. Ugh, not with that kind of mixing, I wouldn't. This is Oakenfold levels of beatmatching, in that sometimes there's none at all. Might it be that they figured that's just what their audience expected of them? They'd already released a DJ mix prior to this one for Back To Mine, and were due to release one for the AnotherLateNight series as well; both tend to have chill, laid-back, mixtape vibes going for them.

Whatever. It’s not that bad. So what if the minimalistic funk-breaks of Duji’s Be Careful What You Say abruptly ends, going into the ambient ‘sleepy Ibiza mix’ of Planet Funk’s Inside All The People? Yeah, that’s a silly thing to do for your very first mix, but the tunes are fine at least.

Yes, tunes. As said, tribal and funk jams are the name of Groove Armada’s game, and though the mixing’s pants for the most part, I still vibe fine on Essa’s dubby Africans In Space (it’s like if Sandoz did house!), or a shufflin’ groove remix of Armada’s own Superstylin’. This is ‘dirty house’ though? Fine, electro house was still in its infancy, not even really a thing yet (Satisfaction only came out that same year). Folks weaned on sleazy, trashy house music that came to dominate the term ‘dirty house’ will find a decided lack of it here. No, this is all about shakin’ those hips and ass, girl. What else can you expect from a loopy funky house track called Rumpfunk?

Various - Fahrenheit Project - Part Three

Ultimae Records: 2002/2008

Let’s get something out in the open: Ultimae ain’t perfect. They’re very good at what they do, great even, but sometimes they slip. For instance, you know the little incense stick included with your orders? Well, they sent Lavender Bliss in one of mine, and dammit, I was countin’ on Summer Rain. Fail!

Okay, I’m being silly there, but yes, not everything they release is gold. Though I’ve never come across an Ultimae CD that’s anything less than bronze, when a label maintains such a high level of quality, even ‘just okay’ can be disappointing. Credit due where it’s deserved though, as their first year of operation saw a string of strong releases in the first two Fahrenheit Projects, plus the debuts of Asura and Solar Fields. To kick off the following year, they released Part 3 of their flagship series, and it’s… well, not as good as the first two.

The trouble lies with one of the few critiques one could find in Ultimae as a whole: their roster has a tendency to sound all alike, indistinguishable from each other. To be fair, this is a complaint one can make for nearly any smallish label, in that cultivating talent with shared musical aesthetics is standard business practice. The first two Fahrenheits got around this potential hiccup by bringing in established acts to spice up the musical variety. Now that Ultimae had gathered a respectable roster of their own, however, they gave their homegrown talent most of the spotlight for Fahrenheit 3. It unfortunately renders much of the CD down to a pleasant-but-mushy gloop of psy-chill music indistinguishable one artist from the next. Even after playing it just now - maybe the third or fourth time since I got the whole Fahrenheit package - I still have trouble remembering much of significance.

As if to drive the point home, the first track that always sticks in my mind comes from one of the non-Ultimae posse, Nabab by Toirés (who’d also cropped up on Fahrenheit 1). It’s a fairly standard bit of Indian-flavoured world beat, but oh such a respite from everything else. Mystical Sun also contributes with Blue Magnetic Ocean, a tune that’s far more uptempo for the chap’s style.

Another thing of note with this compilation is the debuts of Carbon Based Lifeforms and Ultimae ‘supergroup’ H.U.V.A. Network. CBL actually had an MP3.com release a couple years prior, but with a proper label behind them now, the duo makes good on their opportunity with a lovely slice of ambient techno in MOS 6581, plus a chill-out closer with Metrosat 4. As for the Aes Dana/Solar Fields collab’, it’s suitably cinematic given the players involved, but one suspects they’re capable of better.

That, along with another solo outing from Aes Dana, plus two more from Solar Fields, is likely why so much of Fahrenheit 3 sounds interchangeable. It’s not a deal breaker, but if ranking the series, Part 3 takes up the rear. Oh well, one of them had to.

Various - Elemental Chill Vol. 4: Water

Kriztal Entertainment: 2002

The fourth and last of this series, for what it’s worth. Poor Water, getting the shaft. Okay, so it’s technically due to astrological order, but what did the liquid element do to deserve that status? Plus, why stop there? What about the fifth element, heart and love? Kriztal could have kept the series going for another volume, and when it came time to release the box set of Elemental Chill, it could come in a spiffy Captain Kriztal package, saving the planet from ultimate evil! Wait, is that how this works? Damn you, ‘90s!

Anyhow, we’ve come to the end of this series, all the loose ends neatly tied up. What about those covers? The title band keeps moving, you say? Ah, that’s due to the unique packaging these CDs come in. Graphic designer Karlsson Wilker was responsible for them, lending a simplistic digital style to the covers and digipak interiors. Included with the elemental illustration on the front were animal ones inside, though I think the Fire ‘animal’ is a devil. The CDs also come with a cardboard band which you can slip on and off; or, if you’re stupid like I was, throw away because you figure they’re nothing but needless packaging. Still, I haven’t seen anything quite like it before, and was fortunate enough to find enough images that showcase this packaging feature.

Right, back to music. I've had these Elemental Chill discs for nearly a decade now, and while the themes for the first three volumes were easy to figure out, I'm still at a loss on how the tunes on Vol. 4 are aquatic. The overriding tone is of mild funk, but when I think funk, I think Earth. There's liquid funk, I guess, but even if the chill out camps tried to co-opt the term for them, it's still not a good descriptor for the music here. Nothing here reminds me of water.

Correction: nothing specifically reminds me of water, but how it effects the other elements does. It’s like it puts a damper (hurr, hurr) on the Latin vibes of Fire, weighs down the light bliss of Air, and softens the solid funk of Earth. As a result, the music on Water isn't as interesting as the prior volumes. Even assuming one didn't listen to these in numerical order, it lacks the spark to draw you in. There's little DJing occurring, almost no flow between tracks, and a tepid vibe permeates everything. Even the track list is shorter than the other volumes. I can only recall two tracks off this, and The Funky Lowlifes’ Nota Bossa doesn’t count as I’d already heard it lead off a Quango compilation called Cosmic Funk (say, why did I pass that one anyway?).

Thus, a whimper of an end to the Elemental Chill series. Seems a shame, as the others had enough class to warrant a look if you’re curious. Like the band Earth, Wind & Fire, though, you won’t miss much by the lack of Water.

Various - Elemental Chill Vol. 3: Air

Kriztal Entertainment: 2002

My two favorite tracks of the whole series are here, for what it’s worth. Allow me to detail what makes them so great.

The first track is by Quantic, titled Time Is The Enemy. The man behind this tune is William Holland, a producer kicking out jams to this day, though this was from his first album. As a result, there's a degree of simplicity going on here, and it's brilliant - rugged trip-hop beats coupled with light, dreamy piano work (samples?), making me sway to the vibe as I hold a lighter in the air. Following that is Röyksopp’s So Easy, which I’m sure anyone familiar with the duo should know of. Of course, Eple and Poor Leno went on to be the bigger hits from Melody A.M, but this was the one they released as a single before signing to Wall Of Sound. With its irresistible bouncy rhythm and ear-worm of a vocal hook, it’s small wonder the label snatched these guys up, and rather remarkable Kriztal got the rights to such a big name for Volume 3 of their Elemental Chill series.

Funny enough, they're the (almost) last tracks, as though DJ DRM realized the best offerings couldn't come earlier lest the rest of the CD get skipped. Nah, just kidding, there's good stuff here, moving on from the dirt as we set adrift in the clouds. Air being our theme, the music is much lighter in tone, spacious and calm like a cool breeze. Vol. 3 is about as Balearic as this series gets.

Had I not bought all four volumes, this would likely have been the blind purchase, in part because I did recognize Röyksopp, plus Fila Brazillia and another chap by the name of Sven van Hees. I got into him quite by accident during my AudioGalaxy days, so seeing his Breakfast With Abductees on Air assured me I was in good hands. It may not be his best tune, but in definitely fits the tone of this CD (he also appeared on Earth, I should note).

As with the other volumes, Air’s track selection remains about as diverse as one can get within the thematic constraints. Spooky Monkey’s Dream Of A Place edges quite close to the realms of ambient dub. Fila Brazillia’s remix of Euphoria’s Delirium finds its footing in light space-funk. E.D. Swankz’s Slapping Detectives is all over the place, at times sounding like a David Lynch series theme, other times borrowing aesthetics from IDM’s banks. And of course the usual acid jazz, lounge, and chill tunes as well.

How’s the mixing on this one, then? It doesn’t flow quite as smoothly as Earth did, but this set’s more about individual tunes anyway, so abrupt transitions aren’t as big a deal. There’s still the odd key clash and forced mix, but very little in the way of whiplash. It is about the first time I can call one of these Elemental Chill CDs proper chill.

Various - Elemental Chill Vol. 2: Earth

Kriztal Entertainment

My favourite edition of the Elemental Chill series, for what it's worth. Whereas Fire's rhythms had hip-shaking goodness going for it, Earth gets lower in the groove, encouraging a little funky footwork should you be so inclined (or a little shoulder shuffle if you're currently inert). Of course, it will always boil down to personal preference, but this white boy enjoys the funk more than the calypso.

Wait, isn't this supposed to be a chill out series? What’s with all this talk of dancing and body movement? Oh, there are calmer moments for sure, but for the time being Kriztal’s showcasing the, erm, uptempo side of downtempo.

In Earth’s case, it’s the meeting point between acid jazz and deep house - livelier than the former, but a decided lack of typical 4/4 beats in the latter. In fact, only a couple tracks on this compilation aren’t of a broken beat origin. First is Pleb’s Shadow Of A Bee, and it makes ample use of dub effects that keep it well outside the boundaries of what folks would think constitutes deep house (so too would the calm flamenco guitar work). Following that is Sunday Brunch’s Honhung, offering jazzy tones found in a lot of traditional deep house, but it still makes more sense heard on an Ibizan terrace than a Chicago lounge.

And that right there is why Vol. 2 remains in the chill out camps: laid back Mediterranean melodies and Balearic atmosphere. Still, as with the previous volume, there are occasional tracks that keep the tone from growing stale. Desmond Williams’ Cadence is incredibly dub-funky, sounding like a Ninja Tune transplant. Saxophonist Praful uses sweeping string samples in Sigh, making his cut seem more appropriate in a French film (an even funnier thought considering he’s German). Enjoy a little Indian funk? Here’s Nicola Conte’s Missione a Bombay for ya’, with more sitars, tablas, and trumpets than you can handle. And for a little trip-hop flavour, there’s The Big Knife’s Mrs. Castle.

Uh oh. Variety. That means clashing styles again, doesn’t it. And that means another wonky DJ mix, doesn’t it. Well, yeah, it does. Fortunately, things aren’t as bad as they were in Fire. Even during some of the rougher transitions, flow is mostly maintained for significant stretches. Instead of awkwardly forcing tracks together, DJ DRM allows them to play out into a quick crossfade, where momentum isn’t lost even if the tempo suddenly slows.

All these factors help Earth stand tall amongst the other Elemental Chill editions. If you do happen across all four but only want one, this is my recommendation. You may not be so fortunate as to get a bulk discount on them as I was.

Huh, if that’s that, what else is there left to say about this series? No, I can do this. After all, I got through that electro collection intact ...I think.

Various - Elemental Chill Vol. 1: Fire

Kriztal Entertainment: 2002

I feel fortunate I haven’t covered a lengthy DJ Mix/compilation series yet. It grows tiresome finding fresh things to talk about when there isn’t much difference from CD to CD, the most popular ones typically sticking to successful formulas (note: DJ-Kicks is an exception because, hot damn, is it ever all over the place!). Imagine if I’d kept all those euro dance discs from the 90s: Dance Mix, Club Cutz, DJ Line… we might still be stuck in the ‘D’s. Fortunately, most of those found new homes in used shops or met their demise in microwaves (always a fun party trick).

There are a few series I’ve collected many, if not all, editions of, this here Elemental Chill being one such. I actually hadn’t planned on it, figuring to buy just one when I saw them sitting in a CD Universe mall outlet but unsure which one to go for. The shop gal suggested getting them all, as she’d then give me a bulk discount on the package (like HMV’s old ‘buy ten, get one free’ deal). Sure, why not, these look decent enough that I can splurge on the whole set.

All four editions of Elemental Chill were released at the same time, which isn’t a bad idea when you’re launching a label as Kriztal was here. Chill music was quite popular at the turn of the century, so there were plenty of established labels already cornering the market, but these had enough of a gimmick to grab attention - jazzy, Latin-flavored, downtempo tunes, each CD centered on an elemental theme.

First in the series is Fire. As far as I can tell, this means jazzy, Latin-flavored, downtempo tunes that tend to urge a bit of hip shaking action. Not that chill, come to think of it, but whatever; a series needs some diversity throughout. Examples: Mikael Delta brings a little deep Balearic house vibe with Diving; something that could loosely be described as ‘salsa d’n’b’ comes care of Brazilian trio DJ Marky, DJ Patife & ESOM; Herbaliser does his smokey acid jazz thing in a remix of Jaffa’s Elevator.

So some nice tunes all around, but there’s a glaring problem here, and it’s unfortunately one throughout the series: they’re presented as DJ mixes that are horribly wonky. DJ DRM (Aaron Schultz) was given the duty, and whether he was forced into using tracks that simply didn’t work together or didn’t have the time to make the mixes better, I don’t know. Occasionally a string of tunes hint at proper set momentum, but most transitions are abrupt, styles clashing as flow is flung out the window over and over. If you can’t get all your selected tunes to mix smoothy, don’t bloody force it. How can I expect to get my chill on if I’m constantly turning heads and raising eyebrows over the DJing? Oh well, maybe it was just a flub in the first inning. Will it get better in later editions? (spoiler: eh…)

FPU - Crockett's Theme / Ocean Drive

Turbo: 2002

Pads have long been one of my favorite components of electronic music, but I’d be hard pressed to provide a Top 10 example, as they’re so ubiquitous in the genre, dating back even to its earliest forms. On a personal point though, Peter Benisch’s use of them in Crockett’s Theme easily makes the list. Their beauty lies in their simplicity, prominent and enveloping, yet always lingering in the background as the best pad work does. Of course, it helps that the original composition was written by Jan Hammer, easily one of the best synth composers of the 80s; however, Hammer kept his pad work subtle, instead focusing on the rousing, building theme for the Don Johnson character. Though that theme is present in Benisch’s cover, it’s his pads that steal the show. And the remixers knew it.

Possibly even more successful was Tiga’s reworking of the tune into Ocean Drive. This came out when the Turbo honcho was discovering he actually had a decent singing voice and, following up on the sensation that was his cover of Sunglasses At Night produced yet another 80s homage. Obviously it’d be something relating to Miami Vice but who’d have thought he’d play to the show’s slash-fic audience. He’s never explicit about it, as there’s an artful homo-erotic tone to this version, made even more apparent by the video that borrows its aesthetic from a similarly homo-erotic art house film titled Querelle, also from the 80s.

Adding a hand to Ocean Drive was Mateo Murphy, a techno producer of some success in the early 2000s. He’s given solo remix duties on Crockett’s Theme, working an energetic layered groove before bringing his take on the pads for the finish. Rounding out the remix package is Jori Hulkkonen under his Zyntherius guise, treating the tune to an 80s house rub that’s fun for what it is, but ain’t a touch on the other versions here.

Man, all this, and I still haven’t gotten to Benisch’s FPU alias. The project gave him an avenue to explore spacey electro and synth-pop, the first single of which was this one. In an effort to promote the forthcoming album Traxxdata, this CD contained a couple extra tracks from it, Time Safari and Eastside Protection. As I’ve gushed before, Benisch is an excellent producer, and even though these electro cuts are of a significantly lighter tone than anything on Soundtrack Saga, his craftsmanship is still strong, injecting playful sci-fi sounds and digitized vocals throughout. Interestingly, he uses a similar pad texture in Eastside Protection to Crockett’s Theme, yet they don’t stand out as much as there’s much more at work in that track.

Or maybe it goes to show just how excellent they’re used in Crockett’s Theme. I can’t get enough of them. Excuse me a moment while I throw that song on again, and drift down Ocean Drive on a linen cloud of pad bliss.

DuMonde vs Lange - Memory (Original TC Review)

Superstar Recordings: Cat. # 015 602-2 

Released 2002 

Track List: 

1. Memory (Radio Cut) (3:19) 

2. Memory (Original Mix) (7:46) 

3. Memory (Lange Mix) (7:56) 

4. Memory (Megara vs DJ Lee Remix) (7:05) 

5. Memory (JamX & De Leon Mix) (6:34) 

6. Memory (Original Dub) (7:07) 

(2010 Update: Alright, so I just wanted to namedrop a little DS9. Can you blame a Niner? Came up with a fairly decent review in the process though.) 

 IN BRIEF: Vile. Insidious. Just like the Federation 

Before I dive into this review, allow me to get my geek on here. Oh, don't look so surprised. Every guy in Western society has an inner geek. Some just use it pursuing things more normally accepted by the populace (like cars, weight lifting, politics… er, music). 

Anyhow, back in the 90s there was a little show called Star Trek: Deep Space Nine, a spin-off from the ultra-popular Star Trek: The Next Generation (yeah, I know. Hard to believe anything called Star Trek was considered hip). A bit unconventional for a Trek show, it often showed points of view from non-Federation (re: alien) perspectives, and not always in the most human-flattering ways either. 

Take the following discussion from two alien characters, Quark and Garak, a pair that often had self-serving interests for good or ill: 

Quark: I want you to try something for me. 

Garak: What is it? 

Quark: A human drink. It's called root beer. 

Garak: I don't know. 

Quark: Come on. Aren't you just a little bit curious? 

Garak: *Hesitantly takes a sip, then recoils in disgust* It's vile! 

Quark: I know. It's so bubbly and cloying and happy. 

Garak: *Smiling* Just like the Federation.

Quark: But you know what's really frightening? If you drink enough of it, you begin to like it.

Garak: It's insidious. 

Quark: Just like the Federation. 

Really, I can't think of a better comparison to Memory by the collaborative efforts of DuMonde and Lange (with Alexis Strum singing). Everything that I've come to despise in Dutch trance is in full effect here: the gargantuan supersaw synths, useless vocals, momentum killing breakdowns, and production techniques that use tons of effects to cover a lack of good song-writing; all style over substance. Yet I just can't hate this song. 

 How? How could such a seemingly vile song bring a silly smile to my face without a trace of irony or cynicism? Well, I'll give a large amount of credit to the rhythm. Sure, it's fairly uncomplicated stuff but there's so much resonance in it that it fills in those little sonic gaps with energy. The bass rolls along instead of just bobbing offbeat, making this an incredibly invigorating track. 

It's more than that, though. While I've often said I have a dislike of supersaw synths, it isn't so much the synth themselves but the way they are used. Since this type of synth fills out such a wide range of sound, you can often have a serious lack of musical talent and still get away with making a monstrous track. Far too many songs have been produced with nothing more than random notes struck that sound cool, the odd time with an auto-arpeggiator thrown in for variety. 

Fortunately, DuMonde and Lange had been at the game long enough to had learned how to write a decent melody when they made Memory, and between the three of them, they managed to create something a little more special than your standard Dutch fare. It's epic without being pompous; it's cheerful without being saccharine; it reminds me of many a euro dance melody. 

In fact, Memory further supports my theory that vocal trance is just the new euro dance. Instead of choruses, though, we get the main hook on its own. And where raps used to be, we get a breakdown/build. For that this nu-euro (Whoa! New genre alert!) isn't nearly as good as its decade old predecessor, as I'd rather sing along to a rap than just stand around waiting for something danceable to start up again. It's still fun in a pinch, though, when I'm feeling in the mood for something lighthearted. 

But perhaps you don't want that and desire a more straightforward trancer. Lange's mix of Memory should help you out with that, as the bass is more standard, off-beat fare with synth pads slowly building in intensity as Ms. Strum sings. It's a shame he decides to absolutely kill that momentum with a halting breakdown some three minutes in. The ensuing payoff nearly a minute later is okay given the strength of the melody itself (this time a little more subdued), and some of the lost energy is regained once the vocals return in a distorted fashion, but I have to ask whether it was necessary to take us to absolute zero in the first place? The song was doing fine before that dead stop a third of the way through. I mean, could you imagine how intense this song would have been if the rhythm was steadily building throughout as the first bit seemed to indicate it could? It boggles the mind! 

But perhaps you'd just rather have something with more bounce. Then Megara and DJ Lee's remix will be the answer for you. Rather than synthy pads, we are treated to punchy Corsten-chords thrusting forth brazenly, making this mix far more exuberant. Oddly enough, without as much emphasis on big melodies, the lyrics stand out better, even to the point they actually begin to make a bit of sense. It seems this song's about a gal who can tap into the hidden secrets of the cosmos via the memories stored in her very DNA! Then again, it could just as easily be about past love as well. 

Perhaps the breakdowns in these mixes haven't been long enough for you, though. Then DuMonde's own mix (as their JamX and De Leon selves) should be right up your alley, as you get to wait a whole ninety seconds for the payoff. Alright, the payoff is bordering on garishly theatrical, but it is insidiously catchy, taking the bounciness of the Megara/DJ Lee remix and cranking the effects to overdrive. Good stupid fun to be had with this mix, if you can just ignore the useless intro rhythm leading to the breakdown. Really, this would have been a better track if they got rid of it and made the breakdown a, *gasp* intro. Hey, it's a radical idea, but it could work. It's not like you'd be caught stealing techniques from old school trance since hardly anyone who'd enjoy this probably wouldn't give the stuff ten plus years old a glance. 

Oh, and there's a radio cut at the beginning and an instrumental at the end of this release, but since they're basically the same song as the original, you can figure out how they go for yourself (hint: one's short, the other's got no vocals). 

In the end, Memory is a fine enough bit of non-consequential fluff. I'd have liked to have seen a little more variation on the remixes, as they all basically follow the exact same structure while injecting the featured remixer's trademark sounds, but they are all serviceable without detracting from what makes Memory better than standard euro fare: energetic rhythms, and a vile, bubbly, cloying, happy, insidious melody that you can't help liking no matter how much you detest everything it stands for. 

Score: 7/10 

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

Drexciya - Harnessed The Storm (Original TC Review)

Tresor Records: Cat.# TRESOR 181 CD

Released 2002

Track List:

1. Under Sea Disturbances (8:07)

2. Digital Tsunami (6:22)

3. Soul Of The Sea (4:31)

4. Song Of The Green Whale (4:59)

5. Dr. Blowfin's Black Storm Stabilizing Spheres (6:12)

6. The Plankton Organization (6:08)

7. Mission To Ociya Syndor And Back (5:13)

8. Aquatic Cataclysm (5:19)

9. Lake Haze (5:17)

10. Birth Of New Life (6:22)

(2010 Update:
So this was the first review I managed to upload to TranceCritic (after God-knows how many trial-n-error attempts). Clearly my writing wasn't anywhere near polished yet, but at least it was a start. It definitely is a better review than the early attempts of some other websites. As for why I wanted TC's first review to be of the Detroit-based underground darlings Drexciya, I loved the irony of a site called TRANCECritic starting with techno as the first submission. Not sure many appreciated it at the time though.)

Ah, Drexciya. Fans of techno swear by them while everyone else, at best, have only heard of them in passing.

And that, my friends, is a shame. Their sound, while at times delving a bit far into experimentation, is quite unlike anything I've heard before. The running theme in their work - an underwater civilization arisen from former African slaves whom cast themselves into the ocean while on transport to the New World - gives Drexciya's songs a unique quality that can only be described as the sounds one may hear penetrating the murky depths of the ocean.

Nowhere is this more apparent than with the opening track of this album, Under Sea Disturbances. Thick, booming bass kicks and hi-hats that sound more like electronic splashes than anything natural get going quite soon as some atmospherics fade in and out of the beginning of this song. The remaining elements that come together, such as tinkling electronic keys, submerged synth notes, and a deep, wobbly bassline, are few but have a jazz element to them so they never become needlessly repetitive. Each of these elements are given their chance to shine or play off one another during the song's eight minute duration. Granted, the lack of several elements may turn away some listeners seeking diversity but for just lying back and immersing oneself into a sea of sonic excursions, this is not a bad offering.

The next track, Digital Tsunami, retains the same form of percussion as Under Sea Disturbances but comes on fiercer with a stuttering bass synth. The main riff line is a fairly simple little sound, quite subdued as it speeds along. Again like Under Sea Disturbances, things never quite settle into standard loops as the bassline gets tweaked about with effects throughout, especially when the riff is taken out at four and a half minutes in. An odd sounding effect, like some sort of marine mammal, also adds to the song's texture as it plays through. Digital Tsunami may have simple elements but the way Drexciya keeps things interesting with embellishment makes this track a league in its own.

Unfortunately, these techniques aren't as prevalent in Soul Of The Sea. Tinkling electronic riffs and chord stabs are overtaken by more booming bass, although at a much slower pace. By having these elements come and go during the song, things don't tend to come across as monotonous loops but when the only thing new added to the mix for the duration are burbling tones here and there, having the same sounds used can get tiresome without more variation (pitch bends or effects, for instance), especially coming off a song like Digital Tsunami where it was far more predominant.

Song Of The Green Whale gets back to this technique with an interesting excursion in minimal techno. Electronic chords play overtop a minimal breakbeat as squelchy synth stabs add variety for the duration. These synth stabs are continuously being fed through effects, never sounding the same in any given eight measures. The use of a very dark mellow pad, which does sound like a whale song penetrating the murky deep of the ocean, is a nice touch, although difficult to hear when everything else is in effect. One might complain there isn't enough going on with just four different sounds playing with effects switching them up every so often. Well, that's kind of the point with minimal techno; the listener is meant to just focus on these subtle changes. Of course, it isn't for everyone but I don't mind it. Such music can get quite trancey in a hypnotic way.

On Dr. Blowfin's Black Storm Stabilizing Spheres though, it just doesn't quite work. This track suffers from the same thing Soul Of The Sea does: not enough manipulation of the core elements to keep it from sounding repetitive. Although there are some imaginative sounds at work here an ever-present growling bassline, dark effects, and a glitchy electronic line- by three minutes in, you've pretty much heard all there is to hear on this track. For a song that's twice that long, there really needs to be more to keep our attention.

The Plankton Organization is another song that suffers from too much minimalism. Granted, the main riff, a glitchy, squelchy thing, gets some very subtle tweaking in effects, but a very simple electro breakbeat and a couple pinging and shuffling effects thrown in here and there don't add much and, in less than three minutes of this six minute track, you've heard all there really is to hear. The acute listener will undoubtedly find things to enjoy through The Plankton Organization but, in my experience, only techno purists tend to have the patience for it.

Things start to look up a bit with Mission To Ociya Syndor And Back (boy, do Drexciya come up with some long names!). While the beats remain quite minimal, various odd-sounding electronic quips, blips, and skips brings enough diversity to the plate to keep the listener interested, if not entertained. Two and a half minutes in, the sounds switch up into something more growling and squelchy. There's really only one thing holding Mission back from being in league with a track like Digital Tsunami, and it's a major one: pacing. Quite often Mission will just allow the bass kick, a rather flat sounding noise with a bit of wobbly delay, to play on its own in a rather uneven pattern. Whenever you feel like you're getting somewhere with this track, it just comes to a halt. Ugh.

Aquatic Cataclysm fixes this up though, by keeping the pacing consistent; albeit still with minimal electro percussion. While some of the previous tracks relied on loops fed through effects to keep things interesting, this track manages to accomplish this by using drops and cuts on its main electronic line, a wobbly, low metallic sound accentuated with a growling bassline. Various added sounds like electronic twerps, pings, and murky atmospherics keep this intriguing the whole time.

After so many tracks featuring glitchy experimentalism, it's quite a refreshing feeling to hear a track that relies on mellow synth chords, trancey electronic lines, and bass that's actually rather funky in the form of Lake Haze. Like the rest of the tracks thus far, these elements come and go, sometimes given prominence, other times playing off each other. Unlike most of the tracks, however, this song is more immediate, relying on simple melody rather than acute attention to details for the listener to enjoy.

Keeping with the tranquil atmosphere of Lake Haze is Birth Of New Life, a mellow track which is held together by somber pads in a way that only pads can hold a track together. For the most part the track is quite nice, featuring tinkling keyboard playing that embellishes a fair amount, though gets perhaps a little too fancy with pitch effects towards the end. In all, however, the song does have an innocent charm about it, especially when so many other tracks on this album are so menacing.

Now, this isn't an immediate album by any means. Indeed, it took me a few listens through just to figure out the nuances of many of these tracks. While Digital Tsunami and Lake Haze do stand out from the pack on this album, most of them demand your undivided attention if you are to get anything out these songs. As such, I can see many individuals dismissing a good chunk of them as nothing better than filler.

But give it time. It may take three, five, seven, maybe even a dozen listens before you really get what's going on. And once you do, you'll undoubtedly end up saying what many fans of techno have been saying all along:

Drexciya really are in a class of their own.

Score: 8/10

ACE TRACKS:

Digital Tsunami

Lake Haze

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