Vector Lovers - Capsule For One

Soma Quality Recordings: 2005

If I had spotted it in an A&B Sound, or an HMV, or even a (*snicker*) Best Buy, absolutely I'd have bought Capsule For One no matter the cost. Okay, reasonably so – such a CD selling for over thirty Canadian bones is too steep no matter how much I adore an artist. Seeing it at the 'regular price' of twenty-five on Amazon always put this on the back-burner though, longer, longer, longer, until it became a rarity on the standard market, price jacked to stupid amounts of money. Why it never occurred to scope out Soma Recordings own webshop, I can't explain. I just assumed they'd do business through Amazon like so many others, but nope, independent and remarkably affordable. I swear this isn't meant as a plug for Soma, just an overlong ramble-excuse on why I skipped out on Vector Lovers' sophomore album for so long. A very lame excuse, I cannot deny.

Now that I have taken in Capsule For One, enjoyed its various toy-box electro melodies, bobbled my head to its various tech-house grooves, skitter-skatterd my brain to its sporadic IDM beatcraft, and double-taked to actual sung lyrics in Melodies & Memory (not even by a robot! Maybe a kawii cyborg tho'), one question remains: would I have liked this when it was new?

Don't get me wrong – if nothing else, Capsule For One would have been a grower, an album that I'd come to appreciate even if it didn't blow my mind right out the gate. I can't understate the degree to which Vector Lovers' did though. An album that featured music and ideas I'd never heard before. Themes that appealed to both my casual enjoyment of sci-fi anime and lonely, lovelorn walks through big cities. Electro and house blended in ways I always imagined they should be, not as they currently were (dammit, 2005).

Capsule For One touches on these too, but not with the same poignancy as its predecessor, Martin Wheeler making room for braindance electro instead. Overall, it's a more aggressive album, getting on that hectic Detroit pace than the easy cruise of neo-Tokyo. When those minty spritely melodies crop up, it doesn't deter the propulsive momentum of tracks like Arrival, Metropolis, Substrata, Microton (that bassline!), Nostalgia 4 The Future, Boulevard and To The Stars. Even the chill moments seem uneasy with their surroundings, less nostalgic for times past and more apprehensive for the future we venture into.

Vector Lovers can still craft a tune that pulls the ol' heartstrings though, City Lights, Empty Building, Falling Rain, Melodies & Memory and Neon Sky Rain carrying similar tones and sounds as found on his debut. They come off a little lost among the tougher electro and techno, however, like characters intended for a different series. They're fine in providing chill downtime, necessary refuges in an ambivalent cityscape. I'm just missing that amazing album narrative from Vector Lovers, is all. Spoiled for choice as always.

Grey Area - And Then The Clouds

Waveform Records: 2005

I've claimed Waveform Records had a brilliant run in the early portions of the '00s, the first half-decade seeing several releases from fresh faces releasing great debut albums. Right, there were a couple 'meh' offerings too, and a few who never amounted to much else of note afterwards, but the fact the label was giving so many unknown names their chances was remarkable indeed. It makes everything from that period worth at least a check-out, and I've been woefully neglectful of doing so. On the other hand, can you blame me for skipping out on this one for so long now? Compared to the usual unique cover art on many of Waveform's releases, this one is so very plain and drab indeed. Looks more like something you'd expect from the sterile dub techno camps, though given the name of the artist is Grey Area, and a title of And Then The Clouds, what else could you do with it?

I should also mention Grey Area wasn't exactly a new act, nor is this album a debut. Rather, it's a collection of previous works, with a couple new/unreleased tunes added to fill things out. Grey Area itself first emerged in 1997 with an eponymous LP on Psy-Harmonics, the Australian psy trance label you might remember me name-dropping on one of those United State Of Ambience CDs from Moonshine Music. The man behind the pseudonym is Alex Salter, who's done TV music for an even longer period of time.

As Grey Area, he put out three albums, the last one in 2002. I guess after Waveform scoped out some 'down under' acts like Pitch Black, they also came across this Grey Area fella', and found his style of dubby downtempo jived with their own. He wasn't making any new music under the alias though, so here's a 'best of' CD instead. Included are five tracks from his third LP Penumbra, two from his second album Absolute, one from his first album, and two fresh cuts titled Sadness Dub and Avon Dub.

Funny enough, Sadness Dub as an opener basically is a dub techno tune, almost confirming my assumption of what sort of music was on here. But nay, Grey Area sticks to a steady, dubby downtempo vibe. It's rather similar to the style Sounds From The Ground employ, though a little more psychedelic and crusty than their jams. He even gets his nu-jazz beat on with Modular Drift, while Pure & Simple wouldn't sound out of place in a smokey cafe. Elsewhere, Mr. Salter does the ambient dub thing (Avon Dub, Penumbra), or dabbles with sound experiments (Iona, Amphibia, that slooshing water in Ersatz Filament... ergh, makes me have bathroom thoughts).

I can't say And Then The Clouds is one of Waveform's classics, but as a companion album from a time when we saw Sub Conscious, Ape To Angel, Luminal, Prima Materia, Blood Is Shining and Omnimotion, it definitely holds its own in such company.

Various - Wu-Tang Meets The Indie Culture

Babygrande Music: 2005

When I was in the throes of my hip-hop honeymoon, two groups ruled supreme as all that was great within the genre. You know who these two groups are, because I've constantly name-dropped them for as long as this blog's been active again (five years, oh good God...). And as any 'young rap fan' can attest to, when you start following groups, you start thinking up potential pair-offs between them, like comic super-team cross-overs. How dope, thought Year 2000 Sykonee, would it be for Del Tha Funkee Homosapien and Inspectah Deck to trade lyrical atomic bombs! Casual and ODB riding a warped rhythm with their rugged, warbling flows! Souls Of Mischief sharing street tales with Ghostface and Raekwon! A-Plus and True Mathematics blending samples! Never mind the Wu and Hiero ran in such drastically different hip-hop spheres that these pairings could never to happen - I could at least dream of them.

And then it did happen! ...kind of. While not a full-on collaboration, the fact I'm holding a CD that includes Del, Casual, GZA, RZA, and U-God in the tracklist feels like a minor miracle in of itself. I guess having MF Doom, Ras Kass, Aesop Rock, Prodigal Sunn, R.A. The Rugged Man, J-Live, plus others is a nice bonus, if you're down for such acts too.

Wu-Tang Meets The Indie Culture is the brainchild of Dreddy Kruger, who appeared on a couple Wu affiliated tracks, but settled into an A&R role for the franchise, producing compilations and the like. When he launched his own print in Think Differently, he wished to bring more underground acts to the light, and figured mixing 'backpacker' rap acts with Wu-Tang stars was a good way of doing so. Providing the bulk of beats for all these MCs to spit their bars over is Bronze Nazareth, who's had a decent career in his own right following this record. He certainly gets the Wu aesthetic as laid out by The Abbot, funk and soul samples looping over gritty or smooth rhythms, as per each cut's lyrical context. Oh, and RZA handled his own 'blaxpoitation' beat for his team-up with MF Doom in Biochemical Equation, though the infamous masked MC lacks much spark in his verse. Kinda' happens when the 'collaboration' doesn't require everyone to be present in a studio.

That's unfortunately the vibe I get from Wu-Tang Meets The Indie Culture - a lot of disparate acts doing their minimum best for the project before they moved on to their own interests. There isn't anything wack on this CD, but nor does it elevate much higher than whatever excited ideas were probably germinating in your mind from the core concept.

Still, Dreddy Kruger believed in it enough to get enough recognizable names involved, his enthusiasm coming through in the paragraphs of liner notes. The highest praise I can give this is Wu-Tang Meets The Indie Culture is it's the best 'third tier' Wu project I've ever heard, though my sample-size is minuscule.

Ladytron - Witching Hour

Island Records/Nettwerk: 2005/2011

Hard to believe this is only my second Ladytron review, but it's not like the foursome have made a ton of music over the years. To date, they've released five albums (though a sixth is in the works), their last one coming out way back in ye' olde year of 2011. I suppose that hectic touring schedule caused a bit of the ol' burn-out, plus they aren't the quirky young electro-pop chickens of the early '00s anymore. I'm sure members now have families to tend to, side-projects to cultivate, and whatever else that can keep a four-piece with as disparate backgrounds as these lads and lasses have from reuniting with consistency. Maybe that's why, for as much as I adore Ladytron's sound, I've always been hesitant in buying up their albums in one big splurge. I want to savour the ones that do come out for as long as humanely possible, never risking my own burn-out.

After yet another round of label troubles, Ladytron released their third album Witching Hour in 2005, one of the worst years for electronic music since the initial rave explosion. Fortunately, the group somehow stands outside time and space, the record just as sonically timeless as their previous work, yet also pertinent to the trends happening in the here (there) and now (then). It's a very good album, is what I'm saying, in a year when finding very good albums was a ridiculous feat of excavation that would make Indiana Jones and Globetrotting Batman quiver in the knees.

It was also a radical departure from the pure synth-heavy sound the group had in their early work, bringing in added drums and guitar work to complement their electro-pop. Some attributed it to latching onto the disco-punk wave of the time (LCD Soundsystem was the hippest band about), but I don't hear it. Rather, it simply sounds like Ladytron spent some of their hard-earned cash on new musical toys, thus letting them expand their aesthetic beyond pure retro work. Unless you figure 'post-punk new wave' just as retro as synth-pop.

It worked to some extent, Witching Hour scoring the band some of their first chart action, lead singles Destroy Everything You Touch and Sugar some of their best-selling songs. They weren't gang-busters, mind you, but considering their label troubles, it's remarkable they got on the Billboards at all. Then again, breaking the 'boards was never their M.O. I think their fans are perfectly content keeping Ladytron's impossibly earwormy choruses to themselves anyway. Saves room at the live shows.

And there's plenty more to enjoy from this album. The peppy 'rockers' (High Rise, AMTV, Weekend, Whitelightgenerator), the dreamy synth-poppers (International Dateline, Soft Power, The Last One Standing), and the moody downbeat pieces (CMYK, Beauty*2, All The Way). Throw in all the charmingly catchy, yet oddly tragic lyrics you've come to expect from Helen Marnie's satin lisp (...*swoon*), and Witching Hour remains one of Ladytron's best records. Just ignore the rubbish remixes at the end of the re-issues though.

Various - Unwind - A Journey Into Global Grooves (2017 Update)

Com.Pact Records: 2005

(Click here to read my original TranceCritic review.)


When I first reviewed this compilation eleven years ago for TranceCritic, I gave it an overwhelming ‘meh’. Four years later, when I provided a quickie update, my thoughts hadn’t changed much. After that additional listen, I figured Unwind would forever after sit lost in a tower of CDs, unremarked, unloved, save a passing fancy to hear that nifty Psionyx track again. Well, that’s not what happened at all. First, I’ve ditched the wavy towers in favor of some bitchin’ wall-mounted shelves, since they’re more space efficient in an increasingly cluttered apartment (must… move… soon…), and makes what I got easier to organize. Right, that’s totally unrelated to anything here, but I gotta’ get my ramblematic on as I always do in these 20xx Updates, so may as well do that now.

No, the strange development involving Unwind is I’ve… kinda’ grown more fond of it in recent years? It’s somehow managed to curate a form of ‘scrappy underdog’ vibe for yours truly, where my fondness for the chill musics keep me coming back to give it another chance every so often. Yet sure as the rising sun, the moment I play that opening track of Spring Thing from Solarians, a sharp shiver spikes across my spine, my shoulders cringing upward in the vicinity of my earlobes, and I want nothing more than to turn the disc off, sending it back into the shadows of my stacks o’ CDs.

Turns out I should have followed the advice from my original review: simply skip that track and never think of it again, giving these other tunes a chance out of that gosh-darned Full Album Context I always demand. Wouldn’t you know it, that’s super easy to do when you’ve got everything ripped to a harddrive and stumble upon an occasional tune through the magic of the Shuffle feature. Wow, how did I miss that U&K’s Sähkövalo or Visual Paradox’ GaYo is so darn trip-hoppy? Or that the tunes from Sunfire and Wilson Stout wouldn’t have sounded out of place on that ultra-Balearic collection Ambient Ibiza from the ‘90s? I still can’t say these are anywhere near the best examples of such genres, but considering they’re appearing on a CD from an Israeli psy-trance print that seldom broke mold from the popular full-on strain, I have to hand it to Unwind for offering such a wide range of diverse chill-out. It’s a bold move when, given the typical Com.Pact Records audience, Shpongle clones would have been the safe bet.

A pair of the more interesting tracks, the dubby Blue from Lish and breaks action from Sesto Sento’s Slow Move offer some interesting tidbits of career info since Unwind came out. Sesto Sento’s gone on to be one of the more successful full-on psy acts, still producing music to this day, while Lish managed a minor, collaborative hit when they paired up with Ace Ventura for The Light. Poor Psionyx though, disappeared shortly after. G’ah, would have loved an album from him.

Various - A Trip In Trance 4: Mixed By Rank 1 (2016 Update)

Hi-Bias Records: 2005

(Click here to read my original TranceCritic review.)

So this CD. What, you thought we were done with trance? Hah, not in the slightest, a fair percentage still left in the tail end of the ‘T’s. Come to think of it, there’s a heavy amount of Updates coming up too. Man, what was it with those early TranceCritic days that had me reviewing so many ‘T’ albums? What indeed...

I’m surprised how much A Trip In Trance 4 has held up. I only ever bought the damn thing as a lark, a promo sticker promising “the true sound of Trance” providing an easy angle to get my rant on. And while I naturally knew Rank 1 and recognized a few names by scene osmosis, a good portion of the track list was still unknown to me; my expectations were brutal-low. I wasn’t expecting something on par with that dreadful Trance V.oice 2 compilation, but I couldn’t comprehend something much better, what with Hi-Bias Records behind the CD. Who even is this label anyway?

Only one of the longest running house music prints in Canada, 2005 Sykonee you git. True, they mostly stuck to the vinyl industry, and very few of their records ever went on to be hits featured on the premier compilations of the ‘90s, but I do recall seeing a few releases of theirs back when: Club Hi-Bias – Climax, Rhythm Formula… um… Well, whatever the case, fortunes favored Hi-Bias in the ‘00s, the print expanding their franchise into several A Trip Into… compilations, including six volumes of A Trip In Trance, each with a sexay lady on the front in progressively near state of nudity. Seriously, the final one is a backshot of the model in her panties, but ooh, still classy B+W stylee!

It was a fun diversion again hearing charming cheese like Alt + F4, Ernesto vs. Bastian’s Dark Side Of The Moon, and Benjamin Bates’ Whole (plus that kick-ass True Fiction from Jan Gustafsson!), but I got more of a kick in digging into the various names on here and where their careers went. For instance, you’ve got way early efforts from Sander van Doorn, John O’Callaghan, and Leon Bolier, some still operating under aliases. Doorn did use quite a few different guises around this time, ‘Sandler’ only good for two records. Damn though, does Theme Song ever remind you how he was projected as one of trance’s future stars. Well, they got the ‘future star’ part right. Bolier almost had just as big a breakout, though Pulsar as Precursor isn’t as good as Theme Song.

On the flipside, its weird seeing several other acts on here amount to little after this. Releases from Jan Gustafsson, Rachael Starr, Hemstock & Jennings, and Jesselyn dry up shortly after. Others took some time finding their footing, such as Airbase, or re-emerged as solo artists. For instance, Joonas Hahmo (of Alt+F4), and that Rank 1 member that technically didn’t mix this CD. I hear he’s been making good bank ghost-writing Armin tunes.

Alter Ego - Transphormed

Klang Elektronik: 2005

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

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

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

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

Various - Trance Divas 2 (2016 Update)

Water Music Dance: 2005

(Click here to read a bunch of silly metaphors for love.)

So these CDs. I’m not sure why I kept a copy of them. Almost all the dance pop I reviewed for TranceCritic was quickly deleted from my harddrive, yet I still burned me some Trance Divas 2, even printed up the cover art. Considering how expensive ink jet cartridges run, that’s all sorts of daft for a pair of discs containing music I spent more time mocking than enjoying. Did I have some left-over need from my AudioGalaxy days of burning everything I could to CD? Might that desire for a big-yuuge show-off collection have clouded my impeccable musical judgment? Nah, most likely I felt having a back-up copy of Trance Divas 2 prudent for future reference, and as my computer of the time had a whopping 2.3 GB of memory, I sure as shit couldn’t keep it there. Little did I know I’d have to listen to these again for review, eleven years in the future. (holy cow…!)

That old review finds me soapboxing about ‘bad trance vocals’ and how they ruined the genre and a bunch of other dumb-ass nonsense that gives me serious cringes, folding me up into a fetal position of shame. Still, despite the rambling, my point remains that vocal trance – at least as found on Trance Divas 2 - is essentially where euro-dance of the ‘90s evolved to. The fact this compilation has equal shares of pure euro pop fluff with the ‘serious’ anthems from Very Important producers like Above & Beyond, Kyau & Albert, and ATB (*chortle*) only confirms the theory. And lo’, we even hear sprinklings of euro pop’s next evolutionary morph on here, that of the hardstyle knock-off genre ‘hands up’. Haha, I’m right, I win, Sykonee rules! *inexplicably drives off cliff*

Hey, here’s something I never talked about in that original TranceCritic review, the history of Trance Divas, the series! For instance, did you know there was a volume before this compilation came out? ‘Tis true, Water Music Dance releasing a first one just the year prior – how did 2005 Sykonee not mention that? The style of music is mostly the same, ‘serious’ vocal trance anthems mixed in with euro pop parading in eurotrance clothing. Quite a different roster of names in the track list though, including BT, Milk Inc., Matt Darey, Soda Club, Sinéad O'Connor, and Delerium. Yeah, Silence is on there, because of course it would be. Tiësto shows up twice more too, including his remix of Lost Witness’ Did I Dream, and his own track 643 (Love’s On Fire), the latter coming with a rub from… Oliver Lieb? On Trance Divas!? My head hath a’sploded!!

In case you care, a third volume of Trance Divas also made its way to the stores. This features such famous trance producers as Fabio Nobile, Paul Richard, Dutch Agency, Chris Nasty, and Rene Ablaze, and has no entry within Lord Discogs’ archives. Clearly no one wants to admit they own a wretched compilation like Trance Divas 3. Haha, hah.

Seán Quinn - Skylines

Psychonavigation Records: 2002

You know you always get the clean, uncut sparkling varnished honesty from me, right? Sure you do, that’s why you’re always coming back here. I think. That whole ‘consistent new reviews’ also may have something to do with it. I’d imagine my thoughts on music have garnered some small repute at this stage too. Maybe it’s just to indulge in this ‘gimmick’ o’ mine, to see what item alphabetically pops up next in my mad quest to listen to everything I have. Gotta’ admit that’s why I keep hoping Sarah O’Holla returns to her similar endeavor at My Husband’s Stupid Record Collection, genuine curiosity over whether some obscure 1982 post no-wave punk 7” might crop up next, or one of the big guns I love reading other people’s opinions on (so long to go before Neil Young …so very long). Wait, I’ve gone way off topic here. Darn feverish state of mind - will this flu ever let up?

Here’s the truthiful proclamation I was trying to get at: initial impressions of a lot o’ these Psychonavigation Records records kinda’ bled altogether into one fuzzy-photo of cover art. I get that it’s a visual aesthetic the label cultivated for itself (because Boards), but when one binge-buys a back-catalog as I did, it makes distinguishing between CDs difficult, especially when dealing with almost entirely new names. There’s little chance at taking each in on their own merits, digesting their nuances before moving onto the next in the pile in some slim hopes a crash session can give you some lasting impressions. I couldn’t tell the Seán Quinns from the Ciaran Byrnes, the Skylines from the Picnics With Pylons, the Boards Of Canada sounding tunes from the other Boards Of Canada sounding tunes. Getting down to write a review of each these CDs definitely helped me in distinguishing between them, if nothing else for discovering more info behind the artists involved.

For instance, Seán Quinn was yet another big ol’ blank when I first got this CD, and remained as such despite listening to it a couple times, the music getting lost among all the other Psychonavigation material I drowned myself in. Turns out though, he’s done little solo LPing anyway, this and a recent Audiobiography his only albums. On the other hand, Lord Discogs tells me he’s part of the electro-pop duo Tiny Magnetic Pets (who’d also released on Psychonavigation), which I feel I should know from somewhere, but could be getting mixed up with a similar sounding band (ergh, it’s buggin’ me!).

Another reason Skylines had trouble sinking in is it’s all over the place. There are skitzy beats, abstract ambient, twee pop, mellow Boards nods (of course), and not much linking it together. Imbrium is the sort of grand space ambient I’d expect out of Ultimae, while Yellow Magnetic wants to have its orchestral breakcore and eat DJ Food too. Wait, what? Okay, the fever’s setting in again. Better wrap this up now.

Koichi Sugiyama - Symphonic Suite "Dragon Quest VIII"

Aniplex: 2005

Dragon Quest making its way into the realms of 128-bit power was a bit of a surprise, them consoles almost too powerful for the simple stories and gameplay the series enjoyed. Yuji Horii got around the expectations of stellar graphics and complex plots by presenting the game as a cell-shaded cartoon, a relatively new technique for 3D gaming. It retained the whimsical sprite-based look of Akira Toriyama’s artwork, while offering up an incredibly open world to explore. Deceptively simple, yet remarkably complex, Dragon Quest VIII was more than fans could have hoped for, and helped reinvigorate interest in the series for a new generation of gamers. It was the high times of the Nintendo era all over again!

Even ol' Koichi got to try something new for this game. For the first time, he was crafting music for a gaming system that could handle all the original orchestrated music he wrote, with no compromising to MIDI or soundcard limitations. This allowed him a session that sounded expansive and full, rivalling even his older symphonic suite recordings. After all, if you’re playing a game where you have free range to explore a vast world, you want a score that invigorates that sensation. A recording capturing the echo and reverb of a symphony hall certainly is an effective way of doing that.

Where Dragon Quest VIII’s score excels in sound design though, it unfortunately lacks some in the melody department. For sure, you can still find ample amounts of charming music in that vintage Sugiyama-san stylee. Strange World opens with a lovely bit of harp, soon giving way to flutes, brass, and grand strings, losing yourself in the wide fields of the overworld you explore. ...Remembrances... will tug at your heart as so many of ol’ Koichi’s ‘sad’ pieces do. Healing Power Of The Psalms is an apt title for the game’s church theme, soothing strings granting one a respite from the trials of the road. And yet, there’s very few compositions that actually sticks with the head, a surprising lack of leitmotifs. Heck, I don’t think any of your playable characters get themes to their names, though to be fair that hasn’t been a Dragon Quest staple since the 16-bit era. His compositions here sound more intended for a movie than a video game, which isn’t surprising given the nature of most games of the modern era. Man, what I wouldn’t give to hear some catchy ditties with that hall recording though.

Okay, enough quibbling. Here are a couple cool standouts with this score. Far more percussion is used compared to previous symphonic suites, with a highlight being the blocks and glittering bells of Mysterious Tower. Also, while a standard ‘big boss’ battle theme retains the sluggish tempo of most Dragon Quest games, the final-final boss theme picks the pace up considerably, making for a thrilling battle theme. Not quite as epic as the awesome Fighting Spirit from Dragon Quest III, but it’s right up there!

Various- Set/4 - Essentials

Iboga Records: 2005

I probably should have reviewed this when I got it so many lunar cycles ago, back when my interest in prog-psy was still peaking and I could gush some two-thousand rambly words over it. I was late to the party though, and the fourth edition of Iboga Records' compilation showcase was already a couple years old anyway. Besides, their stylee would endure for years after, right? Ain't no way it could grow stale! Honestly, the warning signs were there, but before delving into those, let me bring you up to speed on what Set/4 is all about.

As mentioned, this was part of Iboga’s near-annual label showcase, a series simply titled Set. Deciding the label was ready to broaden its reach, the CDs went into overdrive, unleashing three volumes in 2005 alone. And instead of being generic compilations, they’d have unique themes to each edition, with a guest compiler brought in to sweeten the deal. Okay, so most of these names weren’t much bigger beyond the prog psy scene to begin with, but the final hard-copy volume, Set 11, had none other than John ‘00’ Fleming at the helm, so that’s cool. Following that though, it became a solely digital outlet for new material, erroneously titled Iboga Trance Classics ever since. Highly presumptuous declaring such tracks instant classics, no?

That’s the history of the Set series out of the way. How does the volume that kicked off this change of course hold up, then? None too shabby for the most part, a few of Iboga’s biggest names taking up tracks space (no Antix though). One of Yoni Oshrat’s earliest efforts under the Ace Ventura alias shows up with Cardiac Arrest, a strong outing of pulsing prog-psy hinting a promising future with it (and kinda’ squandered once it came to Album Time, but whatever). Following that is an early version of Nobody’s Perfect from Perfect Stranger, because if you’re doing the compiling of the CD, you may as well throw in an original production too. FREq, an early star of Iboga, gets in on the action with Lifeline, giving us another solid, trancey groover. And at the end of Set/4 is a spaced-out slice of prog in Ground Control from Zen Mechanics, one of the few full-on acts that kept the genre respectable through the tail-end of the ‘00s.

Then there’s the middle section, and here you’ll find early warning signs that Iboga prog-psy had potential problems. Tracks from Yotopia, Sunseek, Cubica, Pixel, and Ran Shani have solid groove and classy synth work going for them, but there’s little distinction between them either. So much material from this label suffers from ‘trackiness’, tunes that are decent tools played out but are balls for home listening. And if these acts are drawing blanks, it’s because they never produced much either, most succumbing to the one-and-done album deal. A few good tracks (that can be found elsewhere) unfortunately isn’t enough to recommend Set/4 to anyone but Iboga completists.

Various - Sanctuary: A Shanti Mix From The Interchill Garden

Interchill Records: 2005

What is it with this CD? Nearly every time I've sat back to take it in, I conk out so utterly, the back half of the compilation remains nothing but a sub-conscious blur. Heck, sometimes it happens after just the first track, Adham Shaikh's Emergence, which doesn't happen when I play the same piece of ambient off his Journey To The Sun album. I honestly think my recent commute playthrough is about the only time I've managed a single run of Sanctuary without succumbing to the sleep demons lurking within the CD, at least in the half-decade of time Interchill's compilation has been in my possession. No, having it playing in the background doesn't count – I'm not actively paying attention to the dream-inducing harmonies in those instances. Was this intentional on Interchill's part, a subliminal collection of music with more to come in this Spectrum Series? Maybe they realized the all-too potent effects Ishq, Mystical Sun, and Suns Of Arqa had on one's psyche when arranged as they are here, as no further volumes of this series since Sanctuary came out. Darn you, denizens of Salt Spring Island, and your seductive sound manipulations!

The first few times I played this CD, I honestly thought the first three tracks were one long song – that’s how zoned out I usually got! For a more logical explanation, compiler Naasko chose pieces of music that meld so seamlessly together, they're like jigsaw puzzle pieces made of melted butter chicken sauce. As mentioned, Shaikh’s incredibly meditative Emergence opens things, and is followed by Suns Of Arqa’s Cradle, Pt. 3, which utilizes similar droning pads but reduced to background texture. Instead, a charming flute leads us through scenes of calm, psychedelic nature. Enough of the pleasantry though, as Mere Mortals comes in after with Etcetrera, dropping some serious Indian dub grooves as sitars drone about. Despite having little in common beyond a meditative Far East mood, this is one of the strongest openings to a world beat ambient dub CD I’ve ever come across. No way Sanctuary can top it.

Indeed. Perhaps that's what unfortunately hinders my memory of this compilation, dashed expectations. There’s some lovely moments throughout – Ishq’s Yu is about as calm and relaxed as this music can go before getting into New Age sap, and Alucidnation’s Skygazer is a dreamy piece of seaside chill trance – but nothing hits the high of the CD’s opening salvo. Some tracks don’t even fit the mood established at the beginning, Kaya Project’s Slide more suitable for a Cafe Del Mar collection, and Gaudi’s Tribalove way deep in the dark Amazon jungle. At least Shaikh closes things out on a mysterious tip with Call Of The Delta (under his Ekko) guise), even if it feels by way of an Aegean Sea temple. Wherever you find your sanctuary in this world, right?

Ultimately, Sanctuary is a label showcase for Interchill, older material mixing in with (then) recent offerings. It’s a good sampler, but not indicative of their whole story.

Electro Sun - Pure Blue (2015 Update)

Trancelucent Productions: 2005

(Click here to read my original TranceCritic review)

Before digging into updates regarding Electro Sun, I need to get this off my chest...

Dear God, has it ever taken forever getting through these last two letters! Right, officially the count's four months, and at least one week was eaten up by a technicality of Western languages. I look at the hard numbers though, and it doesn’t seem like I should only now be wrapping up the ‘P’s, yet here we are, eighty-four albums successfully navigated through and reviewed (sans the alphabetical back-track releases). You know what’s scary though? Eighty-four is still nowhere near the amount of albums I have starting with ‘S’ – that letter may eat up four months of this project alone. I guess I should be thankful that ‘P’ took some of the hit with all those ‘psy-whatever’ CDs. Ooh, can’t pass up a genre segueway like that now!

Yeah, I know, Electro Sun’s debut LP Pure Blue is only psy trance in the most liberal sense of the word. I even pointed that out in my original TranceCritic review, and I was just getting my feet wet with the nascent Israeli full-on movement. With plenty of time checking out more full-on since, I think his tunes fall under the micro-sub genre of Morning Trance, though only 7am will suffice for the track Sundance. Which one was that again? You know, the track with wibbly rhythm, the wubbly melodies, and the bouncy hook that sounds like acid filtered through a tin can. No, the other one that sounds like that. No, the- ah geez, not this snarky shit again.

Make no mistake, that “bland Stretch of Vanilla” doesn’t hold up in the slightest. Mr. Elkayam’s production comes off as plastic and cheap as any generic Israeli trance as you can stereotype, and sounds woefully dated a decade on. And yet, those few good tracks I liked before (I’ve Got The Power, In My Dream ...Super Nova, maybe) are simply irresistible to the cheddar centres sparking the lumps of grey matter inside my skull. There’s something just so cheerfully earnest about these tunes, I can’t hate on them no matter how much critical logic dictates I should. Damn these feels I have for silly, slap-happy psy.

As for ol’ Nadav, he’s kept a steady career since this album, releasing two more full-lengths, the latest of which coming out in 2011. Even more recently he’s gotten his fingers into the digital EP business, though Lord Discogs only lists two such offerings at this point. Whether he’s released more music than that, I haven’t a clue, nor do I care. Pure Blue was average at best, and while Electro Sun may have grown as a producer, he toed the divide between shameless fun and eye-rolling rubbish too closely for my liking. It wouldn’t take much for him to dive fully and completely into either side, but judging by the awful cover of his third album, Higher Than Ever, I can safely guess which way he went.

Biosphere - Dropsonde

Touch: 2005/2006

Pretty much the Godfather of Scandinavian chill-out, this Geir Jenssen fellow is. I’m sure there were others who were making European Northland ambient before him, but Biosphere endeared himself to a young rave scene, finding a comfortable niche within the realms of early ambient techno and dub. As the years wore on, he kept his sounds unique and fresh with each album while maintaining a distinct icy-ambient style entirely his own. His first few albums are often hailed as stone-cold classics for discerning chill-heads, many modern ambient producers in Norway, Sweden, and Finland citing Mr. Jenssen as a significant influence (I’m looking at you, Ultimae All-Stars!). And while his current output doesn’t garner nearly the same amount of notice as his ‘90s heyday (influence breeds multiple new options), that doesn’t mean Biosphere’s gone quietly into the night as a new generation takes over. Well, okay, maybe a little quietly. This is ambient we’re dealing with, after all.

I suppose with Wolfgang Voigt’s Kompakt print getting all the critical love in the mid-‘00s, ol’ Geir thought it was about time for a stab at Voigt’s ambient-drone work as Gas. Autour De La Lune was a start, and Dropsonde continued this minimalistic exploration, tracks often looping into sedative works of drone, even with occasional rhythms. Essentially three types of compositions are on this album: music guided along gentle key tones that are reminiscent of Steven Halpern’s seminal (if a tad sappy) Spectrum Suite work; future jazz stylee that wouldn’t sound out of place on an obscure Shadow Records release; and straight-forward loop-drone that rides along synth pads and dub effects. As per the Universal Law Of Good Album Flow, these various tracks are nicely paced between each other, letting the listener immerse themselves in one style before taking in another. For instance, opener Dissolving Clouds is a key tone one, followed by Birds Fly By Flapping Their Wings’ going all groovy while riding looping hi-hats, then Warmed By The Drift comes through with, um, warm pads by a crackling fire in a snow-covered forest setting (probably). I shouldn’t have to tell you what fourth track In Triple Time features.

There honestly isn’t much more to say about Dropsonde. It’s a perfectly fine album of tastefully explored abstract ambient, but not a huge standout for that scene at large. While a few sounds and chord changes remind me of Jennsenn’s other works, it’s not as instantly identifiable as albums like Microgravity or Substrata. Thus Dropsonde gets a bit lost in the overall Biosphere discography, though the lovely cover art does help it stand out more than its surrounding abstract neighbors. For all the new musical roads Jennsenn explored during the ‘00s, they were still well traversed by others. Most of the sexy talking points regarding Biosphere comes from the ‘90s, which I’ll get to eventually – I don’t want to waste too much limited word count bigging up Patashnik or Substrata before I talk about them. Besides, it sells Dropsonde short in the process.

Boards Of Canada - The Campfire Headphase

Warp Records: 2005

Also known as that Boards Of Canada album with all the guitars. Fuzzy guitars, acoustic guitars, distorted guitars, folksy guitars, and, most definitely, nostalgic guitars. It can't be a Boards album review without that word getting in, so may as well do it post-haste. It also was the Scottish duo's last LP for a significant amount of time, some wondering whether it would be their final one period. If it had, The Campfire Headcase - sorry, Headphase - would have been a rather limp conclusion to the Boards saga, almost an afterthought of an album where their genre indulgences sidetracked them from whatever future-classics could come hither. Tomorrow's Harvest saved us from that fate. Now, instead of treating this album like a disappointing denouement to an adored career, we can enjoy it based on its own merits, just like these Boards Of Canada undoubtedly wanted anyway.

And as a self-contained album, separate from artist narrative, how is The Campfire Headcase - dammit, PHase? Sure, it’s good – I mean, would you expect any less? Boards, if nothing else, are experts at crafting warm, charming music on the trip-hop tip. Whenever they get too cute with their concepts, over-indulge in numerological Easter eggs, or waste potentially great tunes with pointless doodles, that’s where our intrepid non-Canadian Canadas stumble. Just give us music, mang, songs that we can hazily drift along with.

For all the lasting impression the guitar work imparted on this album, The Campfire Headcase - arggh, PHASE - maybe a third of the tracks actually utilize the six-stringers. Not that I blame listeners remembering it as such, so front-loaded on here as they are. It also doesn’t hurt tracks like Chromakey Dreamcoat, Satelite Anthem Icarus, and Dayvan Cowboy (which was also tapped for single duty on Trans Canada Highway) worm their way into the noggin as only ‘Boards Of Canada goes shoegaze’ music can. The other half of this album is Boards being Boards as per usual. Detuned, crackly synths, gorgeous ambience, functional rhythms, and a total lack of quirky skits.

Wait, that’s something new! You mean to tell me The Campfase Headphire (*sigh*... I’ll dyslexia a cure this for...) doesn’t feature any weird-for-weird-sake bits of children dialog, clips of National Film Boards documentaries, or whatever else that made Music Has The Right To Children and Geogaddi the distinctive albums they were? There are still ambient interludes, but even they typically run lengthier compared to prior LPs’ doodles, most breaching well over the one-minute mark (I forgive A Moment Of Clarity for being under, since making it any longer wouldn’t make it a moment). And man, those last few tracks - Slow This Bird Down, Tears From The Compound Eye, and Farewell Fire - my heart bleeds, it does.

While I wouldn’t recommend The Campfire Headphase (yes!) as your diving off point with Boards Of Canada, it’s a worthy addition to your collection if Musical Children has tempted you for more. Although, I’m only preaching to the converted, aren’t I?

Vitalic - OK Cowboy

[PIAS] Recordings: 2005

Electronic music was desperate for the Next Big Thing to manifest itself during the mid-‘00s and, thanks to the immense buzz behind his debut Poney EP, Vitalic was counted upon to deliver said all-time classic album that would define the decade. Instead, four years after, he released OK Cowboy, a solid LP with lots of fun music, perhaps one of the strongest albums to emerge from the dire year of 2005. However, because it leaned so heavily on Poney EP, it wasn't the classic folks expected, and considered a letdown. Oh well, back to propping up Mylo as EDM’s generational talent.

Now, how to follow that paragraph? Almost everything else I say about OK Cowboy from here on out will come off as hyperbolic gushing. Yes, I know this isn’t a perfect album, but as far as I’m concerned, it does everything it needs to smashingly well. You’ve got the old hits that made Mr. Arbez-Nicolas the talk of the underground, you got some new stuff that’s equally on par, you got ‘filler’ tracks putting several other electro-sleaze techno producers before and since to shame, and you have chill, artistic indulgences that not only prove ol’ Pascal’s far from a one-trick Poney EP, but help break up any album monotony in the process. What else can he do to make OK Cowboy more awesome? Well, maybe including You Prefer Cocaine somewhere, but three out of four Poney EP tracks probably was stretching things a little.

It’s nigh impossible to discuss this album without talking about what made ol’ Pascal’s first single such a revelation at the time. While DJ Hell’s International Deejay Gigolo print was already finding sexy new ways of combining EBM intensity with techno functionality, Vitalic added unabashed laser-kissed anthemage to the mix. The way Poney, Pt. 1’s synths and La Rock 01’s acid unceasingly build and build over pummelling rhythms were visceral reminders of techno’s raw potential energy (an attribute somehow forgotten by techno’s old guard of the time). Throw in bizarre, discordant vocals as though imagined in a David Lynch fever dream, and even the relatively subdued Poney, Pt. 2 stands out as a highlight among classics.

The other tracks, then. Could they hope to match those tunes? My Friend Dario says, “Oh Hell yeah!” with guitar riffage as infectious as any of hair metal’s best. Plus, one watch of the video, and you’ll forever be air guitaring along should you hear it play out. No Fun’s more of a typical electro-house take on the same idea, while Newman goes straight for the headbang thrash of the sound (it’s like Daft Punk’s Rock ‘N Roll, but great!). The hidden gem among all these is Repair Machines, a surprise electro-body workout that never got its due.

About the only thing that kept OK Cowboy from earning proper classic album status was a killer single near the end, but the final run of tunes are worth sticking out for. Marching drums to take us out, Vitalic? You so crazy!

Space Manoeuvres - Oid

Lost Language: 2005

John Graham probably never intended his Space Manoeuvres side-project to go anywhere, the alias likely only created as a means to release Stage One as a one-off. It was years before any significant follow-up with this guise appeared, and by then most of the hype for another Space Manoeuvres tune had faded - heck, when he released Part 3 in 2004, he piggy-backed it on Quivver. So when a full album of Space Manoeuvres material did appear, it caught most by surprise. Well, if you had any investment in the progressive scene anyway.

Maybe Lost Language convinced Graham to give Space Manoeuvres the proper LP treatment, or he’d simply produced enough back-catalogue with the alias to warrant a release such as Oid. The latter’s most likely the answer, as this album’s little more than a gathering of tracks old and new. At least it gave Lost Language an excuse to re-release Stage One again, since it’d been a whopping seven years since that tune had first come out. Oh 2005, how many trance anthems did you recycle?

Whatever, I’m always game hearing Stage One again. The ridiculously infectious synth stabs, lovely sonic depth justifying the space handle Graham aimed for, classy progressive trance rhythms, and those dialog samples! Tell me your spine doesn’t tingle at the mere mention of “Any crew?” “Negative.” It doesn’t? Oh, you haven’t heard Stage One yet. Come back after you have.

By the time Graham got around to producing most of these Space Manoouuooveeerees tracks, late ‘90s progressive trance was already out of fashion, the simpler Coldharbour stylee the new hotness. Thus Part Three and Quadrant Four would fit snugly in a Markus Schulz set of the time, but with a groovier space aesthetic. While not as memorable as Stage One (and let’s be honest: nothing else on Oid is), they’re solid offerings for the sound. Oh, and Zone Two was produced specifically for Oid, so don’t go thinking the track titles are a direct chronological record of Space Manoeuvres tracks – though Zone Two does have some similarities with his 2001 dark prog single Pluto Disko.

At the end of Oid, Graham indulges himself a little outside the traditional prog template. While Pentexplorer goes on the downbeat (it’s space-hop! ...or not), Division Six has ol’ John posing the question, “Hey, remember progressive breaks?” Why yes, yes I do. They were awesome. So is Division Six for that matter. Not so awesome is The Seventh Planet though, or rather Stage One (Leama & Moor Mix). I can hear they were going for a blissy chill-out vibe, but compared to similar material Ultimae was kicking out at the time, this is cheesy pap. Blegh.

Forgetting that last track, Oid’s a fine enough album of spacey prog, though don’t go in expecting Stage One over and over. That may disappoint some, but considering the odds of a Space Manoeuvres LP coming to light were long anyway, I can’t complain with the results.

Markus Schulz - Miami '05

Armada Music: 2005

This is it, isn’t it? The peak of this particular sub-genre of progressive trance? I already know how Markus Schulz’ story goes after this one, to say nothing of McProg as a whole. Tiësto’s In Search Of Sunrise 5 caught me off guard with how classy it treated the music – Hell, that Mr. Verwest jumped on the Schulz sound period – but there aren’t any other DJs that rinsed out the ‘classic’ Coldharbour sound who I should be checking out, right? Schulz being the King of his mountain, anyone else just can’t compare, true? Please tell me I shouldn’t also be digging into Anjunabeats circa. 2005 to find out – I feel dirty enough already retroactively enjoying McProg as I do now, and I don’t want to futilely search for more if it’s all downhill from Miami ‘05.

I mean, these two CDs have nearly everything I could hope for with these tentative explorations of the lambasted genre, and very little of the things that came to annoy me. It’s already a given we’re getting plenty of those tasty grumbly basslines and twinkly melodies I’ve developed the softest of spots for. I still can’t explain how or why it happened. Maybe it’s the lack of a constant barrage of slavering trance-crackers on web-forums championing it as the greatest music since Xpander (that tune’s practically the genre’s progenitor, come to think of it). Make no mistake, there still isn’t that much substance to this style of prog-trance, and if I re-listened to Miami ‘05 over and over as I typically did with most trance for review ten years past, almost certainly the empty shell within the shiny façade of a surface would reveal itself. Damn though, is it fun music for an occasional dip.

Miami ‘05 wouldn’t be any good if it was just one sound all the way through, and the bits of variety Schulz throws in (re: promoted singles from Coldharbour) are mostly welcome. As usual, I can bin the vocal cuts, but there are only three offenders on CD1, and even Interstate’s I Found You is given a nice rub from Lemon8. Side-chaining also makes its annoying entry here, Hammer & Bennett’s Baltic Sea being the worst offender (cool percussion though!), but like the vocal cuts, they’re few and far between, and don’t detract from the whole. Also, that Electro Hairspray track’s horribly muddy, practically a parody of the very sound Schulz is promoting on these mixes. Still, props for making it his only contribution to this mix – giving the new cats a chance to shine!

Speaking of, quite a few one-offs like Aronek, Jagermaestro, Yilmaz Altanhan, and Sundawner mix things up with usual suspects like Özgür Can, Mike Foyle, and Jose Amnesia. Should it come as any surprise these relative unknowns have the most interesting tracks here? And breaks! There’s trancey breaks on Miami ‘05! Good trancey breaks! Oh, Schulz, you’re spoiling me here. Can I go back in time and join your Cult? Well, maybe not.

Various - fabric 21: DJ Heather

Fabric: 2005

*cover art brought to you by fabric's “Negative Suburban Life” period*

Is DJ Heather the first female entrant in either of Fabric's series? *backchecks* Huh, sure looks like it. That's surprising, taking so long for a member of the fairer sex to finally get the nod. I know the male-to-female DJ ratio is wildly out of whack, but surely Fabric could have offered it to someone sooner. Aside from those ladies who did get fabrics later (Ellen Allien, Magda), there's... um, hmm.

Annie Mac possibly could have done a FabricLive before, but her career only truly took off shortly after this. For a bold option, Mary Anne Hobbs might have worked, but few knew what to make of dubstep at this point in FabricLive’s lifetime. As for the main series, for sure fabric wouldn't bother with hard house gals like DJ Irene or the Tidy Girls, nor prog-leaning dames like Sandra Collins. Uh, help me out here, UK: were there any notable female DJs that could have broken the Fabric gender barrier earlier? I mean, it doesn't look good on your part that they turned to a Chicago resident when they finally did.

Not that Ms. Robinson isn't deserving of such an accolade, having already earned her house-rinsing stripes in the good ol' U.S. Of A. Her birth land may be the East Coast, but her sound bumps West Coast, often held in standing with another Chicago transplant, Mark Farina. Shortly after releasing fabric 21, she signed with San Francisco label OM Records, a label any sort of proper house-head should be familiar with. Sunny, jazzy sounds on the deeper side of house dominate their roster, and DJ Heather’s no exception.

It’s funny that much of the music on fabric 21 was what many considered deep house around the time, the San Francisco sound so influential abroad. That would change within a year thanks to the Germans, perhaps due to a desire for something fresher sounding than the usual funky American soul. I’ve said plenty before finding house mix CDs of this sort wasn’t difficult, and DJ Heather’s contribution to this cliché keeps it such. The music’s perfectly fine, at times on the dubby side (Marko Militano’s Good People; D’Julz’ Ze Theme; 2-Utes’ Bumpin The BQE),other times raiding disco funk vibes (Kaskade’s Steppin’ Out, with Members Only providing an Akufen-styled rub; both Mike Delgado cuts), and elsewhere taking either the jazzy road (DJ Rhythm’s Brazilian Soul; Mario Fabriani’s Release) or acid path (Maxx Renn’s Acid Jack). It’s a set that doesn’t stray far from familiar territory, but with scenery this fun and funky, who really cares.

Was This Worth The Pennies Paid For It?
Can’t fault the music at this bargain price, what with most House Of OM CDs still commanding a fair dollar even on the used market. fabric dips its hands into the San-Fran well every so often, so DJ Heather’s contribution isn’t entirely unique for the series. Aside from that whole “First Female DJ” bit, anyway.

Various - fabric 20: John Digweed

Fabric: 2005

*cover art brought to you by fabric's “Negative Suburban Life” period*

Released during Digweed's mid-’00 'wandering' years, fabric 20 isn't as odd an entry as most figured. Maybe that the club would offer their twentieth edition to a prog DJ turned a few heads, but it’s not like ol' John was a stranger to the club. Just about every jock with some tech-house pedigree has played at Fabric at some point in their career, and Digweed's crates run deep with house music of all sorts. Check out his Choice compilation of the same year if you need proof of his eclectic progressive pudding.

Truth is few survive as a top-tier DJ without some adaptability, musical fads incredibly fickle as years wear on. If you’re really damn good at the game, you can dictate how those trends will shift, as Digweed did when he convinced many progressive house was dead, so here’s ‘prog’ instead. Before finally settling on Transitions as his next move, he got to showcase his flexibility on fabric 20, essentially accommodating his skill for set construction into a mix filled with tunes the traditional Fabric audience could appreciate.

Make no mistake, the fabric series built its early reputation as an outlet for house-heads who’d grown weary of prog’s dominance on the DJ mix CD market. Crafty ol’ John definitely knew his audience, then, as there’s hardly any of the sort in this mix. Even the first track, 16B’s mix of Pete Moss’ Strive To Live, has more in common with ambient techno than progressive house; plus, it’s a great track to overlay on Adam Johnson’s Traber, a techno producer that prog DJs adored at the time. Third track Forgive & Forget from Repairs and Richard Davis on the rub is about as proggy as fabric 20 goes, what with its dubby, chuggy beat and soft vocals overtop. Then we’re off to the uncharted realms of ‘other’-house, as far as Digweed’s traditional fanbase was concerned.

There’s disco punk licks (Glass’ Won’t Bother Me (20:20 Soundsystem Instrumental)), bumpin’ funky kicks (Martin Solveig’s Rocking Music), Belgian acid throwback (Billy Dalessandro’s In The Dark), contemporary electro acid (Slam’s Lie To Me (Freestyleman Thirsty Monk Dub)), floaty electro-tech (Superpitcher’s Happiness (Michael Mayer Mix)), and chugging tribal (Joel Mull’s Emico), though this is a sound Digweed’s worked into his sets plenty of times; cool seeing it from another techno guy though. All of which, of course, arranged so you have that vintage progressive house set flow: early lead, mid-set peak, slight dip for tune showcase, strong finish.

Was This Worth The Pennies Paid For It?
If you’re a Digweed completist, definitely - the guy’s got a lot of mix CDs, and saving money’s always a solid option. As a fabric disc, it’s one of the more unique ones out there, in that it takes a road hardly traveled before or since; the tunes fit the series, the arrangement doesn’t. Still, I’d take this over dry minimal-tech mixes any day. Most worth it, then.