Ultra Records: 2008
(2015 Update:
I recall hating this, but upon re-listening to Benassi's sophomore effort, it wasn't as bad as I remember. Surely it was within the review itself that my bile had been expunged, snarky quips galore shot upon one of dirty electro's founding fathers. Nay, t'was not here either, generally positive things said even while remaining properly critical. Hell, I even gave some praise to I Am Not Drunk, and that song's awful. Maybe taking on a temporary douche-bro mindset truly does help in seeing things from the other side, an appreciation for the trashy dumb-fun aspect of club culture. That, or I suspected things would only get worse with the advent of disposable EDM in the following decade.
Speaking of, no surprise Benassi's hitched another wagon onto the festival anthem house scene. His recent singles could be any number of Guetta/Hardwell clones though, not even retaining the sleazy charm that marked his early work. Makes some of the tripe on this album come off far more original. Still, if you've got a hankering for the old Ed Banger 'maximal' sound, stick with Boyz Noise.)
IN BRIEF: Marginal satisfaction.
Oh dear, we aren’t actually going to do this, are we? Oh yes indeed we (or at least I) are (am). After so many months of giving the collective nu-electro house scene the thumbs down, we’re going ahead and reviewing the new album from the man that propelled the sound into the stratosphere of popular taste with his hit single Satisfaction. No good can come of this, right? Tsk, you wound us with your petty assumptions.
Thing is, most of our criticisms of the genre tend to fall upon the stagnant Swedish side of things, where farting basslines dominate; but we here at TranceCritic have remained rather neutral where Benassi and his sleazy side-chaining clones are concerned. Chalk it up to a kind of love-hate relationship with Benny: he has undoubtedly produced some fun house music, but due to his catering to the tastes of mainstream lowest common denominator, not much of it holds up when placed under scrutiny. Still, he knows his role, and we know he knows his role, so we often let his brand of nu-electro go; let him enjoy his success while the sound is hot.
Popular trends are fleeting, however, and a little over two years ago, when last we talked of Benassi [at TranceCritic], we predicted the sleazy side-chaining gimmick would be wearing out its welcome. Sure enough, Benassi's nu-electro has been usurped in clubbing circles for a thrashier trashier kind of sound, feeding off the arena rock vibes acts like Justice brought to the forefront of dance music. Never being one to innovate but always one to capitalize upon a hot trend, Benny’s hopped on this latest bandwagon, and offers us his second album titled Rock‘N’Rave.
And he (plus producing partner Alle Benassi, remaining in the background while his brother Benny’s grabs the spotlight) does whip up some suitably rowdy numbers that’ll work perfectly fine in your typical weekend club; however, when stacked against much of the dance-rock material released this past year, it pales in comparison. Far too much of it sounds like Benassi approximating what he figures to be the Ed Banger aesthetic, hitting you with blunt out-of-tune riffs permanently cranked into the red; sometimes it works (Rock‘N’Rave, U Move U Rock Me) but most of the time it’s a noisy annoyance - which has often been the main criticism of this genre right from the beginning anyway.
Benassi hasn’t completely abandoned his bread and butter, though, and whenever he brings the harlots and side-chaining out, the tracks surprisingly fare better. I Am Not Drunk, for example, is a fun bit of boozy-woozy hedonistic-dance indulgence. And then there’s My Body and Who’s Your Daddy, which prove Benassi a capable producer when he plays to a chick’s sense of tease. Unfortunately, they also have their problems: despite My Body’s fun rowdy nature, the side-chaining in its main melody is atrocious, some of the worst I’ve heard in a while; and compared to the original version of Who’s Your Daddy, this Pump-kin mix lacks spunk.
Still, those bratty girls are far more entertaining than most of the guest vocalists Benassi has brought in. Aside from Come Fly Away, which features euro-dancey pop lyrics courtesy of Channing complementing old-school rave riffs (sweet! ...until you realize the track doesn’t really go anywhere), it seems we’re in an emoting boy-band audition session. Good god, it’s bad enough we’ve been having to hear it in bad euro-trance, but now in dance-rock too? Enough already.
Ah, hell. I’m getting too critical over this music, aren’t I. That’s not the right frame of mind at all for Benassi’s type of music. Hold on a moment while I slip into something a little more suitable...
*Downs half-a-dozen jagerbombs; shot-guns a Rock Star; rails a line of blow off the ass of a trampy twenty-something gal wearing tacky sunglasses; spikes hair into frosted tips*
So, bro! This Benassi shit, man! Fuckin’ killer shit, eh bro? Oh fuck ya’, man! Listen to those fuckin’ FAT beats and... oh fuck! Dude!! Check out those two sluts fucking frenchin’, bro! That’s fucking AWESOME! Yeah, you go, bitches!! Wooooo!!!!! Oh, hey, bro! Benassi’s fucking the SHIT, man! Look how he gets those skanks wet and horny. Damn, I’m gonna get me some pussy tonight, I shit you not, bro! Benny Benassi, woooo!!! This shit’s off the HOOK!
Hey, bro, got any blow?
*sobers up*
Ugh, what happened? Where was I? Ah, right. Guest vocalists. If you like your male vocalists sounding overly emotional and earnest, you’ll probably enjoy the guys on Rock ‘N’ Rave. And I have to admit Shocking Silence isn’t too bad of an offering, even if it’s merely style-biting Marco V’s False Light.
The second disc is mostly remixes and some of Benassi’s ‘vs’ projects assembled together. None of the remixes are worth your time (Eclectic Strings is a dub of My Body, and sounding woefully inept without Mia's skanky vocals). The rest sounds like Benny’s attempt to replicate the success of Bring The Pain by capitalizing on some other current trends (classic house revivalism in the case of Black Box, and punky indie rock in the case of Iggy Pop); Bring The Pain actually is some fun, even if I can’t help but be reminded of Jason Nevins and Run DMC, but the other two are wholly unnecessary and uninspired reworks, making me just want to listen to the originals instead. Pretty much a toss-off, CD number two is.
So, perhaps this was to be expected after all. There’s no doubt Rock ‘N’ Rave has moments that’ll entertain, even if it’s mostly in a drunken-dumb kind of way. As an album, though, it isn’t the kind of thing you’ll be playing much from front-to-end. While you may whole-heartedly accept Benassi’s change of direction, his execution of it all sounds uncertain, as though he’s only doing this in order to keep up with contemporary clubbing consciousness. Whether his fanbase picks up on this remains to be seen but, in the long run, finding any kind of Satisfaction on here will be difficult. Oh yes, I went with the bad pun; deal with it, bro!
Written by Sykonee for TranceCritic.com, 2008. © All rights reserved.
Showing posts with label 2008. Show all posts
Showing posts with label 2008. Show all posts
Tuesday, April 28, 2015
Saturday, February 14, 2015
Deadmau5 - Random Album Title (Original TC Review)
Ultra Records: 2008
(2015 Update:
Ol' Joel's had himself a career since I wrote this, hasn't he? Mega-selling concerts, tabloid relationships, Grammy nominations, high rankings in popularity polls, superstar collaborations, and more dosh than a dead dinosaur (?). You know what hasn't changed though? (wait for it...) That. Darn. Clap! Ahahah! Hahaha! Hehhaahaha- Oh, he recently released some ambient music too. Well, that's pie on my ass.
Seriously though, every time I popped into his discography for a quick listen, I couldn't help but chuckle at how little Deadmau5' standard house-template ever changed. As easy it is to deride him for a lack of song-craft ability though, I suspect he's fully aware there's little point in showing some growth, the audience he's cultivated more interested in dazzling light shows and caustic social media diatribes than any actual music. It's taking Fatboy Slim's tongue-in-cheek "why try harder?" manifesto to its logical conclusion. Great for short term profitibility, sure, but small surprise Deadmau5', erm, 'true'-fans keep pointing to this album as his best. The hint of potential resonates here.)
IN BRIEF: A clap every second beat, guaranteed.
I admit it: I like his gimmick. Yes, you read that right –I like deadmau5’ costume gimmick. There’s just something about seeing a guy on stage with a giant mouse head that screams “rave!” How could it not be a trip to watch that live? Ever since DJs became the official ‘face’ of EDM, such odd examples of costumed performance sadly fell by the wayside, abandoning its counter-culture ideology in favor of mainstream acceptance. So, good on Joel Zimmerman for keeping that aspect of the live show going. To those who believe performing with a giant mouse head is silly, I say this –‘tis no less silly than Altern 8 performing with faux-bio-wear and masks, or Liam Howlett having a couple dancers prance around the stage, or Aphex Twin having a couple giant teddy bears prance around the stage, or Rabbit In The Moon doing… um, whatever it is they do on stage. Live PA needs more of this, not less.
He wouldn’t have gotten so widely popular with just a clever gimmick, though; no, deadmau5’ rapid success has a large part to do with the most valuable currency of the modern era: internet controversy. He is one of the very few producers who will actually argue against those who consistently slander his short career, getting involved with heated flame wars on prominent social media. Mind, despite the rarity, this isn’t something new, as Frankie Bones has done much the same for years now. Unfortunately, Joel lacks Bones’ scene savvy and Brooklyn wit, and the Toronto native’s tactless approach to public relations has left him much hated but frequently talked about. In this regard, deadmau5 is merely EDM's version of Soulja Boy.
Oh, and apparently he’s made a few popular tunes too, such that he’s become Beatport’s poster-boy. In the process, the music website handed out a bunch of awards to him, even if that’s like Ikea giving out awards for the furniture they sell. It’s been good for promotions, though, and the time came for Mr. Zimmerman to deliver a major label debut (well, relatively speaking; Ministry Of Sound/Ultra is major in terms of dance music).
And what’s on this randomly titled album? Claps. And claps. And claps. And claps. And claps. And claps. And claps. And claps. And claps. And… for fuck’s sakes, Joel, STOP WITH THE FUCKING CLAPS! On nearly every second beat, there’s a fucking clap (or snare/snap variation). Every fucking time. No variation at all. It quickly lodges inside your head and never lets up; even when it's somewhat tucked under the synths as a subtle snap, you can't escape it. And by being coupled with such plodding prog rhythms, deadmau5 proves himself to be amongst the whitest dance producers you’ll ever encounter. By three tracks in, it’s become comical; four tracks in, bad comedy; for the rest of the album, infuriatingly distracting.
So what, you counter, second-beat snares are common in music; it can be found in all kinds of genres. And you are right, as it provides rhythmic jump to any beat; however, its function is typically used as a supplement to the rhythm, whereas deadmau5 makes it his main feature. It’s as though he first copy and pastes the clap for several bars, then constructs the rest of his track around it; his claps are so prominent because they run the whole show.
Its omnipresence isn’t helped by the fact Joel’s such a fine technical producer. If he gets anything right, it’s his sense of audio dynamics – everything is wonderfully spaced and full-sounding without falling into over-compression traps plaguing many modern productions. Unfortunately, it also highlights the compounding problems with this album, in that despite having such crystal clear production, his music lacks creativity and soul; it all blends together into one long trudge through generic tech-prog, with the only thing ever sticking to mind being that damned clap.
Even after a dozen listens through, there are only bits and pieces of other stuff I can recall: some tech sections that blandly drone; a couple bouncy basslines; ominous atmospherics here and there; a dull breathy female vocal somewhere in the middle (crossover attempt!); a robotic voice early-on saying “sometimes things get complicated,” surely an ironic foreshadow regarding his beats; repeated uses of the delayed synth 8th notes that he made so popular; some melancholic noodly piano bits; noisy effects-laden builds; blessedly, none of his hideous ‘electro’ r-r-rr-rrrRIPP fart stuff. Arguru in particular stands out, as it features the least amount of clap in its beats (the track’s drop after the build is pretty ace too). Ask me to actually hum back any kind hook or melody from this album, though, and all I’ll be able to offer you are steady plodding hand-claps.
Did Joel realized just how ridiculous hearing the same clap all the way through his album sounds? Did he even bother to give it a good listen over? Sure, he’s gone on record as saying he didn’t put much effort into it, merely slapping on his big hits and padding it out with some new stuff for a DJ mix, but by doing so he shoots himself in the foot (probably once every second beat). deadmau5 has long been criticized for being samey-sounding and lacking in any kind of musical intuitiveness, an accusation that honestly doesn’t have much merit when you hear his tracks in isolation or as a part of a DJ set; any of these tracks are fine individually. Lined up all together as they are here, though, and how can you not agree with the naysayers? That clap… it’s like Chinese water torture, but instead of a constant drip… drip… drip… eating away at your head, you have a constant clap… clap… clap… eating away at your brain. It annoys. It grates. It torments. It claps. It claps. It claps. It claps. It claps. It claps. It claps…
Written by Sykonee for TranceCritic.com, 2008. © All rights reserved.
(2015 Update:
Ol' Joel's had himself a career since I wrote this, hasn't he? Mega-selling concerts, tabloid relationships, Grammy nominations, high rankings in popularity polls, superstar collaborations, and more dosh than a dead dinosaur (?). You know what hasn't changed though? (wait for it...) That. Darn. Clap! Ahahah! Hahaha! Hehhaahaha- Oh, he recently released some ambient music too. Well, that's pie on my ass.
Seriously though, every time I popped into his discography for a quick listen, I couldn't help but chuckle at how little Deadmau5' standard house-template ever changed. As easy it is to deride him for a lack of song-craft ability though, I suspect he's fully aware there's little point in showing some growth, the audience he's cultivated more interested in dazzling light shows and caustic social media diatribes than any actual music. It's taking Fatboy Slim's tongue-in-cheek "why try harder?" manifesto to its logical conclusion. Great for short term profitibility, sure, but small surprise Deadmau5', erm, 'true'-fans keep pointing to this album as his best. The hint of potential resonates here.)
IN BRIEF: A clap every second beat, guaranteed.
I admit it: I like his gimmick. Yes, you read that right –I like deadmau5’ costume gimmick. There’s just something about seeing a guy on stage with a giant mouse head that screams “rave!” How could it not be a trip to watch that live? Ever since DJs became the official ‘face’ of EDM, such odd examples of costumed performance sadly fell by the wayside, abandoning its counter-culture ideology in favor of mainstream acceptance. So, good on Joel Zimmerman for keeping that aspect of the live show going. To those who believe performing with a giant mouse head is silly, I say this –‘tis no less silly than Altern 8 performing with faux-bio-wear and masks, or Liam Howlett having a couple dancers prance around the stage, or Aphex Twin having a couple giant teddy bears prance around the stage, or Rabbit In The Moon doing… um, whatever it is they do on stage. Live PA needs more of this, not less.
He wouldn’t have gotten so widely popular with just a clever gimmick, though; no, deadmau5’ rapid success has a large part to do with the most valuable currency of the modern era: internet controversy. He is one of the very few producers who will actually argue against those who consistently slander his short career, getting involved with heated flame wars on prominent social media. Mind, despite the rarity, this isn’t something new, as Frankie Bones has done much the same for years now. Unfortunately, Joel lacks Bones’ scene savvy and Brooklyn wit, and the Toronto native’s tactless approach to public relations has left him much hated but frequently talked about. In this regard, deadmau5 is merely EDM's version of Soulja Boy.
Oh, and apparently he’s made a few popular tunes too, such that he’s become Beatport’s poster-boy. In the process, the music website handed out a bunch of awards to him, even if that’s like Ikea giving out awards for the furniture they sell. It’s been good for promotions, though, and the time came for Mr. Zimmerman to deliver a major label debut (well, relatively speaking; Ministry Of Sound/Ultra is major in terms of dance music).
And what’s on this randomly titled album? Claps. And claps. And claps. And claps. And claps. And claps. And claps. And claps. And claps. And… for fuck’s sakes, Joel, STOP WITH THE FUCKING CLAPS! On nearly every second beat, there’s a fucking clap (or snare/snap variation). Every fucking time. No variation at all. It quickly lodges inside your head and never lets up; even when it's somewhat tucked under the synths as a subtle snap, you can't escape it. And by being coupled with such plodding prog rhythms, deadmau5 proves himself to be amongst the whitest dance producers you’ll ever encounter. By three tracks in, it’s become comical; four tracks in, bad comedy; for the rest of the album, infuriatingly distracting.
So what, you counter, second-beat snares are common in music; it can be found in all kinds of genres. And you are right, as it provides rhythmic jump to any beat; however, its function is typically used as a supplement to the rhythm, whereas deadmau5 makes it his main feature. It’s as though he first copy and pastes the clap for several bars, then constructs the rest of his track around it; his claps are so prominent because they run the whole show.
Its omnipresence isn’t helped by the fact Joel’s such a fine technical producer. If he gets anything right, it’s his sense of audio dynamics – everything is wonderfully spaced and full-sounding without falling into over-compression traps plaguing many modern productions. Unfortunately, it also highlights the compounding problems with this album, in that despite having such crystal clear production, his music lacks creativity and soul; it all blends together into one long trudge through generic tech-prog, with the only thing ever sticking to mind being that damned clap.
Even after a dozen listens through, there are only bits and pieces of other stuff I can recall: some tech sections that blandly drone; a couple bouncy basslines; ominous atmospherics here and there; a dull breathy female vocal somewhere in the middle (crossover attempt!); a robotic voice early-on saying “sometimes things get complicated,” surely an ironic foreshadow regarding his beats; repeated uses of the delayed synth 8th notes that he made so popular; some melancholic noodly piano bits; noisy effects-laden builds; blessedly, none of his hideous ‘electro’ r-r-rr-rrrRIPP fart stuff. Arguru in particular stands out, as it features the least amount of clap in its beats (the track’s drop after the build is pretty ace too). Ask me to actually hum back any kind hook or melody from this album, though, and all I’ll be able to offer you are steady plodding hand-claps.
Did Joel realized just how ridiculous hearing the same clap all the way through his album sounds? Did he even bother to give it a good listen over? Sure, he’s gone on record as saying he didn’t put much effort into it, merely slapping on his big hits and padding it out with some new stuff for a DJ mix, but by doing so he shoots himself in the foot (probably once every second beat). deadmau5 has long been criticized for being samey-sounding and lacking in any kind of musical intuitiveness, an accusation that honestly doesn’t have much merit when you hear his tracks in isolation or as a part of a DJ set; any of these tracks are fine individually. Lined up all together as they are here, though, and how can you not agree with the naysayers? That clap… it’s like Chinese water torture, but instead of a constant drip… drip… drip… eating away at your head, you have a constant clap… clap… clap… eating away at your brain. It annoys. It grates. It torments. It claps. It claps. It claps. It claps. It claps. It claps. It claps…
Written by Sykonee for TranceCritic.com, 2008. © All rights reserved.
Thursday, February 12, 2015
Solarstone - Rain Stars Eternal (Original TC Review)
Solaris Recordings: 2008
(2015 Update:
I recall being harsher in my words towards this album, but aside from a few snarky digs here and there, clearly that wasn't the case. I know I didn't outright hate the album, and my opinions of euro-trance music had mellowed some, but surely not to such a degree that I'd give the sap on Rain Stars Eternal a pass without flying off the ragin' deep end. Whatever, at least we can all agree Breakaway remains as pants as ever.
What's more fascinating about the Solarstone saga is how his DJ career's gained far more critical plaudits compared to his album output. He's released a couple more LPs since this one, but about all folks go on about these days are the Electronic Architecture and Pure Trance series. They're hailed as shining examples of trance as it should be, though I wouldn't know since I haven't indulged in any of them - what many figure as 'real' trance often contradicts my own notion on the matter, especially where traditional fans of Solarstone's material are concerned. Still, all that high praise can't be for naught, and it probably wouldn't hurt to check out one or two of those. I mean, what else am I gonna' spend my 'obligatory trance-cracker DJ mix CD' money on, more In Trance We Trust discs? Haha, ha.)
IN BRIEF: A decade in the making?
Lately, when there’s talk of melodic trance producers who had hits during the big late-90s boom, a degree of frustration and disappointment comes up when reflecting on their current output. The list of fallen-off names that long-time fans of the genre are disgruntled with is a long one, and needn’t be brought up here. It has gotten to the point, though, where you can’t even bring them up online without a flame-war erupting.
Yet, there are a few respected individuals that escaped such harsh fates, retaining their credibility even as the genre itself crumbled around them. As should be quite obvious to you since you clicked a link to this review, Solarstone is amongst this group. It seems no matter the particular taste in trance music, general consensus has deemed tracks like Seven Cities and Solarcoaster as class. With such promising early singles, folks eagerly waited for an album. And waited... and waited...
Now over ten years since breaking out with The Calling, and minus long-time producing partner Andy Bury, Rich Mowatt has come correct with a proper long-player (the previous two-disc Anthology was essentially a greatest hits package of various projects). It’s been a long time coming, but thanks to the odd single over the years and continued fond memories for his prior hits, fans of Solarstone have kept a vested interest in the name. And yet strangely enough, there haven’t been high expectations for Rain Stars Eternal either. It’s as though folks know the days of Seven Cities and Solarcoaster are behind him, so they’ve given Mowatt the good grace of delivering an album which makes sense in the here-and-now rather than clinging to the past.
With such freedom at his disposal, it may come as a bit of a disappointment that Mowatt has opted for the pop route, though shouldn’t be too surprising since the Solarstone moniker always leaned more to the melodically accessible side of trance music. What this means, however, is Rain Stars Eternal is filled with oodles of vocals, an attribute that more often than not sends up red flags when it comes to trance producers. Are these flags warranted this time out? The answer, my friends, is yes and no. Since this answer isn’t the least bit helpful, allow me to elaborate, starting with the ‘yes’.
If anything, Mowatt has crafted an album that paints a world where all that is vile and abhorrent in life has been whisked away. Instead, loving emotions and sentiments that caress the soul are ever present. At times, you almost feel like you’ve stumbled upon some kind of fantasy-land where unicorns and fairies frolic in fields of flowers. Yet, it doesn’t come across as sickly sweet as you might think, as Mowatt keeps things at a level of class, never the least bit embarrassing.
Case in point: Lunar Rings. When I first heard this one, the oh-so precious sugary vocals by guest-singer Essence had me instinctively irate and aggressive. It wasn’t from actually hating the song, though, but from my body reflexively surging me with testosterone, probably to make sure my testicles were still there after hearing something so syrupy and effeminate. After going back to listen with a properly objective perspective, I found Lunar Rings a rather decent slice of euro-trance goof-ball pop; there’s no point in criticizing a song that succeeds in its aim, even though it’s not something I’d likely willingly ever listen to again.
Tracks like the ode to an unborn child (Part Of Me) and about relationships (Late Summer Fields and Slave) are also well produced with vocals that are quite enjoyable. Unfortunately, the other two vocal tracks - Filoselle Skies and Breakaway - are rough stumbles. While the former starts nicely enough, Julie Scott’s singing soon clashes with the pleasant musical backings Mowatt provides; it’s rather shocking how off it sounds when compared to their other collaboration in Slave. Meanwhile, Breakaway is totally misguided, Mowatt trying his hand at ‘emo-dance’ with an over-emoting American-based male vocalist and production that’s about as watered-down as pop-rock dance music gets; considering Rain Stars Eternal is mostly filled with airy ethereal melodies, Breakaway’s contemporary backdrop is completely out of place. Heck, why even get such a sappy singer for it anyway? As evidenced in Late Summer Fields, Mowatt is more than capable of carrying credible vocal duties himself.
There are also a few standard instrumental trance tunes scattered about, but aside from the titular track, these aren’t much to get excited about. Although they are nice enough, Spectrum and 4Ever are going through the motions, as though Mowatt wasn’t as concerned with them. Fortunately, he easily makes up for such basic tracks with a very lovely bit of music on the closer The Last Defeat. While it may dip somewhat into New Agey soundscapes, it’s of the sort that is still quite soothing and relaxing, and ends Rain Stars Eternal on a strong note.
A positive final impression, however, isn’t enough to save this album from a middling score, albeit a high middling score. The trouble is, despite a strong opening sequence of songs, the decided lack of anything innovative or unique firmly keeps Rain Stars Eternal in the realms of ‘merely pleasant pop music’. Mowatt is a better producer and song-writer than many of the folks over at Armada or Anjunabeats, of that there is no doubt, yet he still hasn’t progressed much from his output earlier in the decade. If the Solarstone of old still holds fond memories for you, this proper debut will probably satisfy to some degree. Unfortunately, unlike those classic singles, there isn’t enough on here to leave the same kind of lasting impression.
Written by Sykonee for TranceCritic.com, 2008 © All rights reserved.
(2015 Update:
I recall being harsher in my words towards this album, but aside from a few snarky digs here and there, clearly that wasn't the case. I know I didn't outright hate the album, and my opinions of euro-trance music had mellowed some, but surely not to such a degree that I'd give the sap on Rain Stars Eternal a pass without flying off the ragin' deep end. Whatever, at least we can all agree Breakaway remains as pants as ever.
What's more fascinating about the Solarstone saga is how his DJ career's gained far more critical plaudits compared to his album output. He's released a couple more LPs since this one, but about all folks go on about these days are the Electronic Architecture and Pure Trance series. They're hailed as shining examples of trance as it should be, though I wouldn't know since I haven't indulged in any of them - what many figure as 'real' trance often contradicts my own notion on the matter, especially where traditional fans of Solarstone's material are concerned. Still, all that high praise can't be for naught, and it probably wouldn't hurt to check out one or two of those. I mean, what else am I gonna' spend my 'obligatory trance-cracker DJ mix CD' money on, more In Trance We Trust discs? Haha, ha.)
IN BRIEF: A decade in the making?
Lately, when there’s talk of melodic trance producers who had hits during the big late-90s boom, a degree of frustration and disappointment comes up when reflecting on their current output. The list of fallen-off names that long-time fans of the genre are disgruntled with is a long one, and needn’t be brought up here. It has gotten to the point, though, where you can’t even bring them up online without a flame-war erupting.
Yet, there are a few respected individuals that escaped such harsh fates, retaining their credibility even as the genre itself crumbled around them. As should be quite obvious to you since you clicked a link to this review, Solarstone is amongst this group. It seems no matter the particular taste in trance music, general consensus has deemed tracks like Seven Cities and Solarcoaster as class. With such promising early singles, folks eagerly waited for an album. And waited... and waited...
Now over ten years since breaking out with The Calling, and minus long-time producing partner Andy Bury, Rich Mowatt has come correct with a proper long-player (the previous two-disc Anthology was essentially a greatest hits package of various projects). It’s been a long time coming, but thanks to the odd single over the years and continued fond memories for his prior hits, fans of Solarstone have kept a vested interest in the name. And yet strangely enough, there haven’t been high expectations for Rain Stars Eternal either. It’s as though folks know the days of Seven Cities and Solarcoaster are behind him, so they’ve given Mowatt the good grace of delivering an album which makes sense in the here-and-now rather than clinging to the past.
With such freedom at his disposal, it may come as a bit of a disappointment that Mowatt has opted for the pop route, though shouldn’t be too surprising since the Solarstone moniker always leaned more to the melodically accessible side of trance music. What this means, however, is Rain Stars Eternal is filled with oodles of vocals, an attribute that more often than not sends up red flags when it comes to trance producers. Are these flags warranted this time out? The answer, my friends, is yes and no. Since this answer isn’t the least bit helpful, allow me to elaborate, starting with the ‘yes’.
If anything, Mowatt has crafted an album that paints a world where all that is vile and abhorrent in life has been whisked away. Instead, loving emotions and sentiments that caress the soul are ever present. At times, you almost feel like you’ve stumbled upon some kind of fantasy-land where unicorns and fairies frolic in fields of flowers. Yet, it doesn’t come across as sickly sweet as you might think, as Mowatt keeps things at a level of class, never the least bit embarrassing.
Case in point: Lunar Rings. When I first heard this one, the oh-so precious sugary vocals by guest-singer Essence had me instinctively irate and aggressive. It wasn’t from actually hating the song, though, but from my body reflexively surging me with testosterone, probably to make sure my testicles were still there after hearing something so syrupy and effeminate. After going back to listen with a properly objective perspective, I found Lunar Rings a rather decent slice of euro-trance goof-ball pop; there’s no point in criticizing a song that succeeds in its aim, even though it’s not something I’d likely willingly ever listen to again.
Tracks like the ode to an unborn child (Part Of Me) and about relationships (Late Summer Fields and Slave) are also well produced with vocals that are quite enjoyable. Unfortunately, the other two vocal tracks - Filoselle Skies and Breakaway - are rough stumbles. While the former starts nicely enough, Julie Scott’s singing soon clashes with the pleasant musical backings Mowatt provides; it’s rather shocking how off it sounds when compared to their other collaboration in Slave. Meanwhile, Breakaway is totally misguided, Mowatt trying his hand at ‘emo-dance’ with an over-emoting American-based male vocalist and production that’s about as watered-down as pop-rock dance music gets; considering Rain Stars Eternal is mostly filled with airy ethereal melodies, Breakaway’s contemporary backdrop is completely out of place. Heck, why even get such a sappy singer for it anyway? As evidenced in Late Summer Fields, Mowatt is more than capable of carrying credible vocal duties himself.
There are also a few standard instrumental trance tunes scattered about, but aside from the titular track, these aren’t much to get excited about. Although they are nice enough, Spectrum and 4Ever are going through the motions, as though Mowatt wasn’t as concerned with them. Fortunately, he easily makes up for such basic tracks with a very lovely bit of music on the closer The Last Defeat. While it may dip somewhat into New Agey soundscapes, it’s of the sort that is still quite soothing and relaxing, and ends Rain Stars Eternal on a strong note.
A positive final impression, however, isn’t enough to save this album from a middling score, albeit a high middling score. The trouble is, despite a strong opening sequence of songs, the decided lack of anything innovative or unique firmly keeps Rain Stars Eternal in the realms of ‘merely pleasant pop music’. Mowatt is a better producer and song-writer than many of the folks over at Armada or Anjunabeats, of that there is no doubt, yet he still hasn’t progressed much from his output earlier in the decade. If the Solarstone of old still holds fond memories for you, this proper debut will probably satisfy to some degree. Unfortunately, unlike those classic singles, there isn’t enough on here to leave the same kind of lasting impression.
Written by Sykonee for TranceCritic.com, 2008 © All rights reserved.
Sunday, January 4, 2015
GZA/Genius - Pro Tools
Babygrande: 2008
It’s January, which means its GZA/Genius month again! What do you mean I just made that up? Didn’t you notice I reviewed two albums from Mr. Grice last January? And here we are again, one year later, with another GZA LP lined up. Why, should I carry on reviewing my music library from the alphabetical beginning again (for completist sake, obviously), I’ll be reviewing Beneath The Surface come next January too! Don’t laugh, odds are very good it’ll be close to that time. Wait, does that mean I’ll be done my main run this year? Holy cow, I just might! Haha, the insanity will finally end, haha, ha!
Anyhow, let me quickly consult my Wu-Tang Timeline for a refresher of where Pro Tools lands within the group’s lengthy lore. Uh huh, right, this album came out after 8 Diagrams, as divisive a Clan joint as any, but hinting at a possible resurgence. Ooh, this was also around the time Mr. Grice was getting a little buzz again for inflammatory things said about Soulja Boy and 50 Cent. He put an end to the Crank That kid controversy as nothing more than playful back-and-forth with a hot tempered crowd, but flat out disses the G-Unit dude with Paper Plate on this album. Of course, considering The Genius’ rep’ as a premier lyricist remains unchallenged while the other two are thought of as over-hyped rappers of the ‘00s, the whole issue is moot.
Still, that gossipy nonsense did give Pro Tools a small bump of interest for hip-hop heads outside the core Wu followers. Most were fine with the notion the Clan's best days were all but behind them (except Ghostface), but after so many years of southern crunk and auto-tune infiltrating the rap scene at large, any sort of underground vibe where lyrical mastery took center-stage would be hailed as a solid LP. GZA thus provided exactly what old-school sorts wanted, and Pro Tools was proclaimed among the best solo Wu-Tang LPs of the '00s. Not that it had much competition in that category, mind you.
Honestly, this is a difficult album to recommend for a casual consumer, as there's little on Pro Tools I'd call essential listening. Most of the beats are simple and serviceable, mostly sticking to traditional Wu-Tang banger “samurai 'n' soul” stylee (you know what I'm talking about). RZA and Masta Killa show up in the opener Pencils, and that's about it for the main Clan roster guest verses (assorted third-tier MCs crop up throughout, but none make much of a mark with their time). The only sort of theme to this album is a loose thread regarding motor sports, of all things. For the most part though, it's GZA running through topics he's covered extensively in the past, in about as skillfully class as a veteran MC could do in the late '00s. If all this sounds A-plus to you, then you’ll definitely dig Pro Tools. It’s throwback Wu at its finest.
It’s January, which means its GZA/Genius month again! What do you mean I just made that up? Didn’t you notice I reviewed two albums from Mr. Grice last January? And here we are again, one year later, with another GZA LP lined up. Why, should I carry on reviewing my music library from the alphabetical beginning again (for completist sake, obviously), I’ll be reviewing Beneath The Surface come next January too! Don’t laugh, odds are very good it’ll be close to that time. Wait, does that mean I’ll be done my main run this year? Holy cow, I just might! Haha, the insanity will finally end, haha, ha!
Anyhow, let me quickly consult my Wu-Tang Timeline for a refresher of where Pro Tools lands within the group’s lengthy lore. Uh huh, right, this album came out after 8 Diagrams, as divisive a Clan joint as any, but hinting at a possible resurgence. Ooh, this was also around the time Mr. Grice was getting a little buzz again for inflammatory things said about Soulja Boy and 50 Cent. He put an end to the Crank That kid controversy as nothing more than playful back-and-forth with a hot tempered crowd, but flat out disses the G-Unit dude with Paper Plate on this album. Of course, considering The Genius’ rep’ as a premier lyricist remains unchallenged while the other two are thought of as over-hyped rappers of the ‘00s, the whole issue is moot.
Still, that gossipy nonsense did give Pro Tools a small bump of interest for hip-hop heads outside the core Wu followers. Most were fine with the notion the Clan's best days were all but behind them (except Ghostface), but after so many years of southern crunk and auto-tune infiltrating the rap scene at large, any sort of underground vibe where lyrical mastery took center-stage would be hailed as a solid LP. GZA thus provided exactly what old-school sorts wanted, and Pro Tools was proclaimed among the best solo Wu-Tang LPs of the '00s. Not that it had much competition in that category, mind you.
Honestly, this is a difficult album to recommend for a casual consumer, as there's little on Pro Tools I'd call essential listening. Most of the beats are simple and serviceable, mostly sticking to traditional Wu-Tang banger “samurai 'n' soul” stylee (you know what I'm talking about). RZA and Masta Killa show up in the opener Pencils, and that's about it for the main Clan roster guest verses (assorted third-tier MCs crop up throughout, but none make much of a mark with their time). The only sort of theme to this album is a loose thread regarding motor sports, of all things. For the most part though, it's GZA running through topics he's covered extensively in the past, in about as skillfully class as a veteran MC could do in the late '00s. If all this sounds A-plus to you, then you’ll definitely dig Pro Tools. It’s throwback Wu at its finest.
Labels:
2008,
album,
Babygrande,
conscious,
GZA,
hip-hop,
Wu-Tang Clan
Tuesday, December 2, 2014
Leon Bolier - Pictures (Original TC Review)
2 Play Records: 2008
(2014 Update:
Before I say anything about Pictures, can I point out how much improved my writing is here compared to that Phoenix Rising review? I mean, wow, just wow! Only a year-and-a-half had passed between, and though a few minor gaffs still crop up, it's nothing compared to the clunkiness of that older one. Guess going back to college paid off after all!
Okay, Bolier's debut. The horribly dated attempts at 'minimal trance' aside (*cringe*), this has held up quite well. Ol' Leon hit upon a strong formula for his trance productions, of which I detail below, and could have sustained him with a then emergent 'underground' side of the genre - the John Askew style, if you will. But Bolier had bigger aspirations than that, and has instead been seduced by the more profitable side of electro house and festival anthems. His name's unfortunately fallen back to third-tier status, just enough to sustain a DJ career but increasingly lost in a market flooded with bandwagon-jumping former trance producers - to say nothing of all the young jocks emerging and taking all the glory. Shame, as he could have been a king in the '140bpm trance' scene if he stuck things out with this style. Maybe he'll have another hit on the level of Ocean Drive Boulevard with festival bosh, but if it hasn't happened already, I'm doubting it will.)
IN BRIEF: Energetic yet evenhanded? Sounds good to me.
Was 2008 Bolier’s year? Don’t be daft - if anyone owned this year, it was some guy wearing a mouse head. However, by all estimates, Leon had himself a professionally successful year. He released his first commercial DJ mix (Trance Mission, even if he had to share the spotlight with femme-trance player extraordinaire Mike Shiver), was responsible for one of the most memorable anthems of 2008 in Ocean Drive Boulevard, and finally released a full length album. After several years being something of a third-tier name in the realms of trance, things certainly do appear to be on the up-and-up for the Dutchman.
This wouldn’t matter, though, if his debut Pictures was a bunch of forgettable fluff. Fortunately for Bolier, the man has displayed adeptness in a part of trance that many producers struggle with: rhythms. Not that the genre lacks beats that bring the boom, but quite often they are merely serviceable thump-thump-thumps with your choice of offbeat or rolling bassline; after all, trance prefers focusing on the melodic aspect of music (or just mess with your head if you’re into psy). And although Bolier displays some fine melodic sense, it’s his crafty tech-beats that make his tunes stand out from the bloated trance-pack.
Which is good news for him because Leon’s trance isn’t terribly innovative, doing much of the same thing we’ve been hearing for the past decade and blah blah blah etc. Yeah, we’ve been hearing this complaint for a while, even said it ourselves on plenty of occasions. Although it’s a sound critique when producers are replicating the past to a fault (re: adding nothing new to the table), if someone maintains a degree of class in their work, it at least makes for an agreeable listen; for the most part, Pictures does.
Really, Bolier’s trance is hard to fault on its own merits, doing everything you’d expect of the genre just fine. There is, of course, Ocean Drive Boulevard, about as expertly executed an anthem as you can hope out of the genre; even if all the trance jocks overplayed the tune this year, it still makes for a riveting climax to Pictures’ album proper (disc one, for the record). Meanwhile, cuts Dnipro and Meditate are more straight-forward excursions, simply laying out driving beats and loopy melodies that are nicely hypnotic. YE, on the other hand, aims straight for the melodic jugular; frankly, I’ve never been much of a fan of this type of doodily-do trance, but it’s still enjoyable while it plays. Plus, let’s not forget opener Offshore, a tune that taps into the best of what Tiësto was capable of: melancholy baroque atmosphere (did Geert Huinink ghost-write this?), stadium-sized beats, infectious hook at the climax – it easily outclasses Mr. Verwest’s recent offerings; Bolier out-Tiëstos Tiësto! And, as surprised as I am to say this, I kind of rather like I Finally Found’s euro-danciness – sure, the main hook practically rips off Jam & Spoon’s Right In The Night and the vocals are typically trite, but it doesn’t oversell its earnest emotions, which is about all one can hope for with music of this nature.
Unfortunately, disc one has a chunk of dull filler between many of the better tunes. Darling Harbour, XD, and Beyrouth contain some half-decent elements, but Bolier seems intent on making these his ‘deep’ cuts. As a result, we have music that is kept turned down really, really low so it merely simmers; every so often, a bright bit of synth work will build into a crescendo, but Bolier scales things right back to a simmer following such peaks, turning the tracks into insubstantial teases. I’ll grant they’re not as pointless as Sander van Doorn’s similar offerings (from which Bolier seems to be taking his cues with these tracks), but they ultimately serve no better purpose on this album than to space the trance cuts out.
Still, having too much of the same thing over and over isn’t such a hot idea either, as evidenced by disc two. Here you have most of Bolier’s collaborations and b-sides collected together and, note for note, I’d wager this the stronger of the CDs. For one thing, you don’t have any of the dull ‘deep’ tracks; about the closest would be Lost Luggage with Jonas Steur, which is more funky tech-house than anything (and a whole lot of awesome, I’ll add). The lone vocal track on this disc - Exhibit - is a rollicking goodtime euro-dance tune, with Ms. Georgiou belting her heart out like she’s singing house in the early 90s, and making it far more fun than I Finally Found. And the rest of the tracks - from melodic musers to tech-bangers - are all classy cuts; never were the breakdowns and builds heavy-handed, and the sounds on display were always energetic and pleasing. The unfortunate trouble, however, is the fact all these tracks are so similarly arranged (lead, break, drop, outro) that it can grow monotonous after a while. Although the music is strong enough to keep you engaged, some variety in style would have done wonders for this discs’ overall appeal, and a couple token nods outside the formula just isn’t enough.
Still, as far as debut trance albums go, Pictures is certainly one of the better ones you’ll come across. Yes, there are a number of rough patches and questionable choices included in this double-discer (what even was the point of Longing For? It sounds like a tagged-on afterthought), but as a whole Bolier has come away from this maintaining his path on the up-and-up. With so many of trance’s standard-bearers churning out directionless misfires and corny tosh, it’s reassuring to hear the young bloods stepping up to keep some respectability in the genre.
Written by Sykonee for TranceCritic.com, 2008. © All rights reserved.
(2014 Update:
Before I say anything about Pictures, can I point out how much improved my writing is here compared to that Phoenix Rising review? I mean, wow, just wow! Only a year-and-a-half had passed between, and though a few minor gaffs still crop up, it's nothing compared to the clunkiness of that older one. Guess going back to college paid off after all!
Okay, Bolier's debut. The horribly dated attempts at 'minimal trance' aside (*cringe*), this has held up quite well. Ol' Leon hit upon a strong formula for his trance productions, of which I detail below, and could have sustained him with a then emergent 'underground' side of the genre - the John Askew style, if you will. But Bolier had bigger aspirations than that, and has instead been seduced by the more profitable side of electro house and festival anthems. His name's unfortunately fallen back to third-tier status, just enough to sustain a DJ career but increasingly lost in a market flooded with bandwagon-jumping former trance producers - to say nothing of all the young jocks emerging and taking all the glory. Shame, as he could have been a king in the '140bpm trance' scene if he stuck things out with this style. Maybe he'll have another hit on the level of Ocean Drive Boulevard with festival bosh, but if it hasn't happened already, I'm doubting it will.)
IN BRIEF: Energetic yet evenhanded? Sounds good to me.
Was 2008 Bolier’s year? Don’t be daft - if anyone owned this year, it was some guy wearing a mouse head. However, by all estimates, Leon had himself a professionally successful year. He released his first commercial DJ mix (Trance Mission, even if he had to share the spotlight with femme-trance player extraordinaire Mike Shiver), was responsible for one of the most memorable anthems of 2008 in Ocean Drive Boulevard, and finally released a full length album. After several years being something of a third-tier name in the realms of trance, things certainly do appear to be on the up-and-up for the Dutchman.
This wouldn’t matter, though, if his debut Pictures was a bunch of forgettable fluff. Fortunately for Bolier, the man has displayed adeptness in a part of trance that many producers struggle with: rhythms. Not that the genre lacks beats that bring the boom, but quite often they are merely serviceable thump-thump-thumps with your choice of offbeat or rolling bassline; after all, trance prefers focusing on the melodic aspect of music (or just mess with your head if you’re into psy). And although Bolier displays some fine melodic sense, it’s his crafty tech-beats that make his tunes stand out from the bloated trance-pack.
Which is good news for him because Leon’s trance isn’t terribly innovative, doing much of the same thing we’ve been hearing for the past decade and blah blah blah etc. Yeah, we’ve been hearing this complaint for a while, even said it ourselves on plenty of occasions. Although it’s a sound critique when producers are replicating the past to a fault (re: adding nothing new to the table), if someone maintains a degree of class in their work, it at least makes for an agreeable listen; for the most part, Pictures does.
Really, Bolier’s trance is hard to fault on its own merits, doing everything you’d expect of the genre just fine. There is, of course, Ocean Drive Boulevard, about as expertly executed an anthem as you can hope out of the genre; even if all the trance jocks overplayed the tune this year, it still makes for a riveting climax to Pictures’ album proper (disc one, for the record). Meanwhile, cuts Dnipro and Meditate are more straight-forward excursions, simply laying out driving beats and loopy melodies that are nicely hypnotic. YE, on the other hand, aims straight for the melodic jugular; frankly, I’ve never been much of a fan of this type of doodily-do trance, but it’s still enjoyable while it plays. Plus, let’s not forget opener Offshore, a tune that taps into the best of what Tiësto was capable of: melancholy baroque atmosphere (did Geert Huinink ghost-write this?), stadium-sized beats, infectious hook at the climax – it easily outclasses Mr. Verwest’s recent offerings; Bolier out-Tiëstos Tiësto! And, as surprised as I am to say this, I kind of rather like I Finally Found’s euro-danciness – sure, the main hook practically rips off Jam & Spoon’s Right In The Night and the vocals are typically trite, but it doesn’t oversell its earnest emotions, which is about all one can hope for with music of this nature.
Unfortunately, disc one has a chunk of dull filler between many of the better tunes. Darling Harbour, XD, and Beyrouth contain some half-decent elements, but Bolier seems intent on making these his ‘deep’ cuts. As a result, we have music that is kept turned down really, really low so it merely simmers; every so often, a bright bit of synth work will build into a crescendo, but Bolier scales things right back to a simmer following such peaks, turning the tracks into insubstantial teases. I’ll grant they’re not as pointless as Sander van Doorn’s similar offerings (from which Bolier seems to be taking his cues with these tracks), but they ultimately serve no better purpose on this album than to space the trance cuts out.
Still, having too much of the same thing over and over isn’t such a hot idea either, as evidenced by disc two. Here you have most of Bolier’s collaborations and b-sides collected together and, note for note, I’d wager this the stronger of the CDs. For one thing, you don’t have any of the dull ‘deep’ tracks; about the closest would be Lost Luggage with Jonas Steur, which is more funky tech-house than anything (and a whole lot of awesome, I’ll add). The lone vocal track on this disc - Exhibit - is a rollicking goodtime euro-dance tune, with Ms. Georgiou belting her heart out like she’s singing house in the early 90s, and making it far more fun than I Finally Found. And the rest of the tracks - from melodic musers to tech-bangers - are all classy cuts; never were the breakdowns and builds heavy-handed, and the sounds on display were always energetic and pleasing. The unfortunate trouble, however, is the fact all these tracks are so similarly arranged (lead, break, drop, outro) that it can grow monotonous after a while. Although the music is strong enough to keep you engaged, some variety in style would have done wonders for this discs’ overall appeal, and a couple token nods outside the formula just isn’t enough.
Still, as far as debut trance albums go, Pictures is certainly one of the better ones you’ll come across. Yes, there are a number of rough patches and questionable choices included in this double-discer (what even was the point of Longing For? It sounds like a tagged-on afterthought), but as a whole Bolier has come away from this maintaining his path on the up-and-up. With so many of trance’s standard-bearers churning out directionless misfires and corny tosh, it’s reassuring to hear the young bloods stepping up to keep some respectability in the genre.
Written by Sykonee for TranceCritic.com, 2008. © All rights reserved.
Monday, October 27, 2014
Calibre - Overflow
Signature Records: 2008
In the end, music reviewers and critics just want to write stories, this desire manifesting in many ways. Sometimes it’s by chronicling the narratives that developed within scenes, other times coming up with (and even dictating) narratives that are currently emerging. On a smaller scale, we enjoy deciphering potential stories that may lurk within pieces of music, giving praise to artists who compose albums that contain clearly defined arcs that we can translate into flowery purple prose. The double-LP format in particular is like catnip to the storyteller-in-reviewer's-fedora, an almost guarantee the musician(s) who released it had a grand opus in mind that simply could not be contained in typical single-serving music formats.
Sometimes though, collections of tracks are just collections of tracks, no real rhyme or reason to their being there beyond the necessary evil of the music industry (‘tis the only way the consumers can consume your product). Gads, what a boring story that is. I mean, look at this release from Calibre. Hell, look at nearly any release from Calibre. Mr. Dominick Martin doesn’t skimp on his output, almost exclusively going the double-LP route for much of his early career. Even when he finally cut back to single-CDs in recent years, he still released material at such a clip he could have maintained the double-disc format. Yet, for all this music, damned if there’s much to talk about.
Yeah, yeah, I’m only going by Overflow on this assumption – maybe the Shelflifes or Musique Concrete are more comprehensive as a listening experience. These two CDs though, I’m struggling to say much about them, beyond the basic particulars you expect from any run-of-the-mill review. Ah, let’s get that out of the way at least.
Overflow is a 2CD collection of smooth, jazzy drum ‘n’ bass from Calibre, a prolific and highly respected name within that scene. Eighteen tracks make up this bulk. Some are more on an atmospheric tip (Savannah Heat, Big Bang, TV On), some bang with the tech-step business (Lo Note, Suddenly, Beat Goes On), some find their liquid funkiness (Honeypot, Overeaction, So Blue), and some aren’t even d’n’b in the slightest (Reach You Everywhere, Slums, Gage). A good third of these tracks feature vocals, sung in an unobtrusive, urban-jazz stylee. Every tune is class, finely produced and enjoyable. You can also play everything in Overflow in any order you like, their sequence having no bearing in how the album flows from beginning to end (recommended if you’ve gotten the MP3 version). Sometimes when I’ve had my whole music library on Shuffle and a Calibre tune crops up, I’ll mistake it for a Mist:i:cal tune, which isn’t surprising since Martin’s a part of that group. The perfect track summing up Overflow’s overall vibe is Alone In A Crowd. It sounds like much of what I’ve described above.
Man, see what I’m talking about? This album is perfectly fine on the listening front, but dear Lord does it ever sap my inspiration to write about it.
In the end, music reviewers and critics just want to write stories, this desire manifesting in many ways. Sometimes it’s by chronicling the narratives that developed within scenes, other times coming up with (and even dictating) narratives that are currently emerging. On a smaller scale, we enjoy deciphering potential stories that may lurk within pieces of music, giving praise to artists who compose albums that contain clearly defined arcs that we can translate into flowery purple prose. The double-LP format in particular is like catnip to the storyteller-in-reviewer's-fedora, an almost guarantee the musician(s) who released it had a grand opus in mind that simply could not be contained in typical single-serving music formats.
Sometimes though, collections of tracks are just collections of tracks, no real rhyme or reason to their being there beyond the necessary evil of the music industry (‘tis the only way the consumers can consume your product). Gads, what a boring story that is. I mean, look at this release from Calibre. Hell, look at nearly any release from Calibre. Mr. Dominick Martin doesn’t skimp on his output, almost exclusively going the double-LP route for much of his early career. Even when he finally cut back to single-CDs in recent years, he still released material at such a clip he could have maintained the double-disc format. Yet, for all this music, damned if there’s much to talk about.
Yeah, yeah, I’m only going by Overflow on this assumption – maybe the Shelflifes or Musique Concrete are more comprehensive as a listening experience. These two CDs though, I’m struggling to say much about them, beyond the basic particulars you expect from any run-of-the-mill review. Ah, let’s get that out of the way at least.
Overflow is a 2CD collection of smooth, jazzy drum ‘n’ bass from Calibre, a prolific and highly respected name within that scene. Eighteen tracks make up this bulk. Some are more on an atmospheric tip (Savannah Heat, Big Bang, TV On), some bang with the tech-step business (Lo Note, Suddenly, Beat Goes On), some find their liquid funkiness (Honeypot, Overeaction, So Blue), and some aren’t even d’n’b in the slightest (Reach You Everywhere, Slums, Gage). A good third of these tracks feature vocals, sung in an unobtrusive, urban-jazz stylee. Every tune is class, finely produced and enjoyable. You can also play everything in Overflow in any order you like, their sequence having no bearing in how the album flows from beginning to end (recommended if you’ve gotten the MP3 version). Sometimes when I’ve had my whole music library on Shuffle and a Calibre tune crops up, I’ll mistake it for a Mist:i:cal tune, which isn’t surprising since Martin’s a part of that group. The perfect track summing up Overflow’s overall vibe is Alone In A Crowd. It sounds like much of what I’ve described above.
Man, see what I’m talking about? This album is perfectly fine on the listening front, but dear Lord does it ever sap my inspiration to write about it.
Sunday, June 22, 2014
Eat Static - Back To Earth
Interchill Records: 2008
Though Eat Static kept producing after Planet Dog's closure, they never found a proper home again, hopping from label to label with each new album. Perhaps oddest of these one-offs is Back To Earth, released on Canadian world-psy chill-beat label Interchill (West Coast reprazent!). To date, it remains the final Eat Static LP, produced after Joie Hintin had left the group, leaving Merv Pepler the sole member. That didn't prevent him from bringing in a few helping hands to these tunes, though I have to wonder if the radical change of tempo offered on here was part of Hintin's departure.
Yes, in case the Interchill association wasn't enough of a hint, Back To Earth is primarily Eat Static on the downbeat. Fair enough, many of their LPs have the odd chill track or two – perfect for album pacing between the tear-out sessions. Hell, some of the tunes all the way back on Abduction could be proto psy-chill, though honestly nearly anything from Planet Dog are contenders for that classification. However, as far as I know, Back To Earth is the first Eat Static full-length where the BPMs seldom break the 110 mark.
It’s also all over the place where genres are concerned. For sure the sci-fi leaning tunes make their dutiful appearances, standout Lo-Ride Sloucher an intriguing minimalist glitch-hop spin on the formula. Elsewhere, Holy Stone and Valley Of The Moon go deep into the psy-dub side of things while Up, Periscope harkens back to old school Static. Along the way, Pepler roped in System 7 mainstays Steve Hillage and Miquette Giraudy for a couple tunes, Pearl Of Wisdom and Dune Rider. The former’s one of the few uptempo tracks, settling into a bouncy house groove as spacey pads drift upon, occasionally broken up by vintage Eat Static sci-fi sound effects. Dune Rider, on the other hand, sounds more like a System 7 song, world beat rhythms and ethnic instrumentation the bulk of this tune (plus the requisite Hillage space-guitar diddling).
If you think that’s off the beaten Static path, then the rest of Back To Earth will throw you for a loop, Guru. Pharaoh sounds like late-era Juno Reactor with dense instrumentation befitting a Cirque de Soliel performance, and Epoch Calypso goes all, well, calypso on our asses, including acoustic guitars and trumpets – you sure Shpongle isn’t hiding around this tune? Then there’s Flippity Flippity, straight-up smokey nu-jazz, and The Wreckage, groovy trip-hop action - neither would sound out of place on a Ninja Tune collection. (Still with this label? I didn’t plan it, I swear!)
Back To Earth definitely is a love/hate sort of album. If you’ve no problem with genre free-wheeling and drastic stylistic changes, its solid enough, every tune well produced and worth a listen. As a straight-up Eat Static album though, I’m left wanting, wishing for more sci-fi action than what we get here. Still, the album’s title is apt, as music doesn’t get more Earthen than jazz, does it?
Though Eat Static kept producing after Planet Dog's closure, they never found a proper home again, hopping from label to label with each new album. Perhaps oddest of these one-offs is Back To Earth, released on Canadian world-psy chill-beat label Interchill (West Coast reprazent!). To date, it remains the final Eat Static LP, produced after Joie Hintin had left the group, leaving Merv Pepler the sole member. That didn't prevent him from bringing in a few helping hands to these tunes, though I have to wonder if the radical change of tempo offered on here was part of Hintin's departure.
Yes, in case the Interchill association wasn't enough of a hint, Back To Earth is primarily Eat Static on the downbeat. Fair enough, many of their LPs have the odd chill track or two – perfect for album pacing between the tear-out sessions. Hell, some of the tunes all the way back on Abduction could be proto psy-chill, though honestly nearly anything from Planet Dog are contenders for that classification. However, as far as I know, Back To Earth is the first Eat Static full-length where the BPMs seldom break the 110 mark.
It’s also all over the place where genres are concerned. For sure the sci-fi leaning tunes make their dutiful appearances, standout Lo-Ride Sloucher an intriguing minimalist glitch-hop spin on the formula. Elsewhere, Holy Stone and Valley Of The Moon go deep into the psy-dub side of things while Up, Periscope harkens back to old school Static. Along the way, Pepler roped in System 7 mainstays Steve Hillage and Miquette Giraudy for a couple tunes, Pearl Of Wisdom and Dune Rider. The former’s one of the few uptempo tracks, settling into a bouncy house groove as spacey pads drift upon, occasionally broken up by vintage Eat Static sci-fi sound effects. Dune Rider, on the other hand, sounds more like a System 7 song, world beat rhythms and ethnic instrumentation the bulk of this tune (plus the requisite Hillage space-guitar diddling).
If you think that’s off the beaten Static path, then the rest of Back To Earth will throw you for a loop, Guru. Pharaoh sounds like late-era Juno Reactor with dense instrumentation befitting a Cirque de Soliel performance, and Epoch Calypso goes all, well, calypso on our asses, including acoustic guitars and trumpets – you sure Shpongle isn’t hiding around this tune? Then there’s Flippity Flippity, straight-up smokey nu-jazz, and The Wreckage, groovy trip-hop action - neither would sound out of place on a Ninja Tune collection. (Still with this label? I didn’t plan it, I swear!)
Back To Earth definitely is a love/hate sort of album. If you’ve no problem with genre free-wheeling and drastic stylistic changes, its solid enough, every tune well produced and worth a listen. As a straight-up Eat Static album though, I’m left wanting, wishing for more sci-fi action than what we get here. Still, the album’s title is apt, as music doesn’t get more Earthen than jazz, does it?
Tuesday, June 17, 2014
Paolo Mojo - Nightlaw / Home (Original TC Review)
Oosh: 2008
(2014 Update:
Though I mention otherwise in the review, I think the real reason I checked this single out was due to it being the latest one I noticed at Juno Records. As for why cover Paolo Mojo at all, he truly did seem like a house-producer on the rise (the Balance bump obviously helped), but he's since subsided into a comfortable role of above-average, mostly unremarkable consistency so many house DJ/producers are wont to do.
He's also continued keeping up with the trends as each emerges in the various house scenes. Some of his final Oosh material featured the brief tribal-tech sound Radio Slave and Luciano made noteworthy following minimal's collapse (not to mention his own label's demise). Moving to digital, he's now releasing deep house and garage on 303Lovers, because of course he would. He started out with progressive house and electro house when those were in vogue too, didn't he? Man, bandwagon jump, much?)
IN BRIEF: Mojo goes minimal.
When Paolo Mojo (Paul Brimson to the government) contributed to Balance a couple years back with its ninth edition, it helped cement that DJ mix series as one of the freshest and most welcome upstarts around, and definitely one to keep an eye on for future releases. Much can be said of Mojo’s productions as well. His breakout single 1983 tickled the fancy of those enjoying proper retro-electro takes on house music (having an Eric Prydz remix attached to it didn’t hurt either) and the UK resident has built up a respected reputation with subsequent releases following a similar aesthetic. Fortunately, Mojo’s wise enough to not continue rehashing his previous successes and this year of 2008 has seen him take on minimal attributes with his tech house (plinkin’ an’a plongin’ an’a white noisin’ alongin’).
He’s put out a few singles in the past few months but for the time being, let’s focus specifically on this one containing the two tracks Nightlaw and Home. Why, you ask? Because, I reply, this was about where Mojo fully dove into minimal’s possibilities, so it’s a good talking point.
Funnily enough, Nightlaw is at its best when it isn’t fiddling around with minuscule minutia. The opening two-and-a-half minutes amount to not much of anything as basic rhythms with thick bass are laid out, which is rather generous mix-in layering time. Once we’re through with that, however, a hooky melody emerges and gradually builds in prominence, eventually capping off with a breakdown-and-snare-roll combo as klaxons blast from the distance. Sounds like a great climax, right? It’s somewhat disappointing, then, that given the lead-up and the initial strength of the actual drop, Nightlaw’s release isn’t as powerful as it could have been. It’s like a lidded pot is boiling over, and just as you think it’s about to erupt, it instead gives a quick burst of hissing steam, then calmly settles back down into a simmer. I want to throw my arms in the air but I’m only compelled to give an enthusiastic shrug, as though I’m trying to cover club-BO from my armpits. Ah well.
Home is all about build-up too, but because it is dominated by rhythm (melody is practically non-existent in this one), that sense of missed potential at the peaks isn’t quite as prominent. In fact, as a set piece, Home is highly effective, making use of a ‘double-build’ arrangement set to beats that march along in fine form. While a higher BPM would give this some more energy, I don’t think Mojo had peak-time tech-house banger in mind for this b-side, especially since that’s obviously more Nightlaw’s territory.
These aren’t Mojo’s strongest efforts but as a stab at style-biting Dubfire, he easily trumps the former Deep Dish man. He’s managed to find a comfortable niche within minimal tech circles and will undoubtedly ride this current trend with credibility intact.
Written by Sykonee for TranceCritic.com, 2008. © All rights reserved.
(2014 Update:
Though I mention otherwise in the review, I think the real reason I checked this single out was due to it being the latest one I noticed at Juno Records. As for why cover Paolo Mojo at all, he truly did seem like a house-producer on the rise (the Balance bump obviously helped), but he's since subsided into a comfortable role of above-average, mostly unremarkable consistency so many house DJ/producers are wont to do.
He's also continued keeping up with the trends as each emerges in the various house scenes. Some of his final Oosh material featured the brief tribal-tech sound Radio Slave and Luciano made noteworthy following minimal's collapse (not to mention his own label's demise). Moving to digital, he's now releasing deep house and garage on 303Lovers, because of course he would. He started out with progressive house and electro house when those were in vogue too, didn't he? Man, bandwagon jump, much?)
IN BRIEF: Mojo goes minimal.
When Paolo Mojo (Paul Brimson to the government) contributed to Balance a couple years back with its ninth edition, it helped cement that DJ mix series as one of the freshest and most welcome upstarts around, and definitely one to keep an eye on for future releases. Much can be said of Mojo’s productions as well. His breakout single 1983 tickled the fancy of those enjoying proper retro-electro takes on house music (having an Eric Prydz remix attached to it didn’t hurt either) and the UK resident has built up a respected reputation with subsequent releases following a similar aesthetic. Fortunately, Mojo’s wise enough to not continue rehashing his previous successes and this year of 2008 has seen him take on minimal attributes with his tech house (plinkin’ an’a plongin’ an’a white noisin’ alongin’).
He’s put out a few singles in the past few months but for the time being, let’s focus specifically on this one containing the two tracks Nightlaw and Home. Why, you ask? Because, I reply, this was about where Mojo fully dove into minimal’s possibilities, so it’s a good talking point.
Funnily enough, Nightlaw is at its best when it isn’t fiddling around with minuscule minutia. The opening two-and-a-half minutes amount to not much of anything as basic rhythms with thick bass are laid out, which is rather generous mix-in layering time. Once we’re through with that, however, a hooky melody emerges and gradually builds in prominence, eventually capping off with a breakdown-and-snare-roll combo as klaxons blast from the distance. Sounds like a great climax, right? It’s somewhat disappointing, then, that given the lead-up and the initial strength of the actual drop, Nightlaw’s release isn’t as powerful as it could have been. It’s like a lidded pot is boiling over, and just as you think it’s about to erupt, it instead gives a quick burst of hissing steam, then calmly settles back down into a simmer. I want to throw my arms in the air but I’m only compelled to give an enthusiastic shrug, as though I’m trying to cover club-BO from my armpits. Ah well.
Home is all about build-up too, but because it is dominated by rhythm (melody is practically non-existent in this one), that sense of missed potential at the peaks isn’t quite as prominent. In fact, as a set piece, Home is highly effective, making use of a ‘double-build’ arrangement set to beats that march along in fine form. While a higher BPM would give this some more energy, I don’t think Mojo had peak-time tech-house banger in mind for this b-side, especially since that’s obviously more Nightlaw’s territory.
These aren’t Mojo’s strongest efforts but as a stab at style-biting Dubfire, he easily trumps the former Deep Dish man. He’s managed to find a comfortable niche within minimal tech circles and will undoubtedly ride this current trend with credibility intact.
Written by Sykonee for TranceCritic.com, 2008. © All rights reserved.
Monday, May 26, 2014
Various - FabricLive.43: Switch & Sinden Present Get Familiar
Fabric: 2008
*cover art brought to you by FabricLive's “Random Crap Smashed On People's Faces” period*
What? No. No! I'm on vacation, damn it. Leave me alone, Fabric On A Budget project. I'll deal with you when I get back in a week. What do you mean I always intended to carry on with this while away from home? Okay, sure, I brought the music with me, but that doesn't mean I'd write reviews for it – keep myself familiarized with the CDs while I was away, that's all. But there's only two left, an end goal in sight, easily attainable, not worth leaving hanging and forceably getting excited for upon my return. This year's Fabric excursion has turned into a slog after all – more good mixes than bad, absolutely, but dealing with the same topic over and over and over drains the creative synapses something dreadful. Maybe I should...
Oh, alright, I'm already bored out here in the Peace River region. Sometimes I forget just how hinter these hinterlands get.
Let's take a look at what's next, then. We're finally out of the 30s, and entering another weird, transitional period in electronic music's history. Dubstep was blowing up big, the nu-EDM was just around the corner, older forms of UK garage were finding fondness among young clubbers, and many producers of the old guard were scrambling to keep up with these shifting trends. The two cats with credits on the cover of FabricLive.43, Switch & Sinden, were riding this wave with some success, in part due to an occasional night at Fabric called Get Familiar. Don't care about the deep underground, simply having an urge to cut loose with fun-time club jams that even the most Axe-drenched bro can enjoy? These guys got you covered – or Sinden does anyway, since Switch wasn't the DJ.
More so, if you love the UK's various rave-garage aspects, you'll adore FabricLive.43. Speed garage! Throwback hardcore anthems! - no actual classics though. Grime-house! (!??) Dubstep! Bassline! (re: speed garage) No 2-step though, that stuff's strictly for the chicky-poos, mate. Only hard wobble dirt low-ends, and rot-snot. Bleh.
I know this stuff's pure heaven for its targeted scene, but my tolerance for hoodlum UK garage only lasts a few tracks before the novelty of shuffle rhythms and south London rappers wears itself out. I've never figured out how such nonsense bassline sounds are taken seriously, but then this is the same country that also gave us 'donk' music. Sinden's mixing doesn't do much to warm the music up either, always in a hurry to drop another track in a different style with no regard for set flow. Can't let the tunes linger too long, I guess, lest the listener realize how silly it all is and put on something with more substance instead.
Was This Worth The Pennies Paid For It?
I could have bought $5 beers at the nearby redneck bar playing bro-country, and it would have been a better bargain.
*cover art brought to you by FabricLive's “Random Crap Smashed On People's Faces” period*
What? No. No! I'm on vacation, damn it. Leave me alone, Fabric On A Budget project. I'll deal with you when I get back in a week. What do you mean I always intended to carry on with this while away from home? Okay, sure, I brought the music with me, but that doesn't mean I'd write reviews for it – keep myself familiarized with the CDs while I was away, that's all. But there's only two left, an end goal in sight, easily attainable, not worth leaving hanging and forceably getting excited for upon my return. This year's Fabric excursion has turned into a slog after all – more good mixes than bad, absolutely, but dealing with the same topic over and over and over drains the creative synapses something dreadful. Maybe I should...
Oh, alright, I'm already bored out here in the Peace River region. Sometimes I forget just how hinter these hinterlands get.
Let's take a look at what's next, then. We're finally out of the 30s, and entering another weird, transitional period in electronic music's history. Dubstep was blowing up big, the nu-EDM was just around the corner, older forms of UK garage were finding fondness among young clubbers, and many producers of the old guard were scrambling to keep up with these shifting trends. The two cats with credits on the cover of FabricLive.43, Switch & Sinden, were riding this wave with some success, in part due to an occasional night at Fabric called Get Familiar. Don't care about the deep underground, simply having an urge to cut loose with fun-time club jams that even the most Axe-drenched bro can enjoy? These guys got you covered – or Sinden does anyway, since Switch wasn't the DJ.
More so, if you love the UK's various rave-garage aspects, you'll adore FabricLive.43. Speed garage! Throwback hardcore anthems! - no actual classics though. Grime-house! (!??) Dubstep! Bassline! (re: speed garage) No 2-step though, that stuff's strictly for the chicky-poos, mate. Only hard wobble dirt low-ends, and rot-snot. Bleh.
I know this stuff's pure heaven for its targeted scene, but my tolerance for hoodlum UK garage only lasts a few tracks before the novelty of shuffle rhythms and south London rappers wears itself out. I've never figured out how such nonsense bassline sounds are taken seriously, but then this is the same country that also gave us 'donk' music. Sinden's mixing doesn't do much to warm the music up either, always in a hurry to drop another track in a different style with no regard for set flow. Can't let the tunes linger too long, I guess, lest the listener realize how silly it all is and put on something with more substance instead.
Was This Worth The Pennies Paid For It?
I could have bought $5 beers at the nearby redneck bar playing bro-country, and it would have been a better bargain.
Saturday, May 24, 2014
Various - fabric 40: Mark Farina
Fabric: 2008
*cover art brought to you by fabric's “Landscape. Just Landscape.” period*
I’ve been writing about music for about a decade now, yet after all that time and God knows how many written, this is my first Mark Farina review. Considering how much I've name-dropped the man's name, that's... astounding. It's not for a lack of having his releases (though clearly I've never bought a Mushroom Jazz CD – enough peers had 'em for my fix), but despite enjoying his brand of bouncy deep house vibes, I haven't been in a hurry to gather all his mixes. The man has so damned many of them, you see.
In that regard, fabric 40 doesn't come off terribly special when stacked against Mr. Farina's discography. When this came out in 2008, he already had a dozen-plus mix CDs to his name, primarily his ongoing Mushroom Jazz volumes. He'd also released plenty more sets on OM Records, plus entries for well-regarded mix CD series such as United DJs Of America (fuckin' classic!) and Ministry Of Sound's Sessions. That he would have a stab at Fabric was all but inevitable given the club-label's occasional toe-dip into Chicago-San Fran deep house waters. In fact, it's remarkable it took all the way to number forty for him to get his chance (guess DJ Heather had priority). Unless you’re a Farina Completist, I can’t see fabric 40 being high on a purchasing list, what with so many other options out there.
As such, fabric 40 has a bit in common with fabric 20 from John Digweed: a set with little selling point for casual fans of the DJ, but more intended for followers of Fabric. They differ, however, in that Digweed altered his typical track-listing with a Fabric audience in mind, whereas Farina’s mix doesn’t. Swell thing if you’ve got a hankering for a little extra West Coast house-bounce in your day, but hardly essential if you’ve dutifully collected every House Of OM CD out there; somehow, Fabric’s core audience doesn’t strike me of that sort.
This is turning into a hard sell, isn’t it? Despite the class on display, Farina’s arrangement won’t thrill either, opening with simmering funk and soul, and maintaining a slow, steady build for the CD’s duration, nary a deviation from his comfort zone. Things may go a little garage (John Larner & Slater Hogan’s Gettin’ Ready), other times deeper with the dub (Alexander East’s Believe En Me). Maybe there’s a melding of the two (Mood II Swing’s Closer (Oliver DeSmet & Fred Everything Mix)), or simply a jazzy bliss-out (Johnny Fiasco’s Last Word). I think he injects a few of his Air Farina skits throughout too, or maybe I’m over-anticipating having to be at the Vancouver Airport in a couple hours. Point is fabric 40 delivers exactly what you’d expect a Farina mix should. If you don’t know what this is... Well, it’s a starting point.
Was This Worth The Pennies Paid For It?
I need more Farina in my life.
*cover art brought to you by fabric's “Landscape. Just Landscape.” period*
I’ve been writing about music for about a decade now, yet after all that time and God knows how many written, this is my first Mark Farina review. Considering how much I've name-dropped the man's name, that's... astounding. It's not for a lack of having his releases (though clearly I've never bought a Mushroom Jazz CD – enough peers had 'em for my fix), but despite enjoying his brand of bouncy deep house vibes, I haven't been in a hurry to gather all his mixes. The man has so damned many of them, you see.
In that regard, fabric 40 doesn't come off terribly special when stacked against Mr. Farina's discography. When this came out in 2008, he already had a dozen-plus mix CDs to his name, primarily his ongoing Mushroom Jazz volumes. He'd also released plenty more sets on OM Records, plus entries for well-regarded mix CD series such as United DJs Of America (fuckin' classic!) and Ministry Of Sound's Sessions. That he would have a stab at Fabric was all but inevitable given the club-label's occasional toe-dip into Chicago-San Fran deep house waters. In fact, it's remarkable it took all the way to number forty for him to get his chance (guess DJ Heather had priority). Unless you’re a Farina Completist, I can’t see fabric 40 being high on a purchasing list, what with so many other options out there.
As such, fabric 40 has a bit in common with fabric 20 from John Digweed: a set with little selling point for casual fans of the DJ, but more intended for followers of Fabric. They differ, however, in that Digweed altered his typical track-listing with a Fabric audience in mind, whereas Farina’s mix doesn’t. Swell thing if you’ve got a hankering for a little extra West Coast house-bounce in your day, but hardly essential if you’ve dutifully collected every House Of OM CD out there; somehow, Fabric’s core audience doesn’t strike me of that sort.
This is turning into a hard sell, isn’t it? Despite the class on display, Farina’s arrangement won’t thrill either, opening with simmering funk and soul, and maintaining a slow, steady build for the CD’s duration, nary a deviation from his comfort zone. Things may go a little garage (John Larner & Slater Hogan’s Gettin’ Ready), other times deeper with the dub (Alexander East’s Believe En Me). Maybe there’s a melding of the two (Mood II Swing’s Closer (Oliver DeSmet & Fred Everything Mix)), or simply a jazzy bliss-out (Johnny Fiasco’s Last Word). I think he injects a few of his Air Farina skits throughout too, or maybe I’m over-anticipating having to be at the Vancouver Airport in a couple hours. Point is fabric 40 delivers exactly what you’d expect a Farina mix should. If you don’t know what this is... Well, it’s a starting point.
Was This Worth The Pennies Paid For It?
I need more Farina in my life.
Friday, May 23, 2014
Various - FabricLive.38: Craze
Fabric: 2008
*cover art brought to you by FabricLive's “Melting Material On Predators” period*
Hey now, what have we in our midst? A real DJ! Three-peat DMC Champion at that. Okay, competition winners aren’t that rare in FabricLive’s history, but the music DJ Craze’s plays here is one Fabric hadn’t ventured into: Miami bass! Haha, I bet the label figured he’d do another drum-n-bass or regular hip-hop mix, so props for Mr. Aristh Delgado for adding yet another notch in the series’ already eclectic assortment of genres. True, previous FabricLives occasional drop a tune or two inspired from the Floridian scene, but Craze’s roots run deep in streets among Ocean Drive, and he shows no qualms in using Fabric’s prestige as a love-letter to the city's musical innovations.
And why not? Miami bass and freestyle were thriving genres for a large chunk of the '80s and '90s, a melding of hip-hop and urban R&B utilizing Kraftwerk electro as the genetic backbone. So successful were these offshoots that they practically subsumed electro-proper altogether, one kicking off the bass music scene as its own unique entity, the other taking electro to the top of American dance charts long before anyone else did. Even as those scenes faded from popularity as the '90s wore on (folks grew weary of those Numbers samples, I guess), they maintained a faithful following in their native Miami, of which Craze undoubtedly grew up surrounded by.
That said, the first few tracks had me worrying we wouldn’t be getting that, two cuts from Cool Kida giving us a taste of... ketamine crunk? No, just no. Who even likes such sluggy slop like that? Craze does come correct with some real crunk in Bangers & Cash’s Loose (you know what they’re talking about), but dammit, this CD was advertised as old school. Give me the classics, mang!
Ask, and you shall receive, Craze making no bones about what this mix is showcasing once he drops the original Miami Vice Theme from Jan Hammer. From there, it’s the vintage booming south (Miami Jam Crew’s Pretty Girls; Lushus’ Ho Fo Sho; Fresh Celeste & M-4 Sers’ Give It All To Me), mint freestyle classics (Beat Club’s Security; Debbie Deb’s When I Hear The Music), and even tasty technobass (DJ Magic Mike’s Cutz The Record; DJ Laz’ Red Alert).
Smartly, Craze mixes things up with tunes from newer acts (Chromeo, Armand Van Helden, Blaqstarr, Switch) who definitely owe some debt to the groundbreaking and shaking bass work Miami’s pioneers accomplished. Ending everything off with killer ghetto anthems like Kid Sister’s Pro Nails (produced by Craze’s turntablist compadre A-Trak) and DJ Assault’s Keep It Pushin’ (with too many names on the remix), and FabricLive.38's a CD any self-respecting bass head should hear.
Was This Worth The Pennies Paid For It?
Miami bass isn’t for everyone (including the previous owner, apparently), but any set that throws technobass into the mix is an automatic win for yours truly.
*cover art brought to you by FabricLive's “Melting Material On Predators” period*
Hey now, what have we in our midst? A real DJ! Three-peat DMC Champion at that. Okay, competition winners aren’t that rare in FabricLive’s history, but the music DJ Craze’s plays here is one Fabric hadn’t ventured into: Miami bass! Haha, I bet the label figured he’d do another drum-n-bass or regular hip-hop mix, so props for Mr. Aristh Delgado for adding yet another notch in the series’ already eclectic assortment of genres. True, previous FabricLives occasional drop a tune or two inspired from the Floridian scene, but Craze’s roots run deep in streets among Ocean Drive, and he shows no qualms in using Fabric’s prestige as a love-letter to the city's musical innovations.
And why not? Miami bass and freestyle were thriving genres for a large chunk of the '80s and '90s, a melding of hip-hop and urban R&B utilizing Kraftwerk electro as the genetic backbone. So successful were these offshoots that they practically subsumed electro-proper altogether, one kicking off the bass music scene as its own unique entity, the other taking electro to the top of American dance charts long before anyone else did. Even as those scenes faded from popularity as the '90s wore on (folks grew weary of those Numbers samples, I guess), they maintained a faithful following in their native Miami, of which Craze undoubtedly grew up surrounded by.
That said, the first few tracks had me worrying we wouldn’t be getting that, two cuts from Cool Kida giving us a taste of... ketamine crunk? No, just no. Who even likes such sluggy slop like that? Craze does come correct with some real crunk in Bangers & Cash’s Loose (you know what they’re talking about), but dammit, this CD was advertised as old school. Give me the classics, mang!
Ask, and you shall receive, Craze making no bones about what this mix is showcasing once he drops the original Miami Vice Theme from Jan Hammer. From there, it’s the vintage booming south (Miami Jam Crew’s Pretty Girls; Lushus’ Ho Fo Sho; Fresh Celeste & M-4 Sers’ Give It All To Me), mint freestyle classics (Beat Club’s Security; Debbie Deb’s When I Hear The Music), and even tasty technobass (DJ Magic Mike’s Cutz The Record; DJ Laz’ Red Alert).
Smartly, Craze mixes things up with tunes from newer acts (Chromeo, Armand Van Helden, Blaqstarr, Switch) who definitely owe some debt to the groundbreaking and shaking bass work Miami’s pioneers accomplished. Ending everything off with killer ghetto anthems like Kid Sister’s Pro Nails (produced by Craze’s turntablist compadre A-Trak) and DJ Assault’s Keep It Pushin’ (with too many names on the remix), and FabricLive.38's a CD any self-respecting bass head should hear.
Was This Worth The Pennies Paid For It?
Miami bass isn’t for everyone (including the previous owner, apparently), but any set that throws technobass into the mix is an automatic win for yours truly.
Labels:
2008,
crunk,
DJ Craze,
DJ Mix,
electro,
Fabric,
freestyle,
ghetto,
hip-hop,
Miami Bass,
technobass,
turntablism
Friday, March 28, 2014
The Future Sound Of London - Environments II
fsoldigital.com: 2008
Yes! A return to my normal backlog, however briefly. I'd been eyeing The Future Sound Of London's semi-return with some interest these past couple years, curious what the deal with all these releases were about. The From The Archives compilations seems self-explanatory, but my God they just keep coming out with them. Dougans and Cobain also released a few more Amorphous Androgynous albums, though as they're still exploring the roads of psychedelic music that was The Isness, I can't say an album titled The Peppermint Tree & The Seeds Of Superconsciousness looks promising. Then there's Environments, initially the mysterious album advertised in Lifeforms that never came to be, now up to its fourth volume. What's the deal, then?
Though details remain sketchy, Environments was hinted at being what ISDN was: a collection of live-broadcast material of generally free-form music making. You can imagine Virgin, already feeling leery about FSOL's new-found experimental tendencies, would balk at such an endeavour. So to the back-burner Environments went as Dougans and Corbain focused on Dead Cities instead. As the millennium turned, the FSOL were back in charge of their own distribution, and started making available all that originally archived material. Thus, Environments gets its long overdue release in 2007. The world of electronic music shrugged.
Fortunately, that album garnered enough interest to warrant follow-ups, where the narrative of FSOL’s output gets murkier. Far as anyone knew, there was only one Environments, so were these albums new material, or had it also sat fallow all these years? It wouldn’t surprise me if it was a mixture of both, but until we get concrete confirmation, we may as well sit back and enjoy what we do have.
While every Environments album is primarily about exploring sound-forms, Environments II has a loose winter theme running through it. Track titles like Ice Formed, North Arctic, Glacier, and Newfoundland are self-explanatory, while Small Town, Nearly Home, and A Corner may also work in you know your Canadiana (are we certain this isn’t a Boards Of Canada album?). Of course, Serengeti totally deep-sixes that theory, but that’s just one track, and it contains droning voice pads that could invoke glacial imagery just as easily.
As for the music itself... um, it’s FSOL? Describing their future sounds was difficult enough for albums with actual themes, and there’s little hope of proper detail here without bursting the self-imposed word count. Here’s a taster: electro crops up in Factories And Assembly; Glacier would go great with an opium den; Baco Manu comes off like Jan Hammer on acid; Colour-Blind cribs Vit Drowning’s beats; Journey To The Center and Viewed From Above features orchestral arrangements.
Stylistically, Environments II isn’t that far a leap forward from their ‘90s output, though hardly dated either, as the FSOL were already light-years ahead in musical craft back then. The fact they can still release music unlike anyone else in the experimental chill-out scene to this day is all the proof you need this album’s worth your attention.
Yes! A return to my normal backlog, however briefly. I'd been eyeing The Future Sound Of London's semi-return with some interest these past couple years, curious what the deal with all these releases were about. The From The Archives compilations seems self-explanatory, but my God they just keep coming out with them. Dougans and Cobain also released a few more Amorphous Androgynous albums, though as they're still exploring the roads of psychedelic music that was The Isness, I can't say an album titled The Peppermint Tree & The Seeds Of Superconsciousness looks promising. Then there's Environments, initially the mysterious album advertised in Lifeforms that never came to be, now up to its fourth volume. What's the deal, then?
Though details remain sketchy, Environments was hinted at being what ISDN was: a collection of live-broadcast material of generally free-form music making. You can imagine Virgin, already feeling leery about FSOL's new-found experimental tendencies, would balk at such an endeavour. So to the back-burner Environments went as Dougans and Corbain focused on Dead Cities instead. As the millennium turned, the FSOL were back in charge of their own distribution, and started making available all that originally archived material. Thus, Environments gets its long overdue release in 2007. The world of electronic music shrugged.
Fortunately, that album garnered enough interest to warrant follow-ups, where the narrative of FSOL’s output gets murkier. Far as anyone knew, there was only one Environments, so were these albums new material, or had it also sat fallow all these years? It wouldn’t surprise me if it was a mixture of both, but until we get concrete confirmation, we may as well sit back and enjoy what we do have.
While every Environments album is primarily about exploring sound-forms, Environments II has a loose winter theme running through it. Track titles like Ice Formed, North Arctic, Glacier, and Newfoundland are self-explanatory, while Small Town, Nearly Home, and A Corner may also work in you know your Canadiana (are we certain this isn’t a Boards Of Canada album?). Of course, Serengeti totally deep-sixes that theory, but that’s just one track, and it contains droning voice pads that could invoke glacial imagery just as easily.
As for the music itself... um, it’s FSOL? Describing their future sounds was difficult enough for albums with actual themes, and there’s little hope of proper detail here without bursting the self-imposed word count. Here’s a taster: electro crops up in Factories And Assembly; Glacier would go great with an opium den; Baco Manu comes off like Jan Hammer on acid; Colour-Blind cribs Vit Drowning’s beats; Journey To The Center and Viewed From Above features orchestral arrangements.
Stylistically, Environments II isn’t that far a leap forward from their ‘90s output, though hardly dated either, as the FSOL were already light-years ahead in musical craft back then. The fact they can still release music unlike anyone else in the experimental chill-out scene to this day is all the proof you need this album’s worth your attention.
Monday, February 17, 2014
Hot Chip - Made In The Dark (Original TC Review)
Astralwerks: 2008
(2014 Update:
Remember when it was bands that was to rescue EDM from the '00s doldrums? Man, critical darlings like LCD Soundsystem, The Klaxons, and Hot Chip were all the rage in 2008, earning magazine covers and high scores alike. Then David Guetta broke America, soon followed by dubstep's explosion of popularity, and everyone subsequently forgot about bands again. Well, not exactly. Acts like Hot Chip appealed to an older crowd, whereas the nu-EDM appealed to the youngin's out there, and as with all things, it's the youthful movements that'll dictate general cultural trends - easier to market to, y'see.
Hot Chip still had a successful follow-up in 2010 to this album though, One Life Stand; I'd even started a review of it before I gave up the writing gig for a couple years (more reasons for this forthcoming in two weeks!). In 2012, they released In Our Heads, which passed by with little fanfare. Guess folks (kids?) weren't buying what they were selling anymore, although I hear they're still kick-ass live. If they include ample tunes from this album in their set lists, I wouldn't doubt it.)
IN BRIEF: Peppy.
Truthfully, bands in electronic dance culture aren’t terribly new. It arguably all started with a four-piece act (Kraftwerk), and has seen many former rockers go digital over the years. Still, the general image most have of the live show revolves around one or two guys buried behind synths, sequencers, and laptops, with the occasional guitarist thrown into the mix. That all seems to be changing lately though; electroclash’s emergence and disco punk’s revival re-introduced clubbers to a whole world of indie music they’d long paid little heed to, and the little New York scene that DFA built has found its way into numerous pockets of the world in the years since. Now, you can even choose which sub-category of this genre of music you wish to proclaim as superior: dance-goes-rock (LCD Soundsytem; Justice) or rock-goes-dance (!!!; that silly ‘nu-rave’ thing Klaxons have going). Somewhere in the middle of it all lays Hot Chip.
Alexis Taylor and Joe Goddard make up the brains of this unlikely electro-soul-rave-wave-pop five-piece. Although obvious darlings of the hipster crowd, it was a few years before folks properly took notice. Their sophomore album The Warning certainly helped elevate their exposure, and bundles of buzz from their live shows on the festival circuit pretty much sealed the deal: anticipation and expectation on their third album would be difficult to match. So it’s just as well they forgot all that and settled on having fun with the creative process. At least, that’s what Made In The Dark sounds like.
Although Hot Chip’s flirted with a genre or two, this time they’ve stuck all their influences into a blender and added liberal amounts of pop to the mix. The result is something that’s at once chaotic and jumbled, yet super-fun just the same. These guys realize their studio (or rough approximation of one, since many of these songs were apparently conceived in Goddard’s apartment) is as much an instrument as all the guitars, synths, and tambourines they use. With such knowledge, an anything-goes mentality takes over, and the process can be sublime, provided it’s handled by musicians who remember to write music first, play with their toys second. And handle well they do indeed.
Granted, they don’t always succeed. Tracks like Bendable Poseable and Touch Too Much sound like Hot Chip needed someone reigning in all their ideas, as these overflow with excessive production; the good ideas lurking underneath are thus overshadowed. Fortunately, they’re the exceptions to Made In The Dark's general tone.
If anything, the group display an uncanny knack of making their unpredictability absolutely necessary. For example, One Pure Thought could be best described as house-music-meets-folk-rock. Yes, you read that right. Now, try to imagine Hot Chip doing without such a blend and settling on just a single influence, and chances are you’ve come away with something quaint but ultimately bland. Well, the chorus would still be good, but not as great as it is presented here.
The album is littered with such tracks. Shake A Fist, Hold On, and Don’t Dance are obviously heavily inspired by the club circuits, yet never strictly adhere to the expectations that come with that scene. Meanwhile, Out At The Pictures does the whole ‘big-disco-rock-band’ thing with winning results, while Ready For The Floor is an easy-breezy slice of crossover dance. And then there are the ballads. Good ballads!
Nearly a third of the album is dedicated to the softer side of music, and Hot Chip pulls it off with the grace of any crooner. Whether mopey musers (Whistle For Will), lovelorn lullabies (Made In The Dark; In The Privacy Of Our Love), or straight-up classy quirkfests (Wrestlers, a goofy call-to-arms rallying song inspired by, you guessed it, wrestling, with Hot Chip sounding about as threatening as a mid-80s WWF jobber ...just get a load of these lyrics: “Here we come; Drop kick; Half-Nelson; Full-Nelson; Willie Nelson... Willie Nelson.” Hilarious! ...well, if you were ever a fan of wrestling, that is ...okay, enough of this parenthesis tangent), these downtempo tunes showcase just how versatile this group is. All too often, ballads and dance music go together like oil and water in an album context (hence why ballads are usually lumped at the end whenever an act does attempt them), but Hot Chip display just as much skill in this field as they do in getting the dance floor energized.
Made In The Dark certainly is an album that will appeal to fans of many walks of music, and will undoubtedly get notice from several scenes. Heck, Metacritic alone has some thirty-five reviews available to check out, and that’s just covering the mainstream and indie-rock spreads. Even if your notion of ‘proper electronic dance music’ doesn’t hold much regard for an act that sometimes treats itself as a folk band more than techno sequencers, Hot Chip’s sense of rhythm and melody will win you over just the same.
(2014 Update:
Remember when it was bands that was to rescue EDM from the '00s doldrums? Man, critical darlings like LCD Soundsystem, The Klaxons, and Hot Chip were all the rage in 2008, earning magazine covers and high scores alike. Then David Guetta broke America, soon followed by dubstep's explosion of popularity, and everyone subsequently forgot about bands again. Well, not exactly. Acts like Hot Chip appealed to an older crowd, whereas the nu-EDM appealed to the youngin's out there, and as with all things, it's the youthful movements that'll dictate general cultural trends - easier to market to, y'see.
Hot Chip still had a successful follow-up in 2010 to this album though, One Life Stand; I'd even started a review of it before I gave up the writing gig for a couple years (more reasons for this forthcoming in two weeks!). In 2012, they released In Our Heads, which passed by with little fanfare. Guess folks (kids?) weren't buying what they were selling anymore, although I hear they're still kick-ass live. If they include ample tunes from this album in their set lists, I wouldn't doubt it.)
IN BRIEF: Peppy.
Truthfully, bands in electronic dance culture aren’t terribly new. It arguably all started with a four-piece act (Kraftwerk), and has seen many former rockers go digital over the years. Still, the general image most have of the live show revolves around one or two guys buried behind synths, sequencers, and laptops, with the occasional guitarist thrown into the mix. That all seems to be changing lately though; electroclash’s emergence and disco punk’s revival re-introduced clubbers to a whole world of indie music they’d long paid little heed to, and the little New York scene that DFA built has found its way into numerous pockets of the world in the years since. Now, you can even choose which sub-category of this genre of music you wish to proclaim as superior: dance-goes-rock (LCD Soundsytem; Justice) or rock-goes-dance (!!!; that silly ‘nu-rave’ thing Klaxons have going). Somewhere in the middle of it all lays Hot Chip.
Alexis Taylor and Joe Goddard make up the brains of this unlikely electro-soul-rave-wave-pop five-piece. Although obvious darlings of the hipster crowd, it was a few years before folks properly took notice. Their sophomore album The Warning certainly helped elevate their exposure, and bundles of buzz from their live shows on the festival circuit pretty much sealed the deal: anticipation and expectation on their third album would be difficult to match. So it’s just as well they forgot all that and settled on having fun with the creative process. At least, that’s what Made In The Dark sounds like.
Although Hot Chip’s flirted with a genre or two, this time they’ve stuck all their influences into a blender and added liberal amounts of pop to the mix. The result is something that’s at once chaotic and jumbled, yet super-fun just the same. These guys realize their studio (or rough approximation of one, since many of these songs were apparently conceived in Goddard’s apartment) is as much an instrument as all the guitars, synths, and tambourines they use. With such knowledge, an anything-goes mentality takes over, and the process can be sublime, provided it’s handled by musicians who remember to write music first, play with their toys second. And handle well they do indeed.
Granted, they don’t always succeed. Tracks like Bendable Poseable and Touch Too Much sound like Hot Chip needed someone reigning in all their ideas, as these overflow with excessive production; the good ideas lurking underneath are thus overshadowed. Fortunately, they’re the exceptions to Made In The Dark's general tone.
If anything, the group display an uncanny knack of making their unpredictability absolutely necessary. For example, One Pure Thought could be best described as house-music-meets-folk-rock. Yes, you read that right. Now, try to imagine Hot Chip doing without such a blend and settling on just a single influence, and chances are you’ve come away with something quaint but ultimately bland. Well, the chorus would still be good, but not as great as it is presented here.
The album is littered with such tracks. Shake A Fist, Hold On, and Don’t Dance are obviously heavily inspired by the club circuits, yet never strictly adhere to the expectations that come with that scene. Meanwhile, Out At The Pictures does the whole ‘big-disco-rock-band’ thing with winning results, while Ready For The Floor is an easy-breezy slice of crossover dance. And then there are the ballads. Good ballads!
Nearly a third of the album is dedicated to the softer side of music, and Hot Chip pulls it off with the grace of any crooner. Whether mopey musers (Whistle For Will), lovelorn lullabies (Made In The Dark; In The Privacy Of Our Love), or straight-up classy quirkfests (Wrestlers, a goofy call-to-arms rallying song inspired by, you guessed it, wrestling, with Hot Chip sounding about as threatening as a mid-80s WWF jobber ...just get a load of these lyrics: “Here we come; Drop kick; Half-Nelson; Full-Nelson; Willie Nelson... Willie Nelson.” Hilarious! ...well, if you were ever a fan of wrestling, that is ...okay, enough of this parenthesis tangent), these downtempo tunes showcase just how versatile this group is. All too often, ballads and dance music go together like oil and water in an album context (hence why ballads are usually lumped at the end whenever an act does attempt them), but Hot Chip display just as much skill in this field as they do in getting the dance floor energized.
Made In The Dark certainly is an album that will appeal to fans of many walks of music, and will undoubtedly get notice from several scenes. Heck, Metacritic alone has some thirty-five reviews available to check out, and that’s just covering the mainstream and indie-rock spreads. Even if your notion of ‘proper electronic dance music’ doesn’t hold much regard for an act that sometimes treats itself as a folk band more than techno sequencers, Hot Chip’s sense of rhythm and melody will win you over just the same.
Thursday, February 13, 2014
I Awake - The Core
Ultimae Records: 2008
For much of Ultimae's history, the debut of any act on their label isn't that artist's first solo release. Some have had Ultimae compilation duty prior, while others offered music on other labels. Thomas Huttenlocher's one of the few exceptions, dropping his first single Birth on Ultimae in 2007, then following that up with a full-length titled The Core the year after. Unless Lord Discogs is being dishonest with me, he had no other material out before then. The bio write-up mentions he was a part of a Swedish ambient collective called Ghostfriend, but the Lord draws even blanker on such a name than Mr. Huttenlocher. What I’m getting at here is, if this I Awake material truly was his debut, then damn dawg, I gotta applaud him in getting the Ultimae blessing (re: the Ultimae Mixdown™) right out the gate. Not many chill acts are so lucky, so this I Awake material must be something special to grab the label’s attention thus.
Well, I don’t know about that, but The Core did come out when Ultimae was in the process of releasing albums from artists outside their main roster - one can enjoy the Solar Fields and Aes Dana stylee for so long before asking if the label has any other chill on offer. With I Awake, we get the old-school, Planet Dog “technorganic” sound. Hoo, remember that term, anyone? It wasn’t any sort of ambient dub or world beat that’d come before, oh no; rather, a fusion of the two, with a psychedelic twist. Okay, it’s essentially psy-dub in its primordial form, but it was a distinct sound that fell by the wayside when Simon Posford’s work as Shpongle informed everyone that that was how psy-dub was to be done thereafter (what is Posford, the Hawtin of psy?).
So The Core features ample use of nature samples, worldly beats, organic instrumentation, and dubby soundscapes, but with modern production chops. You find full-bodied bass sequences in New Time Nomads, Neveritized, and Leaving The Known, occasional glitch rhythms spicing things up throughout, and nary a cliché use of ethnic vocals. All of which is naturally mastered with the trademark Ultimae panoramic touch. In a funny way, I feel this robs Huttenlocher of his distinctiveness among the roster. Instead of having a fresh, unique sound hanging with the big boys, he gets mushed into the soup along with everyone else. And sadly, as I Awake doesn’t carry nearly the same pedigree as Carbon Based Lifeforms or Asura (etc, etc.), The Core becomes lost among all the top-tiered acts.
This is another rich album of chill-out music from the label, of that there is no doubt. With track durations of reasonable length, few noodly bits crop up, and moods run the gamut from bright and exotic (Leaving The Known, Inferno) to dark and mysterious (Reflecting Impulses, Reclaim). I Awake may not carry the recognition of Ultimae’s all-stars, but he must be doing something right if the label got dibs on his debut.
For much of Ultimae's history, the debut of any act on their label isn't that artist's first solo release. Some have had Ultimae compilation duty prior, while others offered music on other labels. Thomas Huttenlocher's one of the few exceptions, dropping his first single Birth on Ultimae in 2007, then following that up with a full-length titled The Core the year after. Unless Lord Discogs is being dishonest with me, he had no other material out before then. The bio write-up mentions he was a part of a Swedish ambient collective called Ghostfriend, but the Lord draws even blanker on such a name than Mr. Huttenlocher. What I’m getting at here is, if this I Awake material truly was his debut, then damn dawg, I gotta applaud him in getting the Ultimae blessing (re: the Ultimae Mixdown™) right out the gate. Not many chill acts are so lucky, so this I Awake material must be something special to grab the label’s attention thus.
Well, I don’t know about that, but The Core did come out when Ultimae was in the process of releasing albums from artists outside their main roster - one can enjoy the Solar Fields and Aes Dana stylee for so long before asking if the label has any other chill on offer. With I Awake, we get the old-school, Planet Dog “technorganic” sound. Hoo, remember that term, anyone? It wasn’t any sort of ambient dub or world beat that’d come before, oh no; rather, a fusion of the two, with a psychedelic twist. Okay, it’s essentially psy-dub in its primordial form, but it was a distinct sound that fell by the wayside when Simon Posford’s work as Shpongle informed everyone that that was how psy-dub was to be done thereafter (what is Posford, the Hawtin of psy?).
So The Core features ample use of nature samples, worldly beats, organic instrumentation, and dubby soundscapes, but with modern production chops. You find full-bodied bass sequences in New Time Nomads, Neveritized, and Leaving The Known, occasional glitch rhythms spicing things up throughout, and nary a cliché use of ethnic vocals. All of which is naturally mastered with the trademark Ultimae panoramic touch. In a funny way, I feel this robs Huttenlocher of his distinctiveness among the roster. Instead of having a fresh, unique sound hanging with the big boys, he gets mushed into the soup along with everyone else. And sadly, as I Awake doesn’t carry nearly the same pedigree as Carbon Based Lifeforms or Asura (etc, etc.), The Core becomes lost among all the top-tiered acts.
This is another rich album of chill-out music from the label, of that there is no doubt. With track durations of reasonable length, few noodly bits crop up, and moods run the gamut from bright and exotic (Leaving The Known, Inferno) to dark and mysterious (Reflecting Impulses, Reclaim). I Awake may not carry the recognition of Ultimae’s all-stars, but he must be doing something right if the label got dibs on his debut.
Thursday, January 30, 2014
The Bug - London Zoo (Original TC Review)
Ninja Tune: 2008
(2014 Update:
Oh dear, is poor, poor 2008 Sykonee ever unaware of what else was happening in dubstep, outside the MetaCritic narrative anyway. Little did I know it would be tracks by Rusko, Coki, and Benga, seemingly novelty wub-wub cuts, that would dominate dubstep's future. Fortunately, acts like Burial, Martyn, and even The Bug were retroactively reclassified as other branches of UK garage, thus properly being distanced by fans and commentators from all the bro-drop nonsense to follow. Guess that dates this review a little, in that it was still that transitional phase where lines were being drawn, but had I been following dubstep's development from the beginning, I'd have known of these differences already. Yeah, well, it took most American-side folks even longer than it did your's truly to figure it out, and I was just beginning to give it a chance in 2008. No blame.
Kevin Martin hasn't been terribly busy on the production front since releasing London Zoo, a smattering of singles all to his name. Following up such a critically hailed album must hold some pressure on the long-time UK dancehall tastemaker, but if he continues down the acid road as he explored with last year's Hardcore Lover, here's hoping another ace LP is in the works.)
IN BRIEF: Delightfully deviant dancehall.
A year ago, a then anonymous Burial helped propel a then anonymous young genre called dubstep into wide recognition. His sophomore effort, Untrue, was not only hailed as a classic by those within its scene, but by nearly everyone who came within earshot of it as well. And something that I’m sure no one could have ever predicted, it sits atop the best albums of 2007 at Metacritic (interestingly, sharing the spot with The Field’s From Here We Go Sublime; who said electronic music was dead?). Surely though, that was just a once-in-a-blue-moon occurrence. After all, dubstep itself is far too urban, simplistic, and London-based to have any real impact beyond its core fans of jungle refugees, spliff-heads, and inner-city stylists, right?
For a good part of 2008, it appeared such a claim would hold true; very few dubstep producers that suddenly came out of the woodworks seemed capable of matching Burial’s impact. Then practically out of nowhere, longtime reggae and dancehall tastemaker Kevin Martin (The Bug) released his third album to much critical acclaim, such that, as of this writing, it currently sits atop Metacritic’s best albums of 2008. Considering it shares the honor with a retrospective from influential cut-n-paste hip-hop producer Steinski, that’s an impressive feat - an album of fresh material standing toe-to-toe with a double-disc of back-catalogue. With less than two months left in the year, it looks as though dubstep is set to be riding a critical high into the New Year once again.
Is it warranted though? Sure, the music is undoubtedly the freshest to emerge in some time but could all the critical praise for it be nothing more than a “nu-genre” honeymoon? After all, isn’t dubstep just a bunch of half-step beats, gratuitous dub reverb, displaced jungle basslines, and crackly white-noise fluff? Nay, mon - The Bug proves there’s a great deal one can do with the sound.
Truth be told, London Zoo isn’t a strict dubstep album; rather, Martin’s roots in, er, roots is the dominate focus, with the rich history of Jamaican-influenced music bursting through every pocket. Yeah, yeah… what’s with Britain co-opting their former colony’s culture for their own use, you quibble. [TranceCritic]’s been over this one plenty enough, so let’s not get into it; just accept that there are Jamaican transplants in the UK, such that themes of Jah and fights against oppression sounds just as pertinent here as on any Marley or Perry record.
Besides, with Martin’s skill behind the knobs injecting dubstep’s futuristic aesthetic into the works, classic dancehall jams are re-invigorated for the modern era with brilliant results. Even if you’ve never fancied the sound, the wobbly, punctual rhythms and grimey atmospherics will grab your attention right out of the gate and hold it until the final obligatory ‘repent, for Judgement Day is nigh’ finale. And that bass. Good God (Jah?), that bass! Every track’s bassline is totally unique from the other, easily putting to rest any qualms that “this stuff all sounds the same”. Sometimes it’s a low rumble but other times, like in Fuckaz and Skeng, it roars like some kind of Imperial Star Destroyer engine, with drops that’ll ensnare even the most conservative folk; the dancers that literally wobble to this stuff undoubtedly do so because these low frequencies liquefy bones, turning dancehall punters into masses of jelly.
Of course, no dancehall album is complete without some toasting on the mic, and The Bug has rounded up quite the cast of MCs to complement his tracks. Old standbys like Tippa Irie, Aya, and Ricky Ranking are in as fine of form as ever, but it’s members of the newer cast of dancehall toasters that steal the show. Aggressive chants from Flowdan and Warrior Queen, ominous spoken-word from Killa P, wobbly spitting from Spaceape, and cool crooning from Roger Robinson all combine to make London Zoo as much a showcase for all their individual talents as it is an outlet for Martin’s productions. There’s a sense of urgency in all their voices, as though they realize this is their biggest opportunity to let the world know just how vigorous dancehall MCing can be. They don’t disappoint in this regard.
In case it isn’t clear by now, London Zoo is certainly deserving of the critical praise that’s been handed to it. Even if you’ve never heard of The Bug (a large number of you, I reckon) and these Jamaican influenced sounds have only brought confused glances to your face (a lesser amount of you, I hope), this album should still find its way into your collection. It’s musically fresh, wonderfully paced (strong openers, classy middle, rousing climax), and proves dubstep – in all its forms - remains a genre to keep an ear open for.
(2014 Update:
Oh dear, is poor, poor 2008 Sykonee ever unaware of what else was happening in dubstep, outside the MetaCritic narrative anyway. Little did I know it would be tracks by Rusko, Coki, and Benga, seemingly novelty wub-wub cuts, that would dominate dubstep's future. Fortunately, acts like Burial, Martyn, and even The Bug were retroactively reclassified as other branches of UK garage, thus properly being distanced by fans and commentators from all the bro-drop nonsense to follow. Guess that dates this review a little, in that it was still that transitional phase where lines were being drawn, but had I been following dubstep's development from the beginning, I'd have known of these differences already. Yeah, well, it took most American-side folks even longer than it did your's truly to figure it out, and I was just beginning to give it a chance in 2008. No blame.
Kevin Martin hasn't been terribly busy on the production front since releasing London Zoo, a smattering of singles all to his name. Following up such a critically hailed album must hold some pressure on the long-time UK dancehall tastemaker, but if he continues down the acid road as he explored with last year's Hardcore Lover, here's hoping another ace LP is in the works.)
IN BRIEF: Delightfully deviant dancehall.
A year ago, a then anonymous Burial helped propel a then anonymous young genre called dubstep into wide recognition. His sophomore effort, Untrue, was not only hailed as a classic by those within its scene, but by nearly everyone who came within earshot of it as well. And something that I’m sure no one could have ever predicted, it sits atop the best albums of 2007 at Metacritic (interestingly, sharing the spot with The Field’s From Here We Go Sublime; who said electronic music was dead?). Surely though, that was just a once-in-a-blue-moon occurrence. After all, dubstep itself is far too urban, simplistic, and London-based to have any real impact beyond its core fans of jungle refugees, spliff-heads, and inner-city stylists, right?
For a good part of 2008, it appeared such a claim would hold true; very few dubstep producers that suddenly came out of the woodworks seemed capable of matching Burial’s impact. Then practically out of nowhere, longtime reggae and dancehall tastemaker Kevin Martin (The Bug) released his third album to much critical acclaim, such that, as of this writing, it currently sits atop Metacritic’s best albums of 2008. Considering it shares the honor with a retrospective from influential cut-n-paste hip-hop producer Steinski, that’s an impressive feat - an album of fresh material standing toe-to-toe with a double-disc of back-catalogue. With less than two months left in the year, it looks as though dubstep is set to be riding a critical high into the New Year once again.
Is it warranted though? Sure, the music is undoubtedly the freshest to emerge in some time but could all the critical praise for it be nothing more than a “nu-genre” honeymoon? After all, isn’t dubstep just a bunch of half-step beats, gratuitous dub reverb, displaced jungle basslines, and crackly white-noise fluff? Nay, mon - The Bug proves there’s a great deal one can do with the sound.
Truth be told, London Zoo isn’t a strict dubstep album; rather, Martin’s roots in, er, roots is the dominate focus, with the rich history of Jamaican-influenced music bursting through every pocket. Yeah, yeah… what’s with Britain co-opting their former colony’s culture for their own use, you quibble. [TranceCritic]’s been over this one plenty enough, so let’s not get into it; just accept that there are Jamaican transplants in the UK, such that themes of Jah and fights against oppression sounds just as pertinent here as on any Marley or Perry record.
Besides, with Martin’s skill behind the knobs injecting dubstep’s futuristic aesthetic into the works, classic dancehall jams are re-invigorated for the modern era with brilliant results. Even if you’ve never fancied the sound, the wobbly, punctual rhythms and grimey atmospherics will grab your attention right out of the gate and hold it until the final obligatory ‘repent, for Judgement Day is nigh’ finale. And that bass. Good God (Jah?), that bass! Every track’s bassline is totally unique from the other, easily putting to rest any qualms that “this stuff all sounds the same”. Sometimes it’s a low rumble but other times, like in Fuckaz and Skeng, it roars like some kind of Imperial Star Destroyer engine, with drops that’ll ensnare even the most conservative folk; the dancers that literally wobble to this stuff undoubtedly do so because these low frequencies liquefy bones, turning dancehall punters into masses of jelly.
Of course, no dancehall album is complete without some toasting on the mic, and The Bug has rounded up quite the cast of MCs to complement his tracks. Old standbys like Tippa Irie, Aya, and Ricky Ranking are in as fine of form as ever, but it’s members of the newer cast of dancehall toasters that steal the show. Aggressive chants from Flowdan and Warrior Queen, ominous spoken-word from Killa P, wobbly spitting from Spaceape, and cool crooning from Roger Robinson all combine to make London Zoo as much a showcase for all their individual talents as it is an outlet for Martin’s productions. There’s a sense of urgency in all their voices, as though they realize this is their biggest opportunity to let the world know just how vigorous dancehall MCing can be. They don’t disappoint in this regard.
In case it isn’t clear by now, London Zoo is certainly deserving of the critical praise that’s been handed to it. Even if you’ve never heard of The Bug (a large number of you, I reckon) and these Jamaican influenced sounds have only brought confused glances to your face (a lesser amount of you, I hope), this album should still find its way into your collection. It’s musically fresh, wonderfully paced (strong openers, classy middle, rousing climax), and proves dubstep – in all its forms - remains a genre to keep an ear open for.
Thursday, December 26, 2013
Vector Lovers - Late Shift / Babette (Original TC Review)
Simple Records: 2008
(2013 Update:
Hoo boy, is this ever a brief review. Guess it came at that point where we didn't really care much to review singles at TC anymore, though occasionally something would pique our interest enough to give it a shot. Had I gotten to this sooner in this year, I'd probably have written something about how it was a shame this MP3 single was among the last of Vector Lovers' releases. But lo', he came out with another album this year! Yay and stuffs, I suppose.
Also, in case you're wondering, yes, I do have an obsession with all-night noodle houses. They're quite tasty after a night at the clubs!)
IN BRIEF: Herbert would nod approvingly.
When last TranceCritic left Martin Wheeler, he was still manipulating R2-droid squeaks and squawks into sweet serenades while grooving to electro-coo’ disco dandies in Neo-Tokyo. That was a few years back now, and he has released a couple more albums since his lovely little self-titled debut, remaining quite on the fringe of dance music awareness, sadly. It certainly wasn’t due to a lack of promotion on Soma’s part, but perhaps joining up with Will Saul’s Simple Records will help spur some renewed interest in Vector Lovers, by way of this simple little MP3 single.
It would appear Wheeler has found more funk to his flavor, as both Late Shift and Babette get down on some fine tech-house grooves. The latter is more straightforward than the former, bumping along nicely before gradually bringing in deep pulsing synths accentuated with brief bright stabs. It’s rather old-school sounding as far as tech-house is concerned; I’m quite reminded of the kind of material you’d hear the odd German kick out around the early-mid 90s. As solid of an offering Babette is though, Late Shift easily steals the show.
Even right off, the track’s cool-groovin’ synths and mildly funky rhythms are win, conjuring up 2am cruises through lonely metropolitan streets in search of an afterhours or all-night noodle-house. But this is par for the course where Vector Lovers is concerned. What lifts Late Shift into quirky class territory are funny little sound-effect samples littered throughout. Like what, ask you? Like these, I reply: breezy winds; click-clacky kitchen utensils; a noise that sounds like a saxophone player struggling with a broken reed, but is actually Wheeler’s squeaky fridge door. No, really! ...well, according to him, anyway. Whatever it is, it isn’t used as gimmicky noise either, but rather as though it’s some kind of jazzy instrument. My friends, that’s just daftly brilliant!
Folks who’ve followed Wheeler over the years will definitely enjoy this. If you’ve never taken the Vector Lovers plunge though, this is a fine single to get your feet wet with. While it may not encompass all that is his discography, it highlights his intriguing musicianship just the same.
(2013 Update:
Hoo boy, is this ever a brief review. Guess it came at that point where we didn't really care much to review singles at TC anymore, though occasionally something would pique our interest enough to give it a shot. Had I gotten to this sooner in this year, I'd probably have written something about how it was a shame this MP3 single was among the last of Vector Lovers' releases. But lo', he came out with another album this year! Yay and stuffs, I suppose.
Also, in case you're wondering, yes, I do have an obsession with all-night noodle houses. They're quite tasty after a night at the clubs!)
IN BRIEF: Herbert would nod approvingly.
When last TranceCritic left Martin Wheeler, he was still manipulating R2-droid squeaks and squawks into sweet serenades while grooving to electro-coo’ disco dandies in Neo-Tokyo. That was a few years back now, and he has released a couple more albums since his lovely little self-titled debut, remaining quite on the fringe of dance music awareness, sadly. It certainly wasn’t due to a lack of promotion on Soma’s part, but perhaps joining up with Will Saul’s Simple Records will help spur some renewed interest in Vector Lovers, by way of this simple little MP3 single.
It would appear Wheeler has found more funk to his flavor, as both Late Shift and Babette get down on some fine tech-house grooves. The latter is more straightforward than the former, bumping along nicely before gradually bringing in deep pulsing synths accentuated with brief bright stabs. It’s rather old-school sounding as far as tech-house is concerned; I’m quite reminded of the kind of material you’d hear the odd German kick out around the early-mid 90s. As solid of an offering Babette is though, Late Shift easily steals the show.
Even right off, the track’s cool-groovin’ synths and mildly funky rhythms are win, conjuring up 2am cruises through lonely metropolitan streets in search of an afterhours or all-night noodle-house. But this is par for the course where Vector Lovers is concerned. What lifts Late Shift into quirky class territory are funny little sound-effect samples littered throughout. Like what, ask you? Like these, I reply: breezy winds; click-clacky kitchen utensils; a noise that sounds like a saxophone player struggling with a broken reed, but is actually Wheeler’s squeaky fridge door. No, really! ...well, according to him, anyway. Whatever it is, it isn’t used as gimmicky noise either, but rather as though it’s some kind of jazzy instrument. My friends, that’s just daftly brilliant!
Folks who’ve followed Wheeler over the years will definitely enjoy this. If you’ve never taken the Vector Lovers plunge though, this is a fine single to get your feet wet with. While it may not encompass all that is his discography, it highlights his intriguing musicianship just the same.
Sunday, December 1, 2013
Moby - Last Night (Original TC Review)
Mute: 2008
(2013 Update:
Not much to add to this review, as it holds up just as fine as it did when it first came out, though calling it "his most accomplished album since Everything Is Wrong" is a bit of a stretch on my part. Kind of a shame this was just a one-off return to early club music on Moby's part, but it was only ever intended to be as such. I wonder if we might see another one though, what with classic house again back in vogue after a couple-year gap of not. Man, was 2008 ever a weird year for house music.)
IN BRIEF: The Moby ravers enjoyed returns.
I don’t think anyone expected Moby returning to dance music in such a fashion, if at all. Granted, he tested the waters a few years back with a Voodoo Child album, but for the most part everyone figured Mr. Hall’s most recognizable project had forever gone the way of quaint bittersweet pop-rock. Still, it’s not like the mainstream readily accepted Moby. Although they enjoyed the music off Play (if anything because you couldn’t escape it) and the odd tune here and there if it fit the times, Moby remained the butt-end of numerous jokes, an all-too easy target of ridicule.
Perhaps it isn’t surprising, then, that as he nears mid-life, Moby has begun reflecting, recalling a time and place one was accepted no matter who you were or what you did. The second Summer Of Love certainly was such a time, and thanks to anthems such as Go and Next Is The E, Mr. Hall emerged as an underground darling of the early American rave scene. So if such fond thoughts have been on his mind lately, producing an album which captures those free-wheeling hedonistic years in sixty-five minutes is an intriguing idea; the fact this comes at a point when classic house music is seeing something of a revival just so happens to be a bonus for both parties.
Still, there have already been plenty of question marks, accusations and critical responses to such an endeavor. Cynically, you have to wonder why Moby would go back to a sound he hasn’t touched on in over a decade, especially when his last Best Of release ignored nearly all of his pre-Play output. Also, will his current fanbase even be willing to accept such blatant romanticizing of early ‘90s dance music when it hasn’t been in vogue since Madonna’s Vogue? And does Moby even have much chance of standing toe-to-toe with admittedly much trendier revivalists like Hercules & Love Affair or Dixon?
Last Night will probably fly right over your head if you’ve been fussing over such thoughts. On this new album, Moby doesn’t seem to care whether the popular press or the bloggers or even the current crop of EDM followers accept his retro-direction; it’s primarily the old-schoolers whom enjoyed his early output that will dig on this. As much as he says this is a love-letter to New York City of the late 80s, Last Night is equally a love-letter to all those fans that gave Mr. Hall his big break, with the giddy rave vibes oozing from every sonic corner.
Were I allowed to wear my Nostalgia Headphones while reviewing Last Night, it’d easily earn high marks. Even without them, though, there is some gosh-darned good music to be had on here. Take Everyday Is 1989: it’s an incredibly simple track on paper, consisting of rolling pianos, soul-sista’ samples, and string stabs looping over vintage house beats. It should sound old, it should sound dated, it should sound like a bygone relic. Yet every time those pianos emerge - and I do mean every time - my head can’t help but bobble along. There’s a groove to be had here, my friends, and it’s more infectious than most of what’s come out from the house camps in the last few years.
Much of Last Nights works in this regard. Moby keeps things simple and to the point, doesn’t get bogged down in fancy gimmicks or overproduction, and maintains the old-school uplifting spirit throughout much of the album. And while the house cuts like Everyday Is 1989, Disco Lies, and I’m In Love received most of the pre-album buzz, there’s plenty of other EDM genres dabbled in as well. The Stars and 257.Zero tackles the rave end of the spectrum, while I Love To Move In Here adds some hip-house flavor. The latter portion of the album provides an ambient-house touch; however, aside from Sweet Apocalypse, these offerings aren’t nearly as interesting as the rest of Last Night, coming off as mere sonic doodles compared to some of Moby’s more famous downtempo tunes.
For as much as Last Night honors his roots, though, Moby hasn’t completely neglected some of the fresher influences of his discography. Material like the titular track, Ooh Yeah, Live For Tomorrow, and Hyenas finds blending of melancholic pop and lounge, especially so with the hidden bit of jazz tagged on at the end of the finale. Trumping it all though - and even the retro stuff - is Alice, which melds a whole pile of Moby-isms into a single track: blues-shuffle rhythms, squawking guitar licks, guest raps from Nigerian based group 419 Squad, catchy pop hooks... Lodging it smack in the middle of the album definitely helps prevent the whole of it from sounding like too much of a nostalgia love-in.
Ultimately, Moby’s latest is quite probably his most accomplished album since Everything Is Wrong. He may not be doing anything new on here but that’s beside the point - Last Night is the sound of a musician finding himself quite comfortable with his roots again, and proving he is more than capable of producing a song that remains just as timeless as the era it draws influence from. The mainstream media may not understand it (but, oh, they certainly do when R.E.M. does the same thing); long-time fans of electronic dance music will.
(2013 Update:
Not much to add to this review, as it holds up just as fine as it did when it first came out, though calling it "his most accomplished album since Everything Is Wrong" is a bit of a stretch on my part. Kind of a shame this was just a one-off return to early club music on Moby's part, but it was only ever intended to be as such. I wonder if we might see another one though, what with classic house again back in vogue after a couple-year gap of not. Man, was 2008 ever a weird year for house music.)
IN BRIEF: The Moby ravers enjoyed returns.
I don’t think anyone expected Moby returning to dance music in such a fashion, if at all. Granted, he tested the waters a few years back with a Voodoo Child album, but for the most part everyone figured Mr. Hall’s most recognizable project had forever gone the way of quaint bittersweet pop-rock. Still, it’s not like the mainstream readily accepted Moby. Although they enjoyed the music off Play (if anything because you couldn’t escape it) and the odd tune here and there if it fit the times, Moby remained the butt-end of numerous jokes, an all-too easy target of ridicule.
Perhaps it isn’t surprising, then, that as he nears mid-life, Moby has begun reflecting, recalling a time and place one was accepted no matter who you were or what you did. The second Summer Of Love certainly was such a time, and thanks to anthems such as Go and Next Is The E, Mr. Hall emerged as an underground darling of the early American rave scene. So if such fond thoughts have been on his mind lately, producing an album which captures those free-wheeling hedonistic years in sixty-five minutes is an intriguing idea; the fact this comes at a point when classic house music is seeing something of a revival just so happens to be a bonus for both parties.
Still, there have already been plenty of question marks, accusations and critical responses to such an endeavor. Cynically, you have to wonder why Moby would go back to a sound he hasn’t touched on in over a decade, especially when his last Best Of release ignored nearly all of his pre-Play output. Also, will his current fanbase even be willing to accept such blatant romanticizing of early ‘90s dance music when it hasn’t been in vogue since Madonna’s Vogue? And does Moby even have much chance of standing toe-to-toe with admittedly much trendier revivalists like Hercules & Love Affair or Dixon?
Last Night will probably fly right over your head if you’ve been fussing over such thoughts. On this new album, Moby doesn’t seem to care whether the popular press or the bloggers or even the current crop of EDM followers accept his retro-direction; it’s primarily the old-schoolers whom enjoyed his early output that will dig on this. As much as he says this is a love-letter to New York City of the late 80s, Last Night is equally a love-letter to all those fans that gave Mr. Hall his big break, with the giddy rave vibes oozing from every sonic corner.
Were I allowed to wear my Nostalgia Headphones while reviewing Last Night, it’d easily earn high marks. Even without them, though, there is some gosh-darned good music to be had on here. Take Everyday Is 1989: it’s an incredibly simple track on paper, consisting of rolling pianos, soul-sista’ samples, and string stabs looping over vintage house beats. It should sound old, it should sound dated, it should sound like a bygone relic. Yet every time those pianos emerge - and I do mean every time - my head can’t help but bobble along. There’s a groove to be had here, my friends, and it’s more infectious than most of what’s come out from the house camps in the last few years.
Much of Last Nights works in this regard. Moby keeps things simple and to the point, doesn’t get bogged down in fancy gimmicks or overproduction, and maintains the old-school uplifting spirit throughout much of the album. And while the house cuts like Everyday Is 1989, Disco Lies, and I’m In Love received most of the pre-album buzz, there’s plenty of other EDM genres dabbled in as well. The Stars and 257.Zero tackles the rave end of the spectrum, while I Love To Move In Here adds some hip-house flavor. The latter portion of the album provides an ambient-house touch; however, aside from Sweet Apocalypse, these offerings aren’t nearly as interesting as the rest of Last Night, coming off as mere sonic doodles compared to some of Moby’s more famous downtempo tunes.
For as much as Last Night honors his roots, though, Moby hasn’t completely neglected some of the fresher influences of his discography. Material like the titular track, Ooh Yeah, Live For Tomorrow, and Hyenas finds blending of melancholic pop and lounge, especially so with the hidden bit of jazz tagged on at the end of the finale. Trumping it all though - and even the retro stuff - is Alice, which melds a whole pile of Moby-isms into a single track: blues-shuffle rhythms, squawking guitar licks, guest raps from Nigerian based group 419 Squad, catchy pop hooks... Lodging it smack in the middle of the album definitely helps prevent the whole of it from sounding like too much of a nostalgia love-in.
Ultimately, Moby’s latest is quite probably his most accomplished album since Everything Is Wrong. He may not be doing anything new on here but that’s beside the point - Last Night is the sound of a musician finding himself quite comfortable with his roots again, and proving he is more than capable of producing a song that remains just as timeless as the era it draws influence from. The mainstream media may not understand it (but, oh, they certainly do when R.E.M. does the same thing); long-time fans of electronic dance music will.
Saturday, November 2, 2013
Squarepusher - Just A Souvenir
Warp Records: 2008
You have to feel a bit sorry for all those pioneering IDM wonks from the '90s. They set the bar of ingenuity so bloody high in such a short period of time, that the expectation for them to continuously keep topping themselves would eventually be a futile effort. Not that they would feel the pressure to do so, of course, but some creativity burn-out would have to set in if they didn't explore other music for a while. So while some weren't too keen on Tom Jenkinson taking his Squarepusher guise closer to proper jazz-fusion realms (real instruments, what!?), in the long run it was probably for the best, letting him recharge before his braindance stuff wore itself out.
Still, he’d done his ‘jazz album’ with Music Is Rotted One Note, so even that could be expected of him, especially a full decade following it (ten year celebration! ...or is this just a coincidence?). So how about rock fusion then? Surely ol’ Tom could list several psychedelic and garage-fuzz jam works as inspiration too (much of it came out around the same time as Miles Davis’ peak). Yeah, sure, whatever, you’ve earned your right for musical self-indulgence, Mr. Jenkinson, by all means show us what you got in your one-man band cadre.
Well, not right away, it turns out on Just A Souvenir. The first few tracks are on more familiar ground, like the spritely space-funk works Star Time 2 and The Coathanger, while A Real Woman sounds more like what those late-‘70s avant garde French acts would kick out. Complete with vocoders? I’m sold! Shame the whole album isn’t like this, but the rest is good fun too, provided you have an ear for odd-ball jam-fusion music.
And you know it’s gonna be one of those when you hear that tell-tale tik-tik-tik of drum sticks at the opening. Then bass, guitar, drums, and occasional keyboards go at it, like some kind of demented punk outfit from a far-flung European province while wacked-out on acid. Though it’s just Squarepusher doing the music, you can almost imagine a three or four piece band giving their all on stage or in a garage. Considering there’s but one chap making all this racket, the music’s impressive enough that it sounds like there should be more there.
Yet, there’s something missing from Just A Souvenir that completes the illusion: it’s too tight. I’d imagine if this really was some long-lost psychedelic punk-jam band from the ‘70s, the music would come off even sloppier, wonderfully so; like the band members had all the inspiration in the world, but not quite the skill to pull it off, and you’d admire their gumption, if nothing else. As a musician and producer, Tom Jenkinson’s better than that, which has given him the chance to explore such diverse sonic avenues, but not the expertise to fully integrate into them. In the end, we all know what his bread-and-butter be, but thanks for the souvenir just the same.
You have to feel a bit sorry for all those pioneering IDM wonks from the '90s. They set the bar of ingenuity so bloody high in such a short period of time, that the expectation for them to continuously keep topping themselves would eventually be a futile effort. Not that they would feel the pressure to do so, of course, but some creativity burn-out would have to set in if they didn't explore other music for a while. So while some weren't too keen on Tom Jenkinson taking his Squarepusher guise closer to proper jazz-fusion realms (real instruments, what!?), in the long run it was probably for the best, letting him recharge before his braindance stuff wore itself out.
Still, he’d done his ‘jazz album’ with Music Is Rotted One Note, so even that could be expected of him, especially a full decade following it (ten year celebration! ...or is this just a coincidence?). So how about rock fusion then? Surely ol’ Tom could list several psychedelic and garage-fuzz jam works as inspiration too (much of it came out around the same time as Miles Davis’ peak). Yeah, sure, whatever, you’ve earned your right for musical self-indulgence, Mr. Jenkinson, by all means show us what you got in your one-man band cadre.
Well, not right away, it turns out on Just A Souvenir. The first few tracks are on more familiar ground, like the spritely space-funk works Star Time 2 and The Coathanger, while A Real Woman sounds more like what those late-‘70s avant garde French acts would kick out. Complete with vocoders? I’m sold! Shame the whole album isn’t like this, but the rest is good fun too, provided you have an ear for odd-ball jam-fusion music.
And you know it’s gonna be one of those when you hear that tell-tale tik-tik-tik of drum sticks at the opening. Then bass, guitar, drums, and occasional keyboards go at it, like some kind of demented punk outfit from a far-flung European province while wacked-out on acid. Though it’s just Squarepusher doing the music, you can almost imagine a three or four piece band giving their all on stage or in a garage. Considering there’s but one chap making all this racket, the music’s impressive enough that it sounds like there should be more there.
Yet, there’s something missing from Just A Souvenir that completes the illusion: it’s too tight. I’d imagine if this really was some long-lost psychedelic punk-jam band from the ‘70s, the music would come off even sloppier, wonderfully so; like the band members had all the inspiration in the world, but not quite the skill to pull it off, and you’d admire their gumption, if nothing else. As a musician and producer, Tom Jenkinson’s better than that, which has given him the chance to explore such diverse sonic avenues, but not the expertise to fully integrate into them. In the end, we all know what his bread-and-butter be, but thanks for the souvenir just the same.
Thursday, October 31, 2013
Joey Beltram - Harthouse DJ Mix Series Vol. 1 - Lost In New York (Original TC Review)
Harthouse Mannheim: 2008
(2013 Update:
This CD must have utterly tanked, as there were no subsequent volumes to the Harthouse DJ Mix Series. Or maybe Harthouse Mannheim couldn't lure in anyone else to do another mix for them? They did release a couple compilations, but in general this 'rebirth' of the label hasn't garnered anywhere near the same level of success as its '90s former self did. Too much minimal monotony, yes?
This has also apparently been Joey Beltram's last significant release, DJ mix or production wise. Geez, it wasn't that bad, was it? Yeah, all those stutter effects in here are kinda annoying now, but did the whole process disillusion him to the techno scene? Has he looked at the rise of the festival circuit and thought, "No, this isn't for me. Not at all." Oh come on, ya'll don't really believe that, do ya? He's still doing the DJ circuit, but it'd be interesting to have a couple new productions from him, just to hear where his mind's at on that front in this day in age - please say he no longer are serious techno producer).
IN BRIEF: Lost in Berlin, more like.
Like an ‘energy flash’ from the past, Beltram is back. Well, no, not exactly. Like so many pioneers that helped shape techno of the early 90s, he never really went away; however, as tastes and trends changed with the times, many reckoned he fell ‘off a hilltop’. Of course, it’s silly to think such, but perhaps it was looking about time for the Queens native to remind the techno fiends out there of his ‘existence’. (no more bad Beltam puns, I promise)
As always, the way to go about doing so is getting your ear to the ground, find out what the hottest sounds are – in this case, minimal techno - and throw your stamp on it. Generally, it’s a 50-50 shot whether the crowds will regard it as a bold move forward or a desperate ploy for continued relevance, but in Beltram’s case, you figure contemporary techno fans will be more accepting of this direction since he’s flirted with the genre numerous times. Therefore, Lost In New York is as much a manifesto as it is a regular mix CD, with new productions and track selections designed to inform everyone that, yes, now Beltram are serious minimal techno DJ too. This may potentially strike as a horrible misfire, but fortunately for us, he still retains some of the bangin’ attributes of his past, and this mix is all the better for it whenever he does.
After a couple plod’n’murk tech-house warm-up tracks, the disc properly takes off with the rumbling resonance of the appropriately titled Analog God from Dustin Zahn, and peaks out with Len Faki’s Death By House. Despite the BPMs being lower than where you’d normally expect of a Beltram set (really, the same can be said of the whole mix), this is some kick-ass stuff, with beats that bring the Brooklyn techno-boom as fine as any year you may be familiar with. The follow-up with Beltram’s own evil acid workout Shaking Trees keeps things on a promising tip, but sadly the set takes a middling stumble heading into the second half.
McHugh’s H2O is what I like to call a ‘bathroom break’ track, and not just because the sound effects of water will make you want to piss. Y’see, after all that fine momentum built up, Beltram wrecks it with a tune that’s utterly tuneless, and sucks the rhythmic energy away with beats that are too dink-donk and hissy-hish to be any real fun – might as well relieve the bladder while it plays, right?. Granted, I have a good laugh over the super steam-release at the ‘climaxes’ (only designated as such because they come after apparent builds), where it goes ppssssSSSSSSHHHHhhhhheeeww, but I don’t think hilarity was McHugh’s intent.
Following that, Beltram nearly rescues the set with his own Scorpion - despite being filled with contemporary techno clichés, it’s still a fun bit of stomp-a-long stuff. Such energy is once again lost though, as he decides to go into an ‘I are really serious deep techno DJ’ section afterwards, where you’ll find ample time to bob your head and maybe even slightly shuffle your feet but nothing that thrills; as usual, it’s interesting to hear but this plinky-plonk stuff just goes on for too long. By the time his remix of Beyer’s Swedish Silver hits, it’s grown incredibly tedious. Fortunately, he brings the boom back with a couple of good techno groovers at the end, finishing this CD on the up.
All this said, and you’re probably still wondering about two things: how does this mix compare to previous Beltram efforts, and how does it match up against all the other techno mixes on the market these days. To answer the first, I’d have to say not nearly as much – when you listen to the energetic techno the Brooklyn native used to bang out, the stuff on here, while perhaps a little more clever, is missing the same level of thrill. Still, Lost In New York is more fun than many modern sets of this style, thanks in large part to the effects Beltram throws in. Instead of cold, clinical sterile mixing and computer-perfect layering, you get telegraphed transitions and messy stutter cut-ups - sometimes it sounds like an audio stream lagging, but when it works, it works! Just gander at the final track for a great example.
This is a fine set. It may not be innovative and cynics will probably scoff at ‘yet another old-timer trying to fit in with the hip clubbing crowds’, but compared to many other techno mix CDs currently out there, Beltram’s latest is at least fun. So long as you don’t mind enduring the plink-plonk-hiss minimal bits, Lost In New York makes for a worthy casual thow-on.
(2013 Update:
This CD must have utterly tanked, as there were no subsequent volumes to the Harthouse DJ Mix Series. Or maybe Harthouse Mannheim couldn't lure in anyone else to do another mix for them? They did release a couple compilations, but in general this 'rebirth' of the label hasn't garnered anywhere near the same level of success as its '90s former self did. Too much minimal monotony, yes?
This has also apparently been Joey Beltram's last significant release, DJ mix or production wise. Geez, it wasn't that bad, was it? Yeah, all those stutter effects in here are kinda annoying now, but did the whole process disillusion him to the techno scene? Has he looked at the rise of the festival circuit and thought, "No, this isn't for me. Not at all." Oh come on, ya'll don't really believe that, do ya? He's still doing the DJ circuit, but it'd be interesting to have a couple new productions from him, just to hear where his mind's at on that front in this day in age - please say he no longer are serious techno producer).
IN BRIEF: Lost in Berlin, more like.
Like an ‘energy flash’ from the past, Beltram is back. Well, no, not exactly. Like so many pioneers that helped shape techno of the early 90s, he never really went away; however, as tastes and trends changed with the times, many reckoned he fell ‘off a hilltop’. Of course, it’s silly to think such, but perhaps it was looking about time for the Queens native to remind the techno fiends out there of his ‘existence’. (no more bad Beltam puns, I promise)
As always, the way to go about doing so is getting your ear to the ground, find out what the hottest sounds are – in this case, minimal techno - and throw your stamp on it. Generally, it’s a 50-50 shot whether the crowds will regard it as a bold move forward or a desperate ploy for continued relevance, but in Beltram’s case, you figure contemporary techno fans will be more accepting of this direction since he’s flirted with the genre numerous times. Therefore, Lost In New York is as much a manifesto as it is a regular mix CD, with new productions and track selections designed to inform everyone that, yes, now Beltram are serious minimal techno DJ too. This may potentially strike as a horrible misfire, but fortunately for us, he still retains some of the bangin’ attributes of his past, and this mix is all the better for it whenever he does.
After a couple plod’n’murk tech-house warm-up tracks, the disc properly takes off with the rumbling resonance of the appropriately titled Analog God from Dustin Zahn, and peaks out with Len Faki’s Death By House. Despite the BPMs being lower than where you’d normally expect of a Beltram set (really, the same can be said of the whole mix), this is some kick-ass stuff, with beats that bring the Brooklyn techno-boom as fine as any year you may be familiar with. The follow-up with Beltram’s own evil acid workout Shaking Trees keeps things on a promising tip, but sadly the set takes a middling stumble heading into the second half.
McHugh’s H2O is what I like to call a ‘bathroom break’ track, and not just because the sound effects of water will make you want to piss. Y’see, after all that fine momentum built up, Beltram wrecks it with a tune that’s utterly tuneless, and sucks the rhythmic energy away with beats that are too dink-donk and hissy-hish to be any real fun – might as well relieve the bladder while it plays, right?. Granted, I have a good laugh over the super steam-release at the ‘climaxes’ (only designated as such because they come after apparent builds), where it goes ppssssSSSSSSHHHHhhhhheeeww, but I don’t think hilarity was McHugh’s intent.
Following that, Beltram nearly rescues the set with his own Scorpion - despite being filled with contemporary techno clichés, it’s still a fun bit of stomp-a-long stuff. Such energy is once again lost though, as he decides to go into an ‘I are really serious deep techno DJ’ section afterwards, where you’ll find ample time to bob your head and maybe even slightly shuffle your feet but nothing that thrills; as usual, it’s interesting to hear but this plinky-plonk stuff just goes on for too long. By the time his remix of Beyer’s Swedish Silver hits, it’s grown incredibly tedious. Fortunately, he brings the boom back with a couple of good techno groovers at the end, finishing this CD on the up.
All this said, and you’re probably still wondering about two things: how does this mix compare to previous Beltram efforts, and how does it match up against all the other techno mixes on the market these days. To answer the first, I’d have to say not nearly as much – when you listen to the energetic techno the Brooklyn native used to bang out, the stuff on here, while perhaps a little more clever, is missing the same level of thrill. Still, Lost In New York is more fun than many modern sets of this style, thanks in large part to the effects Beltram throws in. Instead of cold, clinical sterile mixing and computer-perfect layering, you get telegraphed transitions and messy stutter cut-ups - sometimes it sounds like an audio stream lagging, but when it works, it works! Just gander at the final track for a great example.
This is a fine set. It may not be innovative and cynics will probably scoff at ‘yet another old-timer trying to fit in with the hip clubbing crowds’, but compared to many other techno mix CDs currently out there, Beltram’s latest is at least fun. So long as you don’t mind enduring the plink-plonk-hiss minimal bits, Lost In New York makes for a worthy casual thow-on.
Subscribe to:
Posts (Atom)
Things I've Talked About
...txt
10 Records
16 Bit Lolita's
1963
1965
1966
1967
1968
1969
1970
1971
1972
1973
1974
1975
1976
1977
1978
1979
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2 Play Records
2 Unlimited
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
2022
2023
2024
20xx Update
2562
3 Loop Music
302 Acid
36
3FORCE
3six Recordings
4AD
6 x 6 Records
75 Ark
7L & Esoteric
808 State
A Perfect Circle
A Positive Life
A-Wave
a.r.t.less
A&M Records
A&R Records
Abandoned Communities
Abasi
Above and Beyond
abstract
AC/DC
Ace Trace
Ace Tracks Playlists
Ace Ventura
acid
acid house
acid jazz
acid techno
acoustic
Acroplane Recordings
Adam Beyer
Adam Ellis
Adam Freeland
Adham Shaikh
ADNY
Adrian Younge
adult contemporary
Advanced UFO Phantom
Aegri Somnia
AEI Music
Aes Dana
Afgin
Afrika Bambaataa
Afro-house
Afterhours
Agoria
Aidan Casserly
Aira Mitsuki
Airwaves
Ajana Records
Ajna
AK1200
Akshan
album
Aldrin
Alex Smoke
Alex Theory
Alice In Chains
Alien Community
Alien Project
Alio Die
All Saints
Alpha Wave Movement
Alphabet Zoo
Alphaxone
Altar Records
Alter Ego
alternative rock
Alucidnation
Ambelion
Ambidextrous
ambient
ambient dub
ambient techno
Ambient World
Ambientium
Ametsub
Amon Amarth
Amon Tobin
Amplexus
Anabolic Frolic
Anatolya
Andrea Parker
Andrew Heath
Androcell
Anduin
Andy C
anecdotes
Aniplex
Anjunabeats
Annibale Records
Anodize
Another Fine Day
Antares
Antendex
anthem house
Anthony Paul Kerby
Anthony Rother
Anti-Social Network
Anzio Green
Aoide
Aphasia Records
Aphex Twin
Apócrýphos
Apollo
Apollo 440
Apple Records
April Records
Aqua
Aquarellist
Aquascape
Aquasky
Aquila
Arcade
Architects Of Existence
Archives
Arcturus
arena rock
Arista
Armada
Armin van Buuren
Arpatle
Artifact303
Arts & Crafts
ASC
Ashtech
Asia
Asian Dub Foundation
Astral Engineering
Astral Projection
Astral Waves
Astralwerks
AstroPilot
AstroPilot Music
Asura
Asylum Records
ATB
ATCO Records
Atlantic
Atlantis
atmospheric jungle
Atom Heart
Atomic Hooligan
Atomine Elektrine
Atrium Carceri
Attic
Attoya
Audiobulb Records
Audion
AuroraX
Autechre
Autistici
Autumn Of Communion
Auxilary
Auxiliary
Avantgarde
Avatar Records
Aveparthe
Avicii
Axiom
Axs
Axtone Records
Aythar
B.G. The Prince Of Rap
B°TONG
B12
Babygrande
Balance
Balanced Records
Balearic
ballad
Bålsam
Banco de Gaia
Bandulu
Barker & Baumecker
Battle Axe Records
battle-rap
Bauri
Beastie Boys
Beat Buzz Records
Beat Pharmacy
Beatbox Machinery
Beats & Pieces
bebop
Beck
Bedouin Soundclash
Bedrock Records
Beechwood Music
Benny Benassi
Bent
Benz Street US
Berlin-School
Beto Narme
Beyond
bhangra
Bicep
big beat
Big Boi
Big Dada Recordings
Big L
Big Life
Bill Hamel
Bill Laswell
Bill Leeb
BIlly Idol
BineMusic
BioMetal
Biophon Records
Biosphere
Bipolar Music
BKS
Black Hole Recordings
black metal
black rebel motorcycle club
Black Swan Sounds
Blanco Y Negro
Blasterjaxx
Bleep
Blend
Blood Music
Blow Up
Blue Amazon
Blue Hour
Blue Öyster Cult
blues
blues rock
Bluescreen
Bluetech
BMG
Boards Of Canada
Bob Dylan
Bob Marley
Bobina
Bogdan Raczynzki
Bombay Records
Bone Thugs-N-Harmony
Boney M
Bong Load Records
Bonobo
Bonzai
Boogie Down Productions
Booka Shade
Boom Boom Satellites
Botchit & Scarper
Bows
Boxed
Boys Noize
Boysnoize Records
BPitch Control
braindance
Brandt Brauer Frick
Brasil & The Gallowbrothers Band
breakbeats
breakcore
breaks
Brian Eno
Brian Wilson
Brick Records
Britpop
Brodinski
broken beat
Brooklyn Music Ltd
Bryan Adams
BT
Bubble
Buffalo Springfield
Bulk Recordings
Burial
Burned CDs
Bursak Records
Bush
Busta Rhymes
Buttertones
bvdub
C.I.A.
Calibre
calypso
Canibus
Canned Resistor
Canopy Of Stars
Capitol Records
Capsula
Captain Hollywood Project
Captured Digital
Carbon Based Lifeforms
Caribou
Carl B
Carl Craig
Carlos Ferreira
Carol C
Caroline Records
Carpe Sonum Novum
Carpe Sonum Records
Castroe
Casual
Cat Sun
CD-Maximum
Ceephax Acid Crew
Celestial Dragon Records
Cell
Celtic
Centaspike
Cevin Fisher
Cheb i Sabbah
Cheeky Records
chemical breaks
Chihei Hatakeyama
Children Of The Bong
chill out
chill-out
chiptune
Chris Duckenfield
Chris Fortier
Chris Korda
Chris Liebing
Chris Sheppard
Chris Witoski
Christmas
Christopher Lawrence
Chromeo
Chronos
Chrysalis
Ciaran Byrne
cinematic soundscapes
Circle of Pines
Circular
Ciro Berenguer
Cirrus
Cities Last Broadcast
City Of Angels
CJ Stone
Claptone
classic house
classic rock
classical
Claude Young
Clear Label Records
Clementz
Cleopatra
Cloud 9
Club Culture
Club Cutz
Club Tools
Cocoon Recordings
Cold Spring
Coldcut
Coldplay
coldwave
Colette
collagist
Columbia
Com.Pact Records
Coma Eye
comedy
Compilation
Comrie Smith
Congo Natty
Conjure One
Connect.Ohm
conscious
Control Music
Convextion
Cooking Vinyl
Cor Fijneman
Corderoy
Cosmic Gate
Cosmic Replicant
Cosmo Cocktail
Cosmos Studios
Cottonbelly
Council Estate Electronics
Council Of Nine
Counter Records
country
country rock
Covert Operations Recordings
Craig Padilla
Craig Richards
Crazy Horse
Cream
Creamfields
Creedence Clearwater Revival
Crockett's Theme
Crosby Stills And Nash
Crossing Mind
Crosstown Rebels
crunk
Cryo Chamber
Cryobiosis
Cryogenic Weekend
Cryostasis
Crystal Moon
Cube Guys
Culture Beat
Curb Records
Current
Curve
cut'n'paste
CYAN
Cyan Music
Cyber Productions
CyberOctave
Cyclic Law
Cygna
Cymphonica
Cypher 7
Cypress Hill
Cyril Secq
Czarface
D York
D-Bridge
D-Fuse
D-Topia Entertainment
Daar
Dacru Records
Daddy G
Daft Punk
Dag Rosenqvist
Damian Lazarus
Damon Albarn
Damon Wild
Dan Terminus
Dan The Automator
Dance 2 Trance
Dance Pool
Dance With The Dead
dancehall
Daniel Heatcliff
Daniel Lentz
Daniel Pemberton
Daniel Wanrooy
Danny Howells
Danny Tenaglia
Dao Da Noize
Daphni
dark ambient
dark disco
dark psy
darkcore
darkside
darkstep
darksynth
darkwave
Darla Records
Darren Emerson
Darren McClure
Darren Nye
DAT Records
Databloem
dataObscura
David Alvarado
David Bickley
David Bridie
David Cordero
David Guetta
David Morley
DDR
De-tuned
Dead Coast
Dead Melodies
Deadmau5
Death Grips
death metal
Death Row Records
Decimal
Deconstruction
Dedicated
Deejay Goldfinger
Deep Dish
Deep Forest
deep house
Deeply Rooted House
Deepwater Black
Deetron
Def Jam Recordings
Del Tha Funkee Homosapien
Delerium
Delsin
Deltron 3030
Denshi Danshi
Depeche Mode
Der Dritte Raum
Derek Carr
Detroit
Deviant Records
Devin Underwood
Devroka
Deysn Masiello
DFA
DGC
diametric.
Dido
Dieselboy
Different
DigiCube
Dillinja
Dirk Serries
dirty house
Dirty South
Dirty Vegas
Dis Fig
disco
Disco Gecko
disco house
Disco Pinata Records
disco punk
Discover (label)
Disky
Disques Dreyfus
Distant System
Distinct'ive Breaks
Disturbance
Divination
DJ 3000
DJ Brian
DJ Craze
DJ Dag
DJ Dan
DJ Dean
DJ Gonzalo
DJ Heather
DJ John Kelley
DJ John Storm
DJ Merlin
DJ Mix
DJ Moe Sticky
DJ Observer
DJ Premier
DJ Q-Bert
DJ Shadow
DJ Soul Slinger
DJ-Kicks
Djen Ajakan Shean
DJMag
DMC
DMC Records
Doc Scott
Dogon
Dogwhistle
Dooflex
Doom Poets
Dopplereffekt
Dossier
Dousk
downtempo
dowtempo
Dr. Alban
Dr. Atmo
Dr. Dre
Dr. Hook & The Medicine Show
Dr. Octagon
Dragon Quest
dream house
dream pop
DreamWorks Records
Drexciya
drill 'n' bass
Dronarivm
drone
Dronny Darko
drum 'n' bass
DrumNBassArena
drumstep
drunken review
dub
Dub Pistols
dub techno
Dub Trees
Dubfire
dubstep
Dubtribe Sound System
DuMonde
Dune
Dusted
Dyadik
Dynatron
E-Mantra
E-Z Rollers
Eardream Music
Earth
Earth Nation
Earthling
Eastcoast
Eastcost
Eastern Dub Tactik
EastWest
Eastworld
Eat Static
EBM
Echodub
Ed Rush & Optical
Editions EG
EDM World Weekly News
Ektoplazm
Electric Universe
electro
Electro House
Electro Sun
electro-funk
electro-pop
electroclash
Electronic Dance Essentials
Electronic Music Guide
Electrovoya
Elektra
Elektrolux
em:t
EMC update
EMI
Emiliana Torrini
Eminem
Emmerichk
Emperor Norton
Empire
enCAPSULAte
Encym
Engine Recordings
Enigma
Enmarta
Ensiferum
Enya
EP
Epic
epic trance
EQ Recordings
Equal Stones
Erased Tapes Records
Eric Borgo
Erik Vee
Erol Alkan
Escape
Esko Barba
Esoteric Reactive
Espacio Cielo
ethereal
Etic
Etnica
Etnoscope
Euphoria
euro dance
eurodance
eurotrance
Eurythmics
Eve Records
Everlast
Ewan Pearson
Exitab
experimental
Eye Q Records
Ezdanitoff
F Communications
Fabric
Facture
Fade Records
Faex Optim
Faint
Faithless
Falcon Reekon
Fallen
False Mirror
fanfic
Fantastisizer
Fantasy Enhancing
faru
Fatboy Slim
Fax +49-69/450464
Fear Factory
Fedde Le Grand
Fehrplay
Feist
Fektive Records
Felix da Housecat
Fennesz
Ferry Corsten
FFRR
Fictivision
field recordings
Filter
Filteria
filters
Final Fantasy
Firescope
Five AM
Fjäder
Flashover Recordings
Floating Points
Flowers For Bodysnatchers
Flowjob
Fluke
Fluxion
Flying Lotus
folk
Fontana
footwork
Force Intel
Fountain Music
Four Tet
FPU
Frame
Frame Of Mind
Francis M Gri
Frank Bretschneider
Frankie Bones
Frankie Knuckles
Frans de Waard
Fred Everything
freestyle
French house
Front Line Assembly
Frou Frou
fsoldigital.com
Fugees
full-on
Fun Factory
Function
funk
future garage
Future Sound Of London
Futuregrapher
futurepop
g-funk
G-Prod
gabber
Gabriel Le Mar
Gaither Music Group
Galaktlan
Galati
Gang Starr
gangsta
garage
Gareth Davis
Gary Martin
Gas
Gasoline Alley Records
Gee Street
Geffen Records
Gel-Sol
Genesis
Geometry Combat
George Issakidis
Gerald Donald
Get Physical Music
ghetto
Ghostface Killah
Ghostly International
Glacial Movements Records
glam
Gliese 581C
glitch
Glitch Hop
Global Communication
Global Underground
Globular
goa trance
Goasia
God Body Disconnect
God's Groove
Gorillaz
gospel
Gost
goth
Grammy Awards
Gravediggaz
Green Bay Wax
Green Day
Grey Area
Greytone
Gridlock
grime
Groove Armada
Groove Corporation
Grooverider
grunge
Guru
Gustaf Hidlebrand
Gusto Records
GZA
H:U:M
H2O Records
Haddaway
Halgrath
happy hardcore
hard house
hard rock
hard techno
hard trance
hardcore
Hardfloor
Hardly Art
hardstyle
Harlequins Enigma
Harmless
Harmonic 33
Harmonic Resonance Recordings
Harold Budd
Harthouse
Harthouse Mannheim
Hawtin
Headphone
Hearts Of Space
Hed Kandi
Hefty Records
Helen Marnie
Hell
Hercules And Love Affair
Hernán Cattáneo
Herne
Hexstatic
Hi-Bias Records
Hic Sunt Leones
Hide And Sequence
Hiero Emperium
Hieroglyphics
High Contrast
High Note Records
Higher Ground
Higher Intelligence Agency
Hilyard
hip-hop
hip-house
hipno
Hollywood Burns
Home Normal
Honest Jon's Records
Hooj Choons
Hope Records
horrorcore
Hospital Records
Hot Chip
Hotflush Recordings
house
Howie B
Huey Lewis & The News
Human Blue
Humanoid
Hybrid
Hybrid Leisureland
Hymen Records
Hyperdub
Hypertrophy
Hypnotic
Hypnoxock
I Awake
I-Cube
i! Records
I.F.
I.F.O.R.
I.R.S. Records
Iboga Records
Icarus Music
Ice Cube
Ice H2o Records
ICE MC
IDM
Iempamo
Ignis Fatum
Igorrr
Ikjoyce
illbient
ILUITEQ
Imogen Heap
Imperial Dancefloor
Imploded View
In Charge
In Trance We Trust
Incoming
Incubus
Indica Records
indie rock
Indisc
Industrial
Infastructure New York
Infected Mushroom
Infinite Guitar
influence records
Infonet
Inhmost
Ink Midget
Inner Ocean Records
Innovative Leisure Records
Insane Clown Posse
Inspectah Deck
Instinct Ambient
Instra-Mental
Intellitronic Bubble
Inter-Modo
Interchill Records
Internal
International Deejays Gigolo
Interscope Records
Intimate Productions
Intuition Recordings
ISBA Music Entertainment
Ishkur
Ishq
Island Def Jam Music Group
Island Records
Islands Of Light
Italians Do It Better
italo disco
italo house
Item Caligo
J-pop
Jack Moss
Jackpot
Jacob Newman
Jafu
Jake Stephenson
Jam and Spoon
Jam El Mar
James Blake
James Holden
James Horner
James Lavelle
James Murray
James Zabiela
Jamie Jones
Jamie Myerson
Jamie Principle
Jamiroquai
Javelin Ltd.
Jay Haze
Jay Tripwire
Jaydee
jazz
jazz dance
jazzdance
jazzstep
Jean-Michel Jarre
Jefferson Airplane
Jerry Goldsmith
Jesper Dahlbäck
Jessy Lanza
Jimmy Van M
Jiri.Ceiver
Jive
Jive Electro
Jliat
Jlin
JMJ
Joel Mull
Joey Beltram
John '00' Fleming
John Acquaviva
John Beltran
John Digweed
John Graham
John Kelly
John O'Callaghan
John Oswald
John Shima
Johnny Cash
Johnny Jewel
Jon Hester
Jonny L
Jori Hulkkonen
Joris Voorn
Jørn Stenzel
Josh Christie
Josh Wink
Journeys By DJ™ LLC
Joyful Noise Recordings
Juan Atkins
juke
Jump Cut
jump up
Jumpin' & Pumpin'
jungle
Junior Boy's Own
Junkie XL
Juno Reactor
Jupiter 8000
Jurassic 5
Kaico
Kay Wilder
KDJ
Keith Farrugia
Ken Ishii
Kenji Kawai
Kenny Glasgow
Keoki
Keosz
Kerri Chandler
Kevin Braheny
Kevin Yost
Kevorkian Records
Khetzal
Khooman
Khruangbin
Ki/oon
Kid Koala
Kiko
Killing Joke
Kinder Atom
Kinetic Records
King Cannibal
King Midas Sound
King Tubby
Kiphi
Kitaro
Klang Elektronik
Klaus Schulze
Klik Records
KMFDM
Koch Records
Koichi Sugiyama
Kolhoosi 13
Komakino
Kompakt
Kon Kan
Kool Keith
Kozo
Kraftwelt
Kraftwerk
Krafty Kuts
Kranky
krautrock
Kriistal Ann
Krill.Minima
Kris O'Neil
Kriztal
KRS-One
Kruder and Dorfmeister
Krusseldorf
Krystian Shek
Kubinski
KuckKuck
Kulor
Kurupt
Kwook
L.B. Dub Corp
L.S.G.
L'usine
La Luz
Lab 4
Ladytron
LaFace Records
Lafleche
Lamb
Lange
Large Records
Lars Leonhard
Laserlight Digital
LateNightTales
Latin
Laurent Garnier
Layer 3
LCD Soundsystem
Le Moors
Leaf
Leama and Moor
Lee 'Scratch' Perry
Lee Burridge
Lee Norris
Leftfield
Leftfield Records
Legacy
Legiac
Legowelt
Lemony Records
Leon Bolier
Les Disques Du Crépuscule
LFO
Linear Labs
Lingua Lustra
Lionel Weets
Liquid Frog Records
liquid funk
Liquid Sound Design
Liquid Stranger
Liquid Zen
Literon
Live
live album
LL Cool J
lo fi
Loco Dice
Lodsb
LoFi
Logic Records
London acid crew
London Classics
London Elektricity
London Records 90 Ltd
London-Sire Records
LongWalkShortDock
Loop Guru
Loreena McKennitt
Lorenzo Masotto
Lorenzo MontanÃ
loscil
Lost Language
Lotek Records
Loud Records
Louderbach
Loverboy
Lowfish
Luaka Bop
Lucette Bourdin
Luciano
Luke Slater
Lunarian Records
Lustmord
M_nus
M.A.N.D.Y.
M.I.K.E.
Mack 10
Madonna
Magda
Magik Muzik
Mahiane
Mali
Malignant Records
Mammoth Records
Mantacoup
Marc Simz
Marcel Dettmann
Marcel Fengler
Marco Carola
Marco V
Marcus Intalex
Mark Farina
Mark Norman
Mark Pritchard
Markus Schulz
Marshmello
Martin Allin
Martin Cooper
Martin Nonstatic
Märtini Brös
Marvin Gaye
Maschine
Massimo Vivona
Massive Attack
Masta Killa
Master Margherita
Masterboy
Matthew Dear
Max Graham
maximal
Maxx
MCA
MCA Records
McProg
Meanwhile
Meat Loaf
Median Project
Medicine Label
Meditronica
Melusine Records
Memex
Menno de Jong
Mercury
Merr0w
Mesmobeat
metal
Metal Blade Records
Metamatics
Method Man
Metro Area
Metroplex
Metropolis
MF Doom
Miami Bass
Miami Beach Force
Miami Dub Machine
Michael Brook
Michael Jackson
Michael Mantra
Michael Mayer
Michael Stearns
Mick Chillage
micro-house
microfunk
Microscopics
MIG
Miguel Migs
Mike Saint-Jules
Mike Shiver
Miktek
Mille Plateaux
Millennium Records
Mind Distortion System
Mind Over MIDI
mini-CDs
minimal
minimal tech-house
Ministry Of Sound
miscellaneous
Misja Helsloot
Miss Kittin
Miss Moneypenny's
Mistical
Mixmag
Mixmaster Morris
Mo Wax
Mo-Do
MO-DU
Moby
Model 500
modern classical
Modeselektor
Mohlao
Moist Music
Moljebka Pvulse
Moodymann
Moonshine
Morgan
Morphic Resonance
Morphology
Moss Covered Technology
Moss Garden
Motech
Motionfield
Motorbass
Mount Shrine
Move D
Moving Shadow
Mr. Scruff
Mujaji
Murk
Murmur
Mushy Records
Music link
Music Man Records
musique concrete
Mutant Sound System
Mute
MUX
Muzik Magazine
My Best Friend
Mystery Tape Laboratory
Mystica Tribe
Mystified
N-Trance
Nacht Plank
Nadia Ali
Nano Records
Napalm Records
Nas
Nashville
Natural Life Essence
Natural Midi
Nature Sounds
Naughty By Nature
Nav Bhinder
Nebula
Neil Young
Neo Ouija
Neo-Adventures
Neogoa
Neon Droid
Neotantra
Neotropic
nerdcore
Nervous Records
Nettwerk
Neurobiotic Records
neurofunk
Neuropa Records
New Age
New Beat
New Jack Swing
New Order
new wave
Nic Fanciulli
Nick Höppner
Night Hex
Night Time Stories
Nightmares On Wax
Nightwind Records
Nimanty
Nine Inch Nails
Ninja Tune
Nirvana
nizmusic
No Mask Effect
Nobuo Uematsu
noise
Noise Factory Records
Nomad
Nonesuch
Nonplus Records
Nookie
Nordic Trax
Norken
Norman Cook
Norman Feller
North South
Northumbria
Not Now Music
Nothing Records
Nova
NovaMute
NRG
Ntone
nu-italo
nu-jazz
nu-metal
nu-skool
Nuclear Blast
Nuclear Blast Entertainment
Nulll
Nunc Stans
Nurse With Wound
NXP
Nyquist
Oasis
Ocelot
Octagen
Offshoot
Offshoot Records
Ol' Dirty Bastard
Olan Mill
Old Europa Cafe
old school rave
Ole Højer Hansen
Olga Musik
Olien
Oliver Lieb
Olivier Orand
Olsen
OM Records
Omni Trio
Omnimotion
Omnisonus
On Delancey Street
One Little Indian
Onyx
Oophoi
Oosh
Open
Open Canvas
Opium
Opus III
orchestral
Original TranceCritic review
Origo Sound
Orkidea
Orla Wren
Ornament
Ostgut Ton
Ott
Ottsonic Music
Ouragan
Out Of The Box
OutKast
Outmosphere Records
Outpost Records
Overdream
Owl
P-Ben
Pale Glow
Paleowolf
Pan Sonic
Pantera
Pantha Du Prince
Paolo Mojo
Parental Advisory
Parlaphone
Part-Sub-Merged
Pascal F.E.O.S.
Past Inside The Present
Patreon
Patrick Dream
Paul Moelands
Paul Oakenfold
Paul van Dyk
Pendulum
Pentatonik
Perfect Stranger
Perfecto
Perturbator
Pet Shop Boys
Petar Dundov
Pete Namlook
Pete Tong
Peter Andersson
Peter Benisch
Peter Broderick
Peter Gabriel
Peter Tosh
Phantogram
Phonothek
Photek
Phutureprimitive
Phynn
PIAS Recordings
Pinch
Pink Floyd
Pioneer
Pitch Black
PJ Harvey
Plaid
Planet Dog
Planet Earth Recordings
Planet Mu
Planetary Assault Systems
Planetary Consciousness
Plastic City
Plastikman
Platinum
Platipus
Pleq
Plump DJs
Plunderphonic
Plus 8 Records
PM Dawn
Poker Flat Recordings
Polar Seas Recordings
Pole Folder
politics
Polydor
Polytel
pop
Popular Records
Porya Hatami
positivesource
post-dubstep
post-punk
power electronics
Prince
Prince Paul
Prins Thomas
Priority Records
Private Mountain
Procs
Profondita
prog
prog metal
prog psy
prog rock
prog-psy
progress house
Progression
progressive breaks
progressive house
progressive rock
progressive trance
Prolifica
Proper Records
Prototype Recordings
protoU
Pryda
psy chill
psy dub
Psy Spy Records
psy trance
psy-chill
psy-dub
psychedelia
Psychick Warriors Ov Gaia
Psychomanteum
Psychonavigation
Psychonavigation Records
Psycoholic
Psykosonik
Psysolation
Public Enemy
Pulse-8 Records
punk
punk rock
Pureuphoria Records
Purl
Purple Soil
Push
PWL International
Quadrophonia
Quality
Quango
Quantic
Quantum
Quinlan Road
R & S Records
R'n'B
R&B
Ra
Rabbit In The Moon
Radio Slave
Radioactive
Radioactive Man
Radiohead
Rae
Raekwon
ragga
Rainbow Vector
raison d'etre
Raja Ram
Ralf Hildenbeutel
Ralph Lawson
RAM Records
Randal Collier-Ford
Random Review
Rank 1
rant
Rapoon
RareNoise Records
Ras Command
Rascalz
Raster-Noton
Ratatat
Raum Records
rave
RCA
React
Rebecca & Nathan
Recycle Or Die
Red Fog
Red Jerry
Redman
Refracted
reggae
ReKaB
REKIDS
remixes
Renaissance
Renaissance Man
Rephlex
Reprise Records
Republic Records
Resist Music
Restless Records
RetroSynther
Reverse Alignment
Reverse Pulse
Rhino Records
Rhys Fulber
Ricardo Villalobos
Richard Durand
Richard Stonefield
Riley Reinhold
Ringo Sheena
Rising High Records
RnB
Roadrunner Records
Robert Hood
Robert Miles
Robert Oleysyck
Robert Rich
Roc Raida
rock
rock opera
rockabilly
rocktronica
Roger Sanchez
ROIR
Rollo
Roman Ridder
Rough Trade
Rub-N-Tug
Ruben Garcia
Rudy Adrian
Ruffhouse Records
Rumour Records
Running Back
Ruptured World
Ruthless Records
RX-101
Rykodisc
RZA
S.E.T.I.
Saafi Brothers
Sabled Sun
Sacred Seeds
SadGirl
Saitoh Tomohiro
Sakanaction
Salt Tank
Salted Music
Salvation Music
Samim
Samora
sampling
Samurai Red Seal
Sanctuary Records
Sander van Doorn
Sandoz
Sandwell District
SantAAgostino
Saphileaum
Sarah McLachlan
Sash
Sasha
Saul Stokes
Scandinavian Records
Scann-Tec
sci-fi
Science
Scooter
Scott Grooves
Scott Hardkiss
Scott Stubbs
Scuba
Seán Quinn
Seaworthy
Segue
Sense
Sentimony Records
Sequential
Seraphim Rytm
Setrise
Seven Davis Jr.
Sghor
sgnl_fltr
Shackleton
Shaded Explorations
Shaded Explorer
Shadow Records
Sharam
Shawn Francis
shoegaze
Shpongle
Shuta Yasukochi
Si Matthews
Side Effects
SideOneDummy Records
Sidereal
Signature Records
SiJ
Silent Season
Silent Universe
Silentes
Silentes Minimal Editions
Silicone Soul
silly gimmicks
Silver Age
Simian Mobile Disco
Simon Berry
Simon Heath
Simon Posford
Simon Scott
Simple Records
Sinden
Sine Silex
single
Single Gun Theory
Sire Records Company
Six Degrees
Sixeleven Records
Sixtoo
ska
Skanfrom
Skare
Skin To Skin
Skua Atlantic
Slaapwel Records
Slam
Sleep Research Facility
Slinky Music
Slowcraft Records
Sly and Robbie
Smalltown Supersound
SME Visual Works Inc.
SMTG Limited
Snap
Sneijder
Snoop Dogg
Snowy Tension Pole
soft rock
Soiree Records International
Solar Fields
Solaris Recordings
Solarstone
Soleilmoon Recordings
Solieb
Solieb Digital
Solipsism
Soliquid
Solstice Music Europe
Solvent
Soma Quality Recordings
Songbird
Sony Music Entertainment
SOS
soul
Soul Temple Entertainment
soul:r
Souls Of Mischief
Sound Of Ceres
Soundgarden
Sounds From The Ground
soundtrack
southern rap
southern rock
space ambient
Space Dimension Controller
space disco
Space Manoeuvres
space music
space synth
Spacetime Continuum
Spaghetti Recordings
Spank Rock
Special D
Specta Ciera
speed garage
Speedy J
SPG Music
Sphäre Sechs
Spicelab
Spielerei
Spinefarm Records
Spiritech
spoken word
Sport
Spotify Suggestions
Spotted Peccary
Spring Hill
SPX Digital
Spy vs Spice
Squarepusher
Squaresoft
Stacey Pullen
Stanton Warriors
Star Trek
Stardust
Statrax
Stay Up Forever
Stealth Sonic Recordings
Stephanie B
Stephen Kroos
Stereolab
Steve Angello
Steve Brand
Steve Lawler
Steve Miller Band
Steve Porter
Steven Rutter
Stijn van Cauter
Stimulus Timbre
Stone Temple Pilots
Stonebridge
Stormloop
Stray Gators
Street Fighter
Stuart McLean
Studio K7
Stylophonic
Sub Focus
Subharmonic
Sublime
Sublime Porte Netlabel
Subotika
Substance
Suction Records
Suduaya
Suicide Squeeze
SUN Project
Sun Station
Sunbeam
Sunday Best Recordings
Sunscreem
Suntrip Records
Supercar
Superstition
surf rock
Susumu Yokota
Sven Väth
SVLBRD
Swayzak
Sweet Trip
swing
Switch
Swollen Members
Sykonee Survey
Sylk 130
Symmetry
Synaptic Voyager
Sync24
Synergy
Synkro
synth pop
synth-pop
synthwave
System 7
Tactic Records
Take Me To The Hospital
Tall Paul
Tammy Wynette
Tangerine Dream
Tau Ceti
Taylor
Tayo
tech house
Tech Itch Digital
Tech Itch Recordings
tech-house
tech-step
tech-trance
Technical Itch
techno
technobass
Technoboy
Tectonic
Telefon Tel Aviv
Telstar
Terminal Antwerp
Terra Ferma
Terror Cell
Terry Lee Brown Jr
Tetsu Inoue
Textere Oris
The 13th Sign
The Angling Loser
The B-52's
The Beach Boys
The Beatles
The Black Dog
The Boats
The Brian Jonestown Massacre
The Bug
The Chemical Brothers
The Circular Ruins
The Clash
The Council
The Cranberries
The Crystal Method
The Digital Blonde
The Dust Brothers
The Field
The Frozen Vaults
The Gentle People
The Glimmers
The Green Kingdom
The Grey Area
The Grid
The Hacker
The Herbaliser
The Human League
The Irresistible Force
The KLF
The Micronauts
The Misted Muppet
The Movement
The Music Cartel
The Null Corporation
The Oak Ridge Boys
The Offspring
The Orb
The Police
The Prodigy
The Real McCoy
The Roots
The Sabres Of Paradise
The Shamen
The Sharp Boys
The Sonic Voyagers
The Squires
The Stills-Young Band
The Stray Gators
The Tea Party
The Tragically Hip
The Velvet Underground
The Wailers
The White Stripes
The Winterhouse
themes
Thievery Corporation
Third Contact
Third World
Tholen
Thrive Records
Tiefschwarz
Tierro Cosmico
Tiësto
Tiga
Tiger & Woods
Tijuana Panthers
Time Life Music
Time Warp
Timecode
Timestalker
Tineidae
Tipper
Tobias
Tocadisco
Todd Terje
Toki Fuko
Tom Middleton
Tom Tom Club
Tomas Jirku
Tomita
Tommy '86
Tommy Boy
Ton T.B.
Tone Depth
Tony Anderson Sound Orchestra
Too Pure
Tool
tools
Topaz
Tosca
Toto
Touch
Touched
Tourette Records
Toxik Synther
Tracing Xircles
Traffic Entertainment Group
trance
Trancelucent
Tranquillo Records
Trans'Pact
Transcend
Transformers
Transient Records
trap
Trax Records
Trend
Trentemøller
Tresor
tribal
Tricky
Triloka Records
trip-hop
Triquetra
Trishula Records
Tristan
Troum
Troy Pierce
TRS Records
Tru Thoughts
Tsuba Records
Tsubasa Records
Tuff Gong
Tunnel Records
Turbo Recordings
turntablism
TUU
TVT Records
Twisted Records
Type O Negative
Týr
U-God
U-Recken
U2
U4IC DJs
Ãœberzone
Ugasanie
UK acid house
UK Garage
UK Hard House
Ultimae Records
Ultra Records
Umbra
Underworld
Union Jack
United Dairies
United DJs Of America
United Recordings
Universal Motown
Universal Music
Universal Records
Universal Republic Records
UNKLE
Unknown Tone Records
Unusual Cosmic Process
UOVI
Upstream Records
Urban Icon Records
Utada Hikaru
V2
Vagrant Records
Valanx
Valiska
Valley Of The Sun
Vangelis
Vap
VAST
Vector Lovers
Venetian Snares
Venonza Records
Vermont
Vernon
Versatile Records
Verus Records
Verve Records
VGM
Vibrant Music
Vice Records
Victor Calderone
Victor Entertainment
Vidna Obmana
Viking metal
Vince DiCola
Vinyl Cafe Productions
Virgin
Virtual Vault
Virus Recordings
Visionquest
Visions
Vitalic
vocal trance
Vortex
Voxxov Records
Voyage
Wagram Music
Waki
Wanderwelle
Warmth
Warner Bros. Records
Warp Records
Warren G
Water Music Dance
Wave Recordings
Wave Records
Waveform
Waveform Records
Wax Trax Records
Way Out West
WC
WEA
Wednesday Campanella
Weekend Players
Weekly Mini-Review
Werk Discs
Werkstatt Recordings
WestBam
Westside Connection
White Cloud
White Swan Records
Wichita
Will Saul
William Orbit
Willie Nelson
Wintersun
world beat
world music
writing reflections
Wrong Records
Wu-Tang Clan
Wurrm
Wyatt Keusch
Xerxes The Dark
XL Recordings
XTT Recordings
Yahgan
Yamaoka
Yello
Yes
Ylid
Youth
Youtube
YoYo Records
Yul Records
zakè
Zenith
ZerO One
Zoharum
Zomby
Zoo Entertainment
ZTT
Zyron
ZYX Music
µ-Ziq