Solar Fields - Movements (Original TC Review)

Ultimae Records: 2009

(2014 Update:
I went on a bit about ratings systems and the curves by which music gets graded upon, my attempt at justifying why I scored Movements a 'mere' 8/10 for TranceCritic. Of course, my lack of ratings here renders such thoughts moot, and was honestly not worth the words spent typing it up anyway. While some readers may be curious why critics rate things the way they do, there's no ironclad rule behind it, most just going with gut feelings at the time they have to write their review up. If anything, it adds pointless content as a writer is distracted and even forced into validating why they settled on that particular score, and not something a smidge higher or lower. These days, I find it better just talking about the music at hand, how it came to be, and its lasting influences. The relative quality of a release should come through within the words themselves, no fallback on a hard rating required.

That said, I definitely under-rated Movements. Truth is I was still treading the shores of Ultimae's catalog, and having already been blown away by their output, I subconsciously thought they'd always hit the amazing highs that initially lured me in. Turns out they're human after all, but hey, I've yet to encounter anything from them that's 'just okay' either. This one, though, definitely comes with high recommendation, even half-a-decade on.)


IN BRIEF: Caravan of emotions.

The trouble with being so consistently good at what you do is that the level of expectation only ever goes up. Musicians in particular are held to this impossible barometer, which is frankly ridiculous - creativity can ebb just as much any athlete’s skill, though if one’s passion remains strong, that at least comes through in music. Still, such lofty expectations placed by fans on musicians and their record labels can be detrimental in the long run.

This really wasn’t the fault of Ultimae Records. When a record label seems to only go from strength to strength for half a decade, it will eventually hit that plateau of expectation, after which anything that doesn’t meet them seems inferior to which came before. Make no mistake, 2008 was still a strong year for Ultimae, just… not as impressive as the years prior.

Perhaps it was merely a brief lull for them, as they seemed more intent on promoting fresher talent like Hol Baumann and James Murray that year. For 2009, however, all the label’s big guns have stepped up: Aes Dana, H.U.V.A. Network, and, of course, Solar Fields (Magnus Birgersson), with word on the chill streets now being Ultimae is back in full force. Does this Solar Fields album -Movements- confirm this?

Well, the album is good - there was almost no doubt it wouldn’t be. Yet, compared to prior releases on Ultimae, Movements doesn’t quite reach the same peak. In fact, aside from a few instances, we’re treading familiar paths. Solar Fields paths, Ultimae paths, heck even downtempo paths. This is not a bad thing, just an apparent thing, and drags the score slightly down. After all, music does not exist in a vacuum; it’s continuously graded on a quality curve, and Ultimae artists have been held to an incredibly high curve, of which Movements doesn’t always hit.

More than that, however, is the flow of this album is somewhat… off. Most good albums follow a build-peak-valley-build-climax formula, but Movements is more like climax-valley-climax-valley-climax; in other words, the highs are incredibly high, such that whatever transpires in the interim comes off less compelling. Opener Sol is wonderful - simply beautiful to hear and easily one of the best songs I’ve heard start an album this year - but follow-up Circles Of Motion sounds like an extended ambient interlude. It’s nice enough but a major downturn coming off of Sol, as there’s nothing in the song to match it soon after. Going into mellow territory is fine, just perhaps not in such an abrupt way.

When I say there are numerous climaxes to Movements, I’m not kidding around. On my initial plays, I thought the album was coming to an end no less than three times. Sky Trees, Das Bungalow, and The Road To Nothingness are all riveting songs, any of which being the sort of production most would save for their big finale; yet, here’s Birgersson giving us three of them. It was disconcerting to hear Sky Trees the first couple times, as it felt way too soon for the finish of an album. Das Bungalow, on the other hand, seemed more logically placed, though still early considering Birgersson uses the full 80 minutes of the CD. And even Road To Nothingness was strong enough to fool me into thinking it was the final track, when lo-and-behold, there was still another to follow. Granted, once you’ve listened to Movements a few times over, you’ll get used to having these peaks spread out, but be prepared to be thrown off-guard for a little while.

There are other assorted sonic goodies scattered about too. Breeze makes for a tranquil finale-proper, easing us out with gentle meditative tones. The Stones Are Not Too Busy, as the cutesy title suggests, is a lightweight romp the more cynical lot of you out there will probably figure a bit overly twee. If so, the moody ambient soundscapes provided by the likes of Dust or Patterns should be more up your alley. As for the rest, well, I’ll let you discover them for yourself. No sense in me spoiling everything, right?

After all, my job here is to let you know whether Movements comes recommended or not. Short answer is yes, definitely. However, the long answer is if you are expecting Solar Fields to have provided yet another all-time Ultimae classic, your results may vary. The label has released better, of that there is no doubt. I’m not even sure if Movements is the best starting point for the uninitiated since Birgersson’s project has plenty more to offer than chill-out bliss; not to mention this is but a sliver of what you can expect of Ultimae. Beyond that though, you’ll find this album a welcome companion to your chill archives.

Banco de Gaia - Memories Dreams Reflections (2014 Update)

Disco Gecko: 2009

(Click here to read my original TranceCritic review.)

I promise this is the last Banco de Gaia for a good long while. Pinky-swearsie, I do! Well, until that 20th anniversary edition of Maya arrives in the mail. Or Mr. Marks happens to release another album with a title falling within my alphabetical stipulation. Beyond that though, it’ll be a long time, for sure a very long time.

What wasn't so long ago was the release of Memories Dreams Reflections; at least, it doesn't feel that long ago. Four-point-five years though, that's practically a lifetime in raver years. Heck, most give up on 'the scene' in that amount of time. I sure didn't, but then, coming of age in the hinterlands of Canada didn't provide much opportunity for the quick, burn-out turnaround many go through. Actual parties were few and far between, whereas the big cities often got away with one every weekend. By the time I got to a big city with such a scene (Vancouver), it was on the downswing, most of the old-schoolers having moved on or found new homes in the ‘classier’ club scene (woo, legal alcohol!). In re-branding raves as ‘music festivals’, we’re seeing the upswing of a new generation , but if the typical reveler lifespan holds true, the first wave of burn-outs will start in short order, if not already.

What of the hold-outs, though? What keeps us going to these events, listening to this music? I’ve often asked myself this, and the answer always comes back to the search for that ‘perfect’ party. Sometimes it’s a desire to re-capture something from one’s youth, other times it’s a hope to experience it just once, but in the end, there’s long been a romanticism associated with losing oneself to the all-night dance. A proper refuge for the ostracized of society, a rebellion against mainstream conformity, escapism – it’s why electronic music always retreats back to the underground after flirtations with commercial success, as the very concept of the culture is directly counter to what society deems proper behavior (work your job, raise your family, watch your TV, etc.). Those who still partake in this scene often find a way of balancing the two, either making club culture their primary job (DJs, musicians, promoters), or only going to select events they feel will come as close to being their idea of a ‘perfect’ party as any; for yours truly, I’m definitely of the latter sort.

I suppose, on some sub-conscious level, that’s why I’ve been systematically going through all the music I’ve gathered: an attempt at piecing together my time involved with electronic music’s ever-evolving scene. What’s lead me down the musical paths I’ve taken? Why do I find some genres more favorable than others? Could things have been different if I’d been exposed to different parties and music? Why didn’t other counter-culture music, like punk or metal, appeal in a similar fashion?

Yeah, sorry there’s nothing ‘updated’ in this post. Guess I took the whole Memories Dreams Reflections concept to heart this time.

Meditronica - Meditronica (Original TC Review)

RareNoise Records

(2014 Update:
Not much to add to this one. I probably detailed too much 'bass guitar musician history' than was necessary, but I was looking for a broad angle such that those not interested in dub-heavy music would still have something interesting to read. In the end, it was just more Laswell talk.

This remains the only Meditronica album, not including a remix EP that came out a year later. Nearing five years old now, and there's been little info on whether Ashtech and Polcari are planning a follow-up. For that matter, Ashtech's still yet to follow-up his debut solo album too. What's up with that? Still, RareNoise Records, the label that was launched with this album, has done quite well for itself, though is far more jazzy prog-rock than I'd care to indulge in anytime soon.)


IN BRIEF: Dub on the beach.

Probably one of the most noteworthy things about Ashtech’s debut was the fact it was such a solid album through …for a bassist. Typically, at least in rock circles, bassists make for poorer musicians when they go solo instead of being a part of a group. Sure, guys like Paul McCartney, Roger Waters, and Sting have had respectable solo careers, but compared to the material they wrote while in their famous groups, it pales. On the other hand, perhaps it was Ashtech’s built-in familiarity with Jamaican dub music (not to mention producer Gaudi’s steadying hand) that made the transition to solo work all the more easy. Even then though, it’s rather remarkable, given the track-record of similar musicians. Take Bill Laswell. The man has an insanely vast discography, but generally speaking his collaborative work outshines his solo work (Rockit, anyone?).

In some ways, this Meditronica project of Ashtech’s reminds me of any number of Laswell’s groups, in that given the players involved there’s potential for something interesting. Here, ol’ Ash has paired up with Polcari, a frequent keyboarding wingman for several notable dub musicians (er, including Laswell – the guy’s just everywhere). Sounds like a strong combination for more dubbed out fun, and you do get that on this album. Unfortunately, as also has been the case with many a Laswell project, you get a distinct lack of focus in the process.

To cut to the chase, Meditronica sounds more like a couple guys jamming in the studio than a concerted effort to create a unique moniker that will stand out from the annual dub crowds. Honestly, the ideas are all over the place, which is surprising for a tidy ten-track album. Of course, you have your bass-heavy dub cuts like The Third Planet, Azimuth Navigation, and Mare Nostrum, but Ashtech wasn’t in the mood to retread Walkin’ Target. Rather, the whole reason for creating Meditronica with Polcari (along with other Italians like guitarist Eraldo Bernocchi and vocalist Raiz) was to inject Mediterranean influences into the dub template. Sure enough, there are little nuggets of Ibizan bliss that’ll remind some folks of perennial Balearic acts like Sven van Hees or any number of Café Del Mar compilations, though more prominent at the end with tracks Byblos From Above and Black Haik. Elsewhere, Northern African vocal flair is added to tracks Dame Paz and Ki Eshmera Shabbat, which should appeal to folks who enjoy that sort of thing. Mostly though, this release is about dub textures as our intrepid musicians noodle about in their jam sessions.

It is all perfectly pleasant music to hear, just very unassuming in the process. Meditronica is almost infuriating in how it can be casually thrown on and simply disappear into the background. This is an album that you feel should hit something higher, as any one of these tracks would undoubtedly stand out as a highlight on a themed compilation of similar tunes. Yet, it never quite does. Stuff like Rainbow Rain and Andromeda are lovely little listens but all too quickly fades from your head. The seemingly carefree way in which these songs are written and arranged makes it incredibly hard to contextualize them in the album, and their lasting impact is lessened as a result.

Despite this, Meditronica is a safe purchase for dub connoisseurs. Even those who fancy Mediterranean chill will find some enjoyment here. Ashtech and Polcari have something going for them with this project, but they need to figure out exactly what that something is if they want to take it to another level. Otherwise, Meditronica will probably fall by the wayside much like Laswell’s Divination did.

Cell - Hanging Masses

Ultimae Records: 2009

Of all Ultimae’s second-tier acts, Alexandre Scheffer’s project Cell has undoubtedly intrigued me the most. A regular contributor to the Fahrenheit Project, I think he earned Ace Track status on every single volume he had music on; heck, even on Part 5, where I stated the whole damn CD as ace, his Blue Embers was a highlight among highlights. Yet here we are, nearly half a decade since Cell dropped his first proper LP on Ultimae, and only now am I listening to Hanging Masses. If Mr. Scheffer’s music is as exceptional as I’ve claimed before, why’s it taken me so long to finally pick this up? Eh, likely for fear of disappointment, though given the track record of pretty much anyone releasing music on Ultimae, that should be the last concern.

More likely, he doesn’t release material at the same clip other Ultimae regulars have, so on the occasion I’ve splurged, it was easier buying the Pack deals rather than picking individual CDs. Sadly, Cell has no Pack option, but then he barely has any solo material on the label to begin with. In fact, his first album, Phonic Peace, came out in 2005, on the forgotten psy-chill label Indica Music, with several more tracks appearing on various downtempo labels – oddly almost all of the psy variety, given his music’s not terribly psy to begin with. Bottom line is scouring for every Cell tune out there isn’t easy, a slow deliberate process. Much like the music he makes, come to think of it. Oh hi, segueway!

I’ve mentioned Cell does ambient techno much like Carbon Based Lifeforms before, but he’s also restrained in his approach. For instance, after a bit of noodly drone and astral-chatter, opener Calling develops into subtle bleepy music accentuated with occasional haunting harmonizing pads. It doesn’t sound too removed from CBL’s early work, but whereas that duo would make such pad work a prominent, evolving feature, Cell keeps it understated. Yet, at no point does Calling feel lacking of melodic content either, everything in its right place with no need for grandiose moments. Really, when Mr. Scheffer presents us with music similar in arrangement but epic in scope with the titular cut, it almost comes off as overselling, so effective he is at spacey minimalism.

Hanging Masses is thus another difficult album to detail due to its relatively sparse tone. There are lovely synth harmonies in tracks like Second Shape, Part 2 and Universal Sunrise (ooh, I sense Solar Fields influence in there), quiet introspective delicacy with Vapor, and even mildly up-tempo moments with Risky Nap Under Blue Tree and the Aes Dana collaboration Switch Off. Overall though, my best description is as above: if you’re familiar with Carbon Based Lifeforms, you’re familiar with Cell. Don’t let that lead you to think Hanging Masses is some, erm, carbon-clone. While sharing similar aesthetics, Cell explores the subtle side of ambient techno, abstraction without ever diving deep into IDM’s wankier tendencies. Good music for those weaned on Namlook.

Aes Dana - Leylines

Ultimae Records: 2009

Vincent Villuis has put together one of the best ambient and downtempo labels I've come across, and thus I have a great amount of respect for him; yet I struggle to get into his Aes Dana material. It’s not a matter of quality, as his music checks off all the things I enjoy of this genre (lush soundscapes, clever instrumentation, captivating atmosphere, the Ultimae Mixdown™). Unfortunately, Mr. Villuis has done such an impeccable job of gathering talent to Ultimae, he’s often overshadowed by them. Solar Fields, Asura, Carbon Based Lifeforms, holy cow, what a roster! Even his collaborative work with Solar Fields as H.U.V.A. Network is beyond stellar.

So why the problem with Aes Dana? I suppose it boils down to the minimalistic nature of his music. Villuis doesn’t often evoke the same uplifting emotional response his label chums do, perhaps a result of his industrial background. While not cold or uninviting as most industrialists go, there is a noticeable trend of it throughout the Aes Dana project, a nod to the dark ambient tone that scene embraces.

I haven’t heard every album under this banner (dang it, Ultimae, we need another round of re-issues), so I don’t know whether Leylines is the darkest Aes Dana album. Damn though, for an Ultimae LP, it’s dark. Oxyd oozes sinister strings and glitchy percussion as a thudding heart beats in the background, all of which complimented with gentle, disconcerting bells. Heights features disembodied voices and haunting orchestral arrangements, as though echoing off cathedral halls. And Signs is about as dark and ethereal as dark ambient gets. Even the uptempo cut Lysistrata has trademarks of industrial, utilizing a bassline that wouldn’t sound out of place on an EBM record. If Delerium had continued making music of this sort rather than seeking the bankable New Age market instead, I’ve little doubt they’d be producing what’s found on Leylines.

On the other hand, a number of Ultimae tropes do crop up. Tracks like Bam, Blossom, and Inter check off many requisite psy-dub sounds amongst the droning synths. Meanwhile, the whole middle section, including Lysistrata, is made up of that distinct slow-trance style the label practically made their staple, often coupled with moody synths and world-beat effects. Hey, I love this stuff, but I won’t deny it all sounding similar in bunches, a subtle, sonic soup one can easily pass by without much care. If you’ve heard enough Ultimae, you’ll recognize many of the sounds and arrangements Villuis creates here. And as he does prefer the minimalistic route in his music, the lack of strong melodic hooks leaves Leylines lagging behind the label’s best albums.

Not the highest recommendation for Aes Dana’s fourth, then, though only if you’ve yet to take the Ultimae plunge (I say again, what on Earth are you waiting for!?). Leylines is an enjoyable album on its own merits, a suitable musical companion for introspective times and places. A necessary addition to one’s chill-out collection, however, it is not.

King Cannibal - Let The Night Roar (2014 Update)

Ninja Tune: 2009

(Click here to read my original TranceCritic review.)


It took me some time in finding dubstep I could get behind. There was the dancehall influenced stuff, sure, and also the material Burial put out that was retroactively called ‘post-dubstep’ or ‘future-garage’ or whatever. Yet something straight-forward with the signature half-step beat and wobble basslines? Dear Lord, no! Too much of it struck me as gimmicky nonsense (even before brostep ever got popular), and while I’ll grant my general exposure to it during the late ‘00s wasn’t the best (for the love of God, stop playing those same Benga and Coki tracks over and over), there wasn’t much incentive for me to dig further.

Then I heard King Cannibal’s Flower Of Flesh And Blood. It wasn’t one of those “OMG, EVERYTHING ABOUT THIS GENRE/MUSICIAN IS THE GREATEST THING EVER!” moments – and yes, I have had tons of those over the years. Heck, it wasn’t even one of those “Ah, now I ‘get’ dubstep” moments. I got dubstep quite early on, as it’s a very simple form of music to get in the first place. What this track did, however, was prove to yours truly that dubstep could, in fact, not only be good, but really damn good!

Yeah, yeah, the Hyperdub print kinda-sorta already did that, but I’m talking about the visceral thrills all the bro-steppers were going off on about. Flower Of Flesh And Blood has the same cavernous snare hits, the growling mid-range basslines (though rather similar to jungle tech-step), and an aim squarely at massive crowds. It’s also properly dark and nasty, not like all those try-hard attempts the likes of Excision and Datsik were offering – like the difference between Slayer and …anyone trying to be Slayer.

Maybe it helped that King Cannibal’s debut album wasn’t strictly a dubstep affair, though definitely owing much to the UK bass scene. With emphasis on the grimier aspects of the music than cheap thrills, Let The Night Roar has held up remarkably well while so much other dubstep of the time remains stuck in that era. Good ol’ Ninja Tune, they sure know how to pick ‘em, and if you missed out on this album the first time around, it wouldn’t hurt for you to give it a second chance. Unless, of course, you figure Borgore the height of dubstep sophistication.

And what of Le Cannibale De Roi? He released a Ninja Tune tribute mix the following year, titled The Way Of The Ninja. It features two-hundred fifty tracks from the label within seventy-four minutes of madness. The… fuck…!!? (!) I’m tempted to scope that out, for sure. As for Mr. Dylan Richards, his output dried up following Let The Night Roar. The… double-fuck…!!? (!!) What happened there? Did his Ninja Tune deal end? Is Lord Discogs being dishonest with me? Apparently he released an album called Kill The Lights as House Of Black Lanterns last year on Houndstooth. From what I’ve heard of it, it’s… different, I’ll give it that.

Infected Mushroom - Legend Of The Black Shawarma (Original TC Review)

Perfecto: 2009

(2014 Update:
For a late-period Infected Mushroom album, this has held up surprisingly well. Too much of their work instantly dates, whether it be doing crap nu-metal years after that scene died, or jumping on the brostep bandwagon like everyone else. Since they went for more an industrial sound here, though, it doesn't come off so tired. Something about industrial has allowed the genre to endure far longer than anyone would have believed, and while Infected Mushroom's offerings wouldn't have Trent Reznor quivering anytime soon, it's at least respectable enough takes on the sound. Or maybe I'm just showing '90s bias.

This definitely was an odd time for the group, getting picked up by Oakenfold's Perfecto print while suddenly finding themselves rubbing shoulders with trance-cracker jocks at the top of popularity polls. They've since plummeted and are no longer on Perfecto, so who knows what the future holds for Infected Mushroom. Maybe full-on garage rock?)


IN BRIEF: Back in the right direction.

Someone must have sent Infected Mushroom a memo informing them that nu-metal and that entire ilk was a dead genre, something that grew out of favor when all the teenagers that listened to it earlier this decade came of age. Sure, it’s a shame the group didn’t actually read the damn thing until after Vicious Delicious was released, but at least they have read it now. Their latest album, Legend Of The Black Shawarma, thankfully sees a lack of rap-metal leanings, power ballads, and, most thankfully, Amit Duvdevani hilariously awful attempts at gravel-throated earnest singing (even the mock singing in those Creed Shreds vids on YouTube are better). Oh, there are still problems to be had with this album, but IM have at least abandoned the worst bits of their last one. In the process, they’ve also managed to refine some of the things that did work, and the group comes off far more musically taught than they have in while. In a nutshell, they seem to mostly be done exploring, and are now solely focused on execution.

Cause for celebration, right? Perhaps. If you’ve stuck with them through their last couple albums, it certainly is, and definitely so if you’ve only just recently discovered Infected Mushroom. Of course, you’ll still find an army of IM old-schoolers who’ve written this album off as a continued degradation of the psy trance scene, but Infected Mushroom are quite removed from it at this point. Sure, they still retain a few instances of the music, but this album aims for a different audience than crusty hippies and cyber-trippers. And by ditching much of the teenager angst that permeated Vicious Delicious, it seems they’re after a more mature audience as well.

Or maybe not. The CD opens with a guest acoustic strum by Everlast, suggesting the duo ha

The CD opens with a bit of acoustic strumming that reminds me of Everlast, but quickly turns to chugging metal guitars, faux-funk breaks, a bit of psy wibble, a few wordly trappings, and, um… not much else. Poquito Mas is hardly much of a song, sounding more like a mish-mash of ideas IM are preparing you to hear once the album properly gets underway. Rather pointless, to be honest, even if it’s meant to be an intro.

From there, the album unfolds quite entertainingly. You have catchy EBM tunes like Sa’eed and Smashing The Opponent, blinding buttrock goa with Can’t Stop and Herbert The Pervert (now there’s some effective use of their guitars!), and even a credible ballad with Killing Time (having long-time alt-rock favorite Perry Farrell on vocal duties here certainly helps). Elsewhere, ‘Duvdev’ does carry on with the vocal duties, but his voice is fed through so many effects, it actually helps enhance the tracks.

The only real duff track in the opening half is End Of The Road, which seems to be a woeful attempt on IM’s part to do a ‘minimal’ track - that is, a whole bunch of aimless, tuneless dull beats and sounds, with a couple instances of false-climaxes (here’s the build, but forget about a payoff); it does come correct with a typical psy ending, but the lead up is pure toss.

That’s the first half done. The second half of Legend Of The Black Sha-Na-Na sees IM get their concept on; in other words, having satisfied the masses with catchy tunes, Erez and Amit are now ready to get prog rock/metal on our asses. In terms of ambition, the triple-dose of Project 100, Franks, and Slowly can’t be faulted, as there’s quite a bit going on between these three tracks; however, as a listening experience, it wanders aimlessly too much.

Changes in tone, abrupt shifts in time signature, overcooked effects, and just plain dull stretches dilute the great moments to be had. For instance, there’s an excellent burst of strong harmonizing between the psy effects and chugging guitars at the climax of Project 100, but the song needlessly carries on afterwards with dull faux-funk. Meanwhile, Franks and Slowly wander all over the place more so than Israeli psy often does, never seeming to come together as a solid musical outing. If you skip through a track by a few minutes at any given point, it sounds like you’re listening to an entirely different song, and trust me there isn’t much to bridge these disparate sections in a convincing fashion. Any island of quality is thusly lost in a sea of mediocre wibble. For every winning wailing guitar peak, there’s a pointless dinky bloop-bloop bit elsewhere (I’m looking at you, Slowly).

The trouble is then multiplied by just how plastic it all sounds. Granted, Infected Mushroom have long had that aesthetic about them, but it served them well when they were dishing out typical full-on psy (or, in the case of Legend Of The Black Shamwow ’s first half, EBM). In attempting complex prog structures, however, they’re shooting for bold musical statements that can’t be done justice with the hollow sonics they use.

After all that, it makes the titular track a welcome, fun return to the material that worked in the first half of Legend Of The Black Shangri-La. As much as it may infuriate long-time IM fans, the duo seems to have found a comfortable niche in being more of an EBM group than a psy-trance one - they definitely show more aptitude for writing such music than they do in overly-ambitious prog. (by the way, the remix of Riders On The Storm is a love-it/leave-it affair; it’s serviceable, though hardly surprising if you’re at all familiar with IM’s sound)

Legend Of The Black Shawarma is not without its faults, but it is a step in the right direction again. Even if the album is split between catchy cuts and overcooked ambition, the gulf between the two isn’t nearly as pronounced as the split between full-on psy and rap-metal was on Vicious Delicious. You may want to give this a few listens over before making a firm purchasing decision, but it remains one of Infected Mushroom’s better albums in some time.

Various - In Trance We Trust 014: Daniel Wanrooy

In Trance We Trust: 2009

The good news is the compression production is behind us – oh, the wonders of sonic dynamics and space between the beats, crystal clarity and not a trace of mud in earsight. The bad news is we’re entering the ‘generic vocalist’ era of trance now, with two such indistinguishable gals gracing us with their non-presence in the first few tracks of In Trance We Trust 014 no less. Okay, tons of vocal trance since even the ‘90s suffered from this; at least Black Hole Recordings had enough clout in hiring ladies with some personality. JES may have always sung from the back of her throat as though she was about to have a wonderful bowel movement, but she stood out as someone unique. Melissa Mathes sounds almost identical to Susie (4) in this CD though, and it only gets worse after this one (Lord help me, there’s still five more discs to get through).

Anyhow, Daniel Wanrooy. He’d already been DJing on the side during his days as one-half of Progression (they of multiple progressive trance singles you’ve heard but probably can’t remember), so he’d been active for a while before striking out solo. Having his chance at an In Trance We Trust volume was a good start in getting his name out there, but he fails to do much of note with his effort. The opening is the usual smattering of pleasant Balearic numbers and McProg vocal cuts, then he heads down the god-awful anthem road with tracks containing breakdowns and builds that go on far too long and seldom offer a memorable payoff (holy cow, is that Topher Jones cut ever pointless). It’s just like Carl B’s mix, but at least with better sound design.

Things got interesting with some strong tech-beats in Daniel Heatcliff’s Phoenix. Yeah, it abuses the breakdowns too, but when the tune’s on, it’s on! It definitely regained my attention in this mix, and I was engrossed in where it would go next when… Oh dear, those vocals, they’re awful. This whole track is awful. Who the fuck is this, and why is it so familiar? *checks tracklist* Fack me, Richard Durand! Not that twat again, I thought I was done with you. We’re getting this shoved in our face just because he had that album out too, aren’t we.

Wanrooy seemingly corrects this atrocity by offering up more tech bangers to finish, but it isn’t enough to save INWT014 from being a middling affair. Kinda like most of his music, sadly.


It feels like ol’ Daniel’s always been around, yet never made much of a mark. Adon’s been around since the very first Street Fighter, but do you remember him from any of the games?

Adon: “What kind of introduction is that? I’m the ‘God Of Muay Thai’, and you want me to review European trance music? I ought to snap your spine for such disrespect! Get out of here, I’ve a date with destiny by defeating the man with the ‘Ten’ symbol on his back.”

Various - In Trance We Trust 013: Carl B

In Trance We Trust: 2009

Wait, Carl B. DJ’d too? I recall he had a brief flirtation with popularity around the time this came out, and was even tapped for a track in Tiësto’s In Search Of Sunrise 7. I also remember calling that tune cloying or some derogatory shit. Dear Lord, and his mix for In Trance We Trust 013 features four of his productions. I can expect pain on this one, can’t I?

Well, no, just boredom for the most part. Say what you will of the track-by-track up-and-down quality in the old editions of this series, at least they had personality. Hell, even Johan Gielen’s effort in the last volume had distinct music throughout, dodgy though some of it was. Unfortunately, it doesn’t take long for Mr. Barrdahl to unleash the super-compressed epic trancers that was yet another awful attribute plaguing the scene (read up on the Loudness Wars, kids). His collaboration with JPL on Orchid Blossom is a perfect example of it, beats and synths hopelessly muddy, with no dynamics to speak of. Let these tunes breathe, for God’s sake. Things thankfully clear up with Existone’s Sunshower, an excellent slice of energetic trance that kicks everything that came before to the curb. Even the dithering piano breakdown’s tolerable, but only because all the bloody breakdowns that came before were pants.

Oh yeah, there’s a ridiculous amount of breakdowns in this set, easily the worst batch of the CDs I’ve covered. I can handle a few here and there, but these are of the gratuitously overlong type, with those piercing ‘melodic’ synths that are about as subtle as a boulder to the face. I get that was sort of Carl B.’s thing, and if you wanted to stand out in the trance glut in those days, you needed those ultimate anthems in your arsenal, but not one after the other. Wasting them in the early portions of a set is just overkill.

A couple dabblings outside this sound crop up on this mix, like minor electro elements found in Fred NuMF’s Directions and Mr. Sam’s Cygnes . Also, the track Sticky Tape features music on minimal techno bent, and is totally out of place in a set such as this. It does segue nicely into the dull final stretch of tunes though, so there’s that.


Carl B.’s production is like a brickwall of sound. Edmond Honda is a big brick of sumo. Clearly a perfect guest reviewing match if ever there was one.

E. Honda: “Ghaa, ha, ha! I like your gumption, comparing me to boisterous music like this. No doubt the great art of sumo is comparable to the impressive sounds on this CD. These were made by the Europeans? Hah ha, I knew the world had much to offer, but I never dreamed they could outdo even our finest kabuki troupes in theatrics. Maybe I should take in some concerts there. I’m certain they’ll welcome a world-famous rikishi such as myself at a club, ghaa haa ha!”

00.db - Heaven & Hell (Original TC Review)

Fektive Records: 2009

(2013 Update:
"harmonizing peaks"? 2009 Sykonee, you doof, those are progressive chord changes. You know, one of the defining characteristics of progressive trance? Not that it's surprising to find them here, considering Mr. Fleming and Mr. Blonde's trance background. Heh, having now heard their very early offerings on that For Your Ears Only DJ mix J00f did, it's remarkable that their music would both end up down psy trance's back alley.

As a duo, they released another album the year after this one, Angels & Demons, which I've yet to hear. Is it any good? Dunno if they've got plans for another one though, as both seemed more focused on solo output as of late. Not to mention all the promotions Fleming's been up to, what with a label to oversee and club nights to play out at. Who's got time to hash out another forty-plus minute 'chill-out' extravaganza?)


IN BRIEF: Solid as a rock

I wouldn’t go so far as to call this a super-group, but the pairing of psy-trance favorites John Fleming and Ricky Smith (‘00’ and The Digital Blonde, respectively) definitely created a huge amount of buzz when they started releasing tracks together. Simply put, the two earned a huge amount of goodwill with folks who grew frustrated with the continued watering-down of trance music at the hands of those that shall remain nameless. They offered an easy entry point into the realm of psy, focusing on catchy hooks and driving rhythms supplanted with the sub-genre’s spacey attributes, yet seldom going off the deep end into psy’s more random wibble. With John the DJ and Smith the producer, it was only a matter of time before these two favored sons finally joined forces. So they did, forming the fan-chosen moniker 00.db. And took their sweet time in coming out with the album everyone was looking forward to.

I suppose the two didn’t want to let their burgeoning fanbase down, hence the some-odd three years it’s taken for a full-length since their first single. While I have no doubt they wouldn’t want to release anything less than their best, high expectations can have a tendency to force musicians into a corner they never wanted to be in the first place. The fans demand - or at least hope for - nothing less than a classic, so you gotta’ deliver on those terms, right? Of course not, but nor do you want to lose all that good favor you’ve earned either, especially so in the fickle field of (slightly) underground trance.

In terms of offered material, if a double-CD album for a debut isn’t enough to be satisfied with, then their fanbase is more fickle than I thought. It certainly could be considered a bold artistic statement, but truthfully that’s not quite right. Rather, Fleming and Smith had more music than could be held on one disc, including a forty-plus minute ambient excursion at the very end. I’m not sure whether Dreamcatcher was added to fill up the second CD or because they were working on something of this nature as a side-project to their typical trance cuts, but whatever the reason it’s part-and-parcel of the Heaven & Hell experience (more on which in a bit).

The trance cuts don’t offer much in the way of surprises here, even if you aren’t already familiar with them from the first Psy Trance Euphoria compilation many first appeared on. In fact, much of this reminds me of the sort of material you might find on those old Rave Mission compilations from the mid-90s, where the likes of Astral Projection and Alien Factory could be seen rubbing shoulders with Paragliders and DJ Tomcraft. They pretty much stick to a “not quite epic, not quite psy” style, and execute it with about as much class and consistency as any savvy trance veteran. Some are more melodic (Indigo, Pro 1, Darkness, and the remix of Astrix’ Ice Cream); some are more spacey (Lantra, Run, and, shockingly, Worlds Of Space); some are more techy and driving (Ark, Orga, Entropy; and so on). Most of them make use of the tried and tested ‘harmonizing peak’, breakdowns are seldom gratuitous, vocal samples are fine, and the psychedelic bits are tasteful. All in all, if you aren’t immediately turned off by the first track-proper (as always, the first one’s more of an ambient intro), then you’re going to enjoy the music on here - probably more so, since Indigo, though solid in its own right, is one of the weaker cuts.

As for the forty-minute behemoth that closes out CD2, it’s okay for an extended ambient excursion. Though it says it’s a “chill-out journey”, there’s actually very little chill about it, as many of the soundscapes and synths used are quite grandiose. It’s also not a singular composition, but rather a collection of four segments titled Stratosphere, Atmosphere, Mantle, and Inner Core; indeed, a journey from heaven to hell. In that aim, it thematically succeeds, as the compositions gradually transition from benign to downright creepy (seriously, that… growl towards the end… *shudder*). Musically, however, it at times feels like it overreaches, but it’s tagged at the end of the album, so no big loss if you don’t feel like indulging.

Heaven & Hell certainly is a fine enough debut album, despite not really pushing the trance genre anywhere it hasn’t been before. In that regard, this honestly isn’t more than a 6/10 - at least on paper. This album deserves an extra nudge up a notch for one simple reason: it’s consistent from beginning to end. So long as you enjoy trance music - of any kind, really - you will find no reason to skip any of these tracks, which is remarkable considering there isn’t much of an album theme beyond supplying quality tune after quality tune. That in of itself is a rare enough feat to deserve the 7.

DJ 3000 - Galactic Caravan (2013 Update)

Motech: 2009

(Click here to read my original TranceCritic review.)

Man, was I ever at the end of my wick when I wrote that review three years ago. It’s barely longer than what I impose upon myself now. I’d basically given up even trying to review new material by that point, so it’s surprising Galactic Caravan caught my attention enough to manage such a comparatively short review for TranceCritic by my standards. Guess hearing strong, straight-forward tech-house was such a breath of fresh air back then, I felt the album deserved whatever props it could get, even if on a soon-to-be-dead website.

Sadly, in writing such an unintentionally short review, I left out some other tidbits of info (or I just couldn’t be bothered to research further). For instance, the name DJ 3000 itself. Did you know that Frank Juncaj took the name from a Simpsons episode, the one where those idiot radio DJs who refuse to give Bart an elephant prize are threatened to be replaced by a similarly named machine. The DJ 3000 was such a technologically advanced contraption that it could reproduce any and all necessary inane jock-talk. Then again, maybe Mr. Juncaj just came up with it on the fly, but it was funny noticing it when I recently watched that episode again.

Another thing I’m surprised I neglected to mention was how the tracks on Galactic Caravan at times remind me of good ol’ Banco de Gaia, what with that bouncy, Middle Eastern vibe running through. Obviously not exactly alike, but enough that a namedrop wouldn’t have been out of place for yours truly, despite Marks and Juncaj being of totally disparate scenes. Festival hippies and Detroit head-bobbers, all joined in unison under one tent. Yeah, that’d be a kick-ass show. Talvin Singh can open.

That’s all I got. Yeah, nothing revolutionary or insightful to be found with this 2013 Update. Ain’t a whole lot more I can add, except the perfunctory “why this no more well-known?” complaint for ethnic-fusion tech-house. Juncaj hasn’t released any DJ 3000 follow-ups to Galactic Caravan in the LP form, though a smattering of singles came out on start-up label Contuse last year; compared to the blistering rate of mid-‘00s Motech material though, it’s almost as though ol’ Frank’s decided stepping back from the hustle of underground music business was a wiser course of action. Shame if he’d think thus, as he’s got a solid, unique sound that still has untapped potential.

Look, I know I’m rambling at this point. Too many morning shifts have rendered my sleeping habits utterly wonk, and while I can still muddle through half-decent reviews with fresh material (ooh, that Nine Inch Nails double-CD came in!), coming up with anything meaningful for a full 2013 Update on such a recent-but-unknown release is nigh impossible. I actually initially fooled myself into thinking I’d get away with a simple two-paragraph blurb, forgetting I’d written and uploaded a proper(ish) review here back when. Have I reached my quota yet? Close enough.

Aquila - Gain Control

Dacru Records: 2009

Moan and groan, I thought I was done with this stuff. I had my fill covering it for TranceCritic, occasionally an incredibly solid album still crosses my way, but this? I’m actually surprised it’s still being peddled, at least at this standard of quality. I know some scenes and genres can recycle the same sounds and tropes for years on end, but this? Well, these chaps aren’t from Israel, so I guess there’s at least that.

If I’m doing all this moaning and groaning, then why do I even have Aquila’s debut (and only) album Gain Control? As with many things psy-trance based as of late, it was another recommendation at the always awesome ektoplazm.com, I think brought up during an online discussion over new full-on psy albums that weren’t bunk. What hurt is there in downloading a free album, right? If it’s not all that good, it’ll either get deleted or simply forgotten to the nether-realm of the harddrive. Unless, of course, I engage in a dedicated, sequenced re-listen of everything I have. Such foolishness.

Aquila, a three-piece psy act, are based out of Belgium, but if you were to go by their sound, you’d swear it was just another Israeli full-on project from the mid-‘00s. This was released in 2009, however, which actually shocked me when I went to Lord Discogs to double check. To be blunt as a brick, Gain Control sounds exactly like the generic material released on some of those Trancelucent compilations I reviewed way back eight years ago. I dunno, maybe these were tracks Aquila’d been sitting on for a while, and simply gathered them up a few years after the fact when they finally properly released a full-length, but I’m not finding any info to suggest otherwise.

I suppose what’s troubling me here is it’s not like Aquila’s material is awful - it’s simply more of the same, and full-on can sound incredibly tired even after the smallest amount of it. Listening to Gain Control has actually made me come to appreciate The Misted Muppet’s From The Legend even more now, just for how much different it stands out from typical full-on psy. This one, though? I’m at a loss to remember specifics. There are a few tracks that would sound great while being played out at a forest party underneath the summer stars (heck, even did while taking a midnight stroll to the corner shop for a late night energy drink), but nothing I’m anxious to throw on again anytime soon.

Somehow, I suspect had Gain Control been some of my earliest exposure to full-on psy, I’d be more lenient of it, maybe even give it a thumbs up on par with the mid-‘00s material I still occasionally enjoy. As it stands though, I'm just disappoint, son, moreso with Ektoplazm for rating this than my own folly. You'd think a website so immersed in the psy scene would have fresher sounding full-on to recommend when called upon.

Del Tha Funkee Homosapien - Funk Man (The Stimulus Package)

self-released:2009

While folks have been waiting for a new Deltron forever now (a… torturous… wait…), in the long meanwhile, ol’ Del kept himself busy, mostly concentrating on solo material over the past decade. I kind of ragged on him with that Hieroglyphics album, but following a little downtime after it, he seemed to find his form again, if not repeat the brilliant creativity that marked his turn-of-the-century output (not sure anyone could though). In 2008, he finally released a proper follow-up to his 2000 album Both Sides Of The Brain, Eleventh Hour, a relatively light-hearted romp that recalled many of Del's sillier moments on prior releases. As it didn't really show signs of musical growth, it was a small disappointment for folks hoping he'd come back with more fire. Still, they couldn't argue Del had lost his touch, as that album delivered exactly what you'd expect from a Funkee Homosapien full-length.

This Funk Man album was a quick follow-up to Eleventh Hour, a sort of yang to that one's yin. Whereas the former showed off Del's playful side, this one's a showcase of his battle-rap skills, a field he's just as adept at as his off-kilter material. If you've been hankering for a return to his pissed-off No Need For Alarm era, this is about as close as it's come. To be fair, Del ain't sayin' nothing we haven't heard from 'underground conscious' rappers for years now, but he does it in such a flamboyant, cutting style that you can't help but sit up and take notice.

As the title suggests, Funk Man has a running theme of Tha Funkee Homosapien being the funkiest character around, going so far as to use the unfortunate “I'm stank, so I'm dope” trope …or something. Frankly, a track titled I'm Smellin' Myself should bomb, especially so when the lyrics contained are about as eyebrow rising as you'd suspect. Somehow though, Del pulls it off, but only just, my friends, only just.

Lyricism was never going to be a weak spot on a Del album anyway, but unfortunately the beats aren't quite up to snuff as prior albums. As everything's self-produced, the music tends to run through serviceable loops, mostly funky beats and the like. Del's an alright producer, but when he's had the likes of George Clinton, Prince Paul, and Dan The Automator providing the tunes, Funk Man can't help but come off a weaker offering in Del's discography.

So if that's the case, why should anyone but devout fans even bother with Funk Man? Well, how's about it being a free download sound to tempt you? Yep, there was no official release with this one, though it was added as a bonus disc to the 2011 album Golden Era. While I wouldn't recommend Funk Man as a starting point for Del's work, there's no reason to not check it out if you're at least a passing fan. Or if you need a Funkee Homosapien fix while waiting for the next Deltron album.

Various - Fabric 47: Jay Haze

Fabric: 2009

*cover art brought to you by Fabric’s “Abstracted Photos On Pastel” period*

And thus we jump a year and a half forward for our next offering of bargain bin Fabric mixes, to the likes of… Jay Haze? Huh, a surprise there, but then he’s long had a ‘love it or leave it’ style. Guess whoever had this copy had no love for it; ironic, considering his roots lay in Philadelphia, the City Of Brotherly Love (mind, I think Philly's slogan's meant to be ironic, if their sports fanbase is anything to go by).

Anyhow, Mr. Haze himself had quite an eclectic career during the ‘00s, despite at times coming across as yet another minimal deep-tech chap from Berlin. It didn’t hurt that a number of his releases and aliases hinted at a love for sleazy ghetto tech, perpetuating a rep as the bad boy of that scene. Don’t let a rough exterior fool you though, as he’s done plenty of charity work in his time as well. In fact, all the money earned for his Fabric contribution went towards relief aid to the Congo. Which… makes me getting this for pennies kind of dickish, now that I think about it.

This mix is also rather eclectic, though still carrying the tropes of underground house music of the time. Oh yes, we're in the thick of the hisssssss era, and it's just as pointless and annoying today as it was then; fortunately, ol' Jay don't dwell on too many tracks with it. There's also more of a Chicago (Philly?) groove to a number of these cuts, the dry sterility of Berlin-based tech-house having been flushed away by classic revivalism that began the year prior. And Haze himself provides a nice example of that “don't call it prog or trance” neo-trance sound that bubbled about for awhile, on Burning under his Fuckpony guise. Round things out with assorted dabblings of jazz, Afro-house, and whatnot, and you have yourself one of the most varied tracklists featured on a Fabric throughout the series' history. Shame Jay ain't much of a DJ.

To be fair, this was his second ever commercial mix (the first a label showcase for his Tuning Spork print), and boy does it show. There’s no real structure to this set, tunes and genres coming and going as Haze sees fit, and thus no rise or drop in energy as the CD plays through. The way these tunes are arranged, it’d almost work better as a mixtape, but as there’s a dancefloor flow between tracks, I don’t get that mixtape vibe from it like I do with some DJ-Kicks offerings. Number 47 exists in a weird zone between the two: interesting for the track selection, but a struggle to get hooked into it for the duration.

Was This Worth The Pennies Paid For It?
Hard to say at this point. It may be one of those ‘needs repeated listens’ sets. Check back in half a decade, when I might do a 2018 Update.

Vitalic - Flashmob (2013 Update)

PIAS America: 2009

(Click here to read my original TranceCritic review.)

I take it back. After hearing the lead single for Vitalic's new album, Rave Age, the doubts crept in. It had all the hallmarks of pandering to dumb-fuck festival EDM goers, though with just enough catchy Vitalicness to barely give it a pass. Still, I sure as hell didn't want to hear what the full album might sound like if he was going in that direction. No, maybe it would have been better to do things proper-Leftfield-like and called it quits after two albums, go out with a legacy held intact and all that rot.

Does that mean Rave Age truly is utterly dire? Hell if I know, I haven't even heard samples from it yet. I'm afraid to. Afraid the Vitalic that blew my mind way back with the Poney EP is long gone. Afraid of the musical compromises required to appeal to the lowest common denominator to get noticed by the new breed of party revelers. Afraid that my cynicism has been all for naught, that I might actually like the damned thing and I’ll be forced to eat crow once more (shit’s nasty, especially with a side of foot in your mouth). Yes, I’d rather remain in blissful ignorance and enjoy the music I have of Mr. Vitallica (besides, I can wager a guess of how it’ll sound, given the general apathy towards Rave Age since its release).

To be fair, ol’ Pascal’s music’s never been the most subtle. It was a rediscovery of rave music’s blunt aggressiveness that helped him stand tall above all the electroclash sleaze-mongers. And even when maximalists like Justice and Boys Noize caught up to him, he still etched out a mark for himself with Flashmob, suggesting a developing maturity in his sound that could have kept him a class act while his peers dumbed down the formula for ever-more insta-gratification generic results.

It’s a funny story, the whole maximalist movement: Ed Banger Records, Digitalizm, Mylo, and the lot. It got plenty of press and fanfare, but couldn’t quite sustain itself in the upper echelons of commercial dance. It was just too aggressive for the mainstream, lacking those identifiable hooks that worm into ears and persist with insidious offspring wrapped around your cochlea; nay, just ballz-to-the-wallz noise and anthems. Well, gee, sound like something else that caught on in the last few years? Yet at a time when folks should namedrop these obvious influences, most of the acts that brought it to the fore are barely mentioned anymore, considered something of a trendy, hipster, blog-house thing of half-a-decade prior. Except for Boys Noize. He kept his name out there.

If you’re wondering whether Flashmob has held up, I say most definitely, but only because those making this sort of music - Vitalic included, apparently - have taken a step back from its potential. I never thought I’d say this about maximalist techno, but ol’ Pascal’s sophomore effort is bloody mature and clever compared to what passes for such music these days.

Various - Fabric 48: Radio Slave (2013 Update)

Fabric: 2009

(Click here to read my original TranceCritic review.)

Um, yeah. This and 29 are the only Fabric mixes I have, both acquired for the purpose of review. As always, I have my reasons, and since you can follow that little link above to read my (not-so old) thoughts on Radio Slave’s contribution if you so wish, I shall now blather on about such reasons.

The thing about these Fabric CDs is they usually arrived new on Vancouver shelves with jacked-up import prices, upwards of the thirty dollar range (yes, that’s quite a bit for a CD here in Canada). I’ve been buying myself music for a good twenty years now, but personal purchasing power’s been poor for most of them, thus rendering my selections ofttimes rather picky. If I’m dropping nearly thirty for a single CD, it better be for something greater than ‘just another DJ mix’, especially at a time when freebies and podcasts are wildly available online.

Still, I’d occasionally splurge if I thought something should have coverage on TranceCritic, hence why I’d bought the Tiefschwarz mix, figuring it necessary for the website to finally jump on that wagon. Fortunately, a British chap by the name of Will Alexander joined our crew for a while, and he took care of the Fabric mixes afterwards, leaving me to instead cover twisted forest psy, or whatever. He only stayed for a year though, but when he left I saw no reason to carry on with TC’s Fabric reviews. They weren’t heavy traffic attractors (trancecrackers don’t like tech house, what?), and besides, I’d noticed a general trend developing with the releases: they made for incredibly boring reviews.

Always, there’d be plenty of pre-release hype, a good chunk of forum dwellers posting such thrilling, anticipatory comments like “Massive!”, or “Can’t miss!” or “This’ll be huge!” (plus an occasional dissenter). Then a website like Resident Advisor or Pitchfork would throw up their review, awarding it a customary six-to-eight out of ten, depending on the reviewer’s particular taste. Posters would cry “too low” or “too high”, then forget about it until the next edition. Rinse, repeat. Fabric was becoming just like Global Underground had: an avenue for solid yet unremarkable DJ mixes.

Okay, that’s a gross overstatement, as Fabric at least keeps its selection of selectors reasonably varied, but what else was there left to say about them? Almost every fresh angle had been covered with the series long ago, rendering reviews of new mixes little more than dutiful recaps. Well, there is one angle still…

Most of the old Fabric CDs can be found cheaply through Amazon now, many going for less than a tenner; ironically, my purchasing power’s never been better, so I can gorge on a bunch of them if I so choose. It might be fun to go back to a few and see how they’ve held up, whether to highlight an overlooked gem or eviscerate an overhyped flop. With so many out there though, which ones should I go after? Let me know in the comments!

Jamie Jones - Don't You Remember The Future (Original TC Review)

Crosstown Rebels: 2009

(2012 Update:
Yikes, but am I ever confrontational in this one. I couldn't help myself though, as the PR hype for Jamie Jones' debut album pissed me off to no end. A few years removed from it now, I actually found myself enjoying most of this album, if only marginally. There's an undeniable level of competent groove going on, which is fine if that's what you're aiming for. I think I alluded to such merit somewhere in all that snark.

As it turns out, Jamie Jones managed to last a little bit longer than the last deep tech house hero, enough to earn #1 DJ status at Resident Advisor. He's starting his drop-off though, the new hotness being Art Department and all things Seth "He So Crazy" Troxler. I wonder if it's backlash...)


IN BRIEF: Minimal-deep-tech’s latest hero. With luck, he’ll last longer than the last one.

What’s this? A concept house album? Oh my, whoever does that? Okay, so Kerri Chandler has (Computer Games being the most recent example). And Mark Farina (Air Farina). Also-

So there are a lot of house producers who do concept albums. It’s just not the expected thing to do, is all. That said, despite the spotty track record such endeavors hold, folks often look forward to seeing their favorite producers show a little musical ambition when it comes to the LP format. Simply hearing a clutch of old and new singles can be rather uninspiring when you’ve got a CD playing for an hour-plus-ten.

So, good on Jamie Jones, giving us something a little challenging with his debut artist album. After the near-ridiculous praise his hit single Summertime earned this past spring, it could have been an easy affair to simply ride that song’s coattails into an album format. Instead, it’s smartly placed into the k-hole trudge of Jones’ deep-tech offerings, turning a rather simple tune into an epic anthem. I mean, my God! Melody! Real melody!

I think I should make it clear right now that, contrary to what the PR blurbs have purported, there isn’t much concept going on with Don’t You Remember The Future. This is supposed to be a futuristic-sounding album, but aside from a few electro zaps, sci-fi samples, and bloopy bits, it’s about as contemporary as deep-tech gets. Frankly, there’s examples of tech-house from the 90s that’s more forward-thinking than what Jones offers here. What I can buy into, is the idea that an injection of retro-funk and soul is required to rescue the future from soulless music. Quite obviously, the Egyptian Lover featuring Galactic Space Bar works wonders in selling this notion, but again, it’s nothing we haven’t heard before from retro-futurism seekers. If you’re going to go on about how this is a concept album, actually go full-out with it - simply making use of synthy sounds that have been used in house music for years and calling it a future-concept album isn’t enough.

Unfortunately, that isn’t the biggest handicap on this album; rather, it’s the very nature of Jones’ music. Much of it is loopy, aims to be deep, but is executed as serviceably as deep-tech typically gets. Summertime aside, the opening half of Remember The Future amounts to little of consequence. Oh, I’m sure there will be plenty of excuses from the ketamine-crowds to proclaim its brilliance: “it works better on the dancefloor”; “you just have to really pay attention to get it”; “it rewards repeated listens”; etc. Fine and all, but the main complaint remains: it’s all just functional music, the kind of stuff that easily fades from your memory once the next track takes off, and easily overshadowed by tunes that have more funk, melody, or soul in them. Arranged so the vibe is continuously inclined, cuts Deep In The Ghetto through Sand Dunes have little quirks and shifting elements to keep them from being total write-offs, but it’s merely a simmer compared to where house music’s been and can go. That’s minimal-deep-tech for you though: never awful, but seldom riveting. Once we leave that segment, however, and Jones branches out a little, we finally see things pick up for the better. Absolute Zero is more of an icy-cool jazz outing, and I’ve already touched upon Galactic Space Bar; both serve as a welcome detour before we get back into the deep-tech again. Once in, Jones brings more funk to the proceedings with Tuning Tables, does the k-hole plod-step ‘menace’ thing with Belter, and brings the two together in Mexico, a track that suggests the album is about to take off for a strong climax. Alas, Mexico is the climax, a decent one considering where Remember The Future’s been (oh my God, it’s melody again!), but coming off more like a coda with its mournful tones. Still, it’s an effective way to wrap the album up.

Given Jones’ huge rise to stardom this year, there was a large amount of expectation going into Remember The Future, and some seemed eager to force themselves into finding the ‘classic’ they wanted to hear. It isn’t, though. Jones has crafted a deep-tech house album that basically keeps things at a competent level, and very easily becomes lost in the sea of competent deep-tech house releases that have come out over the years. His idea of doing a concept album is partly to blame for this, as he simply doesn’t shoot far enough with the theme; we’re offered little more than a cursory peek into this future of his, one that fails to offer anything unique in the process. You can still reasonably enjoy this on those chill days when you don’t want anything to assault your ears, but with hundreds of releases catering to that sort of thing, it places Jones’ offering squarely in the glut.

DDR - Dig It / Rockin

Stay Up Forever: 2009

Did you know hard London acid techno never died? I sure as hell didn't. Like so much acid techno born of the 90s, I figured it went by the wayside once shranz and minimal took over. Sporadically an isolated instance of the genre would crop up, but nothing to suggest the scene held strong for all these years. Despite the odds, The Geezer, Rowland The Bastard, Chris Liberator, all those Stay Up Forever and Smitten guys (plus multitudes of offshoots) kept going, offering up more and more of their brand of hard, fuck-off acid techno for the true heads. Or something like that.

I only learned about this earlier in the year, when I went on a hunt for all electronic music within the scenes celebrating the Roland TB-303. Along the way I acquired several A-Sides and B-Sides, but never Both-Sides – just saw no reason to when one or the other of an EP would do. So how I ended up with this particular one, I've no idea. I don't want to make a habit of reviewing 12-inches, but whatever. It gives me a chance to talk about London F'n acid techno!

DDR, or Dave Lalouche as he’s known on his passport, is part of that original acid techno posse, often appearing in collaborations but occasionally knocking out a few solo joints too. This being a recent 12”, has there been some evolution in the London acid techno sound?

The A-Side, Dig It, starts off with strong, energetic beats, an occasional vocal sample popping up in the mix. Once the TB-303 comes in, it gets a decent workout for the duration. In all, about what you’d expect for acid techno of any year. The B-Side, Rockin, starts off with strong, energetic beats (though not as strong and energetic as Dig It), an occasional vocal sample popping up in the mix (though more frequently than Dig It). Once the TB-303 comes in, it gets a decent workout for the duration (though not as much of a workout as in Dig It). In all, about what you’d expect for acid techno of any year.

So, um... yeah. Nothing’s changed for that scene at all.

And that’s perfectly fine. The London acid techno crew has always been singular in their manifesto, supplying ample hardware for kick-ass, in your face, off your nut parties. Go in, get mashed, dance until dawn, bleed your sweat glands dry. Then go home, rest, and wait for another time to indulge, most likely weeks or months away. It may be simple, but it does the job, and that’s all hard acid lovers want or need. These guys are still kicking out the jams like its 1995, and if this 12” is anything to go by, it’s a formula that won’t die anytime soon. Respect.

King Cannibal - Let The Night Roar

Ninja Tune: Cat. # ZENCD151 

Released October 2009 

Track List: 1. Intro (0:59) 

2. Aragami Style (6:14) 

3. Murder Us featuring Jahcoozi (6:16) 

4. Virgo featuring Face-A-Face (5:03) 

5. So… Embrace The Minimum (5:48) 

6. Dirt featuring Daddy Freddy (4:58) 

7. Colder Still (6:07) 

8. A Shining Force (6:12) 

9. The Untitled (5:40) 

10. Onwards Vultures (5:32) 

11. Flower Of Flesh And Blood (6:40) 

IN BRIEF: Grit, gunk, and grime. 

For the longest time, Ninja Tune was regarded as one of - if not the - premiere labels for streetwise EDM. Cultivating trip-hop, abstract-hop, jazz-hop, jungle-hop, and all that rot, the Coldcut crew brought several future funky head-beat stars to the forefront. Oh yes, there’s a few that need name-droppin’: The Herbaliser, Mr. Scruff, DJ Food, Amon Tobin… I’ll stop now. 

Yet, as seemed to happen to a number of big 90s labels, this previous decade saw Ninja Tune struggle to break form. The quality was never in question but was the buying public really all that interested in buying yet another collection of spliffed-out hip-hop jazz? Supposedly not, as the newer generation of ‘heads started flocking to upstart grime and dubstep labels like Hyperdub and Tempa while Ninja Tune pursued interests in stuff like post rock instead. Still, Ninja Tune never forgot its UK street roots, and though it had a bit of catching up to do, the label managed to drop one of the best damned dubstep albums the genre has seen: The Bug’s London Zoo. 

Though they continued to flirt with genres since, there was a bit of curiosity whether Ninja Tune could match that release with whatever dubstep follow-up came out. A couple years later, the debut album of newcomer King Cannibal, Let The Night Roar dropped. And, well, doesn’t quite reach The Bug’s lofty peak. Not that we should have expected it, mind. Dylan Richards has opted for a collection of tunes that’s quite straight-forward where EDM is concerned. 

Dubstep being his chosen domain, you have a few standard half-step numbers with ample wobble bass effects, a few grimy dancehall efforts, a couple flirtations into minimal techno, and even an experimental drone ambient offering (Onwards Vultures). It’s all finely produced, with a murky atmosphere that will appeal to those who prefer their dubstep sinister rather than gimmicky. In fact, it’s this consistent atmosphere that makes Let The Night Roar work better than it probably should. There’s no denying Richards is a capable producer but he jumps between styles of music so much that the album’s flow always seems to be in danger of derailing. 

For instance, second track proper Murder Us is a sludgy bit of techno which, some nifty melodic-glitch near the end notwithstanding, feels totally out of sync with the surrounding tunes. It’s as though Richards took one of dubstep’s more annoying attributes - herky-jerky rhythms - and applied it to minimal techno (the cut-up vocal effects don’t help either); yet, there’s something about Murder Us that works in spite of that, such that you’re not really tempted to skip by (probably that melodic section). 

His diversity will also undoubtedly split opinions on this album for most listeners. I quite love the dubby techno of Embrace The Minimum (even if the tune includes a pointless growling bass noise in the middle), but others may prefer the pure dancehall bedlam of Dirt. Or more obviously, straight-up atmospheric dubstep cuts like Aragami Style and Flower Of Flesh And Blood (which is some excellently sinister!) will get the party kids excited, whereas beat-heads will get their funky-feet on with A Shining Force. 

If anything, Richards has hedged his bets, even if it created a disjointed album in the process. Again, it’s the overriding murky tone that keeps things flowing as well as it does. I’ll grant if you don’t like murk’n’grime in your music, then Let The Night Roar won’t be getting much rotation in your player any time soon. It is a fine debut from King Cannibal, however, and one of the better dubstep albums you’re likely to find these days. Here’s hoping for more from Ninja Tune in the future. 

Score: 7/10 

ACE TRACKS: 

So… Embrace The Minimum 

A Shining Force 

Flower Of Flesh And Blood 

Written by Sykonee, 2010. © All rights reserved.

Sub Focus - Sub Focus

RAM Records: Cat. # RAMMLP13CD 

Released October 2009 

Track List: 

1. Let The Story Begin (4:53) 

2. World Of Hurt (4:25) 

3. Follow The Light (5:34) 

4. Last Jungle (3:40) 

5. Deep Space (4:37) 

6. Rock It (4:35) 

7. Move Higher featuring Culture Shock (4:13) 

8. Vapourise (4:05) 

9. Triple X (4:03) 

10. Could This Be Real (3:36) 

11. Splash (3:58) 

12. Timewarp (4:38) 

13. Coming Closer featuring Takura (3:35) 

IN BRIEF: More jungle for the masses. 

Thanks to Pendulum’s chart heroics, drum’n’bass has seldom been more popular. Okay, so maybe most of that success is primarily a UK thing but the genre is making some headway in bringing new talent to the masses. Nick Douwma, for instance. His first couple years as Sub Focus saw minor success but soon he caught the ear of jungle veteran Adam C (sending a CD-R of your own tunes to play out probably helps) and was promptly signed to his label RAM Records. 

Then the hits started to pile up, with tracks like X-Ray and Timewarp getting rinsed frequently at jungle parties. Still, that’s not quite enough to explain his recent string of Radio 1 play. Nay, ol’ Nick must have realized to really make an impact on the dance masses, he was going to have to follow Pendulum’s lead and branch out of the safe confines of by-the-book d’n’b. Thus, he grabbed a clutch of currently trendy styles and tinkered with the formula, creating a couple tracks that are quite inspired, and a couple others that are absolute pish. 

Let’s get the negative out of the way. Move Higher showed early promise, leaning on old-school jungle vibes with great effect. Then, that awful speed garage bassline drops, turning what could have been a fun track into a cornball fidget house tune. I’m sure it’s super popular with a whole bunch of kids out there, but whenever I hear a randomly modulated bass noise that has no funk, no hook, and no charm, all it inspires me to do is bust out my most exaggerated mock-rave dance. God, and people think donk music is stupid. 

The modulating bass nonsense continues in Could This Be Real, fucking up what could have been an amiable piano-house tune with funkless ‘wobble’ noise that’ll only have the floor acting out seizures as they try to move with it. Enough with the gimmicky bass modulations already. However, Douwma manages to surprise with Rock It, a wonderful electro spin on Pendulum’s brand of rock-heavy d’n’b. This track has already drawn tons of Daft Punk comparisons (because, you know, the French duo invented talkboxes and all) and is about as straight-forward a cut as the description implies, making it all the more surprising that no one had ever thought of doing it before. Or maybe it has been done, but this is the biggest exposure this sound has ever received. 

The rest of the album consists of jungle cuts of various types. You got some liquid funk care of Follow The Light, clownstep in Vapourise (a rather pointless tune considering it’s all tension builder with no proper release), more rocky tunes like Let The Story Begin, some spacey tracks with Splash and Deep Space, another go at diva soul with the cover World Of Hurt (original being Worla Hurt by nu-jazz mainstays Bugz In The Attic) and a total cheese-fest in Triple X. So a nicely varied album overall, with one nagging problem: much of it sounds tame. 

Yeah, there’s some strong beats to be had. Splash kicks some serious ass, while World Of Hurt and Deep Space grooves with the best of them. Yet I keep getting the impression this is jungle for beginners, those who are ready to move on from Pendulum but are fearful of diving too deep into the scene. Follow The Light, though a fine liquid funk song in its own right, ain’t a touch on what London Elektricity or High Contrast have been churning out for a decade. Ed Rush & Optical’s efforts easily trump Douwma’s sinister cuts, and so on. 

Cagey jungle vets aren’t going to be too fussed with this album, as the only way Sub Focus has managed to stand out from the glut is by producing tunes that are well outside the scene’s boundaries, and as mentioned he’s incredibly hit-or-miss with that. Still, even if this is entry-level d’n’b, Sub Focus will probably be a successful album for this very fact, as it’s an accessible starting point for the new generation of junglists. However, despite showing promise of a strong career, Douwma’s going to have to shake the formula a little more than what he’s done here. Rock It is an intriguing start but be wary if he takes the path of fidget-Hell instead. 

Score: 6/10 

ACE TRACKS: 

Follow The Light 

Rock It 

Splash 

Written by Sykonee, 2010. © All rights reserved.