Showing posts with label Cirrus. Show all posts
Showing posts with label Cirrus. Show all posts

Sunday, June 24, 2018

Cirrus - Drop The Break

Moonshine Music: 1997

For as much as Moonshine Music pushed Cirrus as one of their premiere acts, I seldom gave them much attention. It never seemed prudent, see, so often appearing on compilations like Big Dirty Beats 2, Moonshine Overamerica 98, This Ain't Trip Hop?, plus assorted soundtracks (I've reviewed a few). The Los Angeles posse were well promoted by their label, making sure they could hang with all the big big-beat boys of the day (The Crystal Brothers, The Chemical Method, Junkie So Slim, Fatboy XXXL). As Cirrus never got name-dropped in discussion of “most essential breaks albums”, I just forgot about them, save the occasional spotting in a used shop. As in this case!

Actually, I'd already heard Drop The Break, one of my old Rupert peers having a copy for himself. I recall generally liking what I heard from it, surprised by the diversity on display for a supposed big-beat group. It honestly sounds like it was made a couple years prior, before big-beat was really a thing, much less a genre to board a bandwagon upon. Besides, Cirrus were still mixing things up with the acid breaks scene of California, their ravey roots far more prominent than any aspirations for rock-approved crossover success. Maybe they were hedging their bets a bit in dipping their fingers into any genre they could at the time, though once it became clear their biggest hits were big funky breaks, it's no surprise they committed to that road.

For now though, anything hot with the Moontribe crew was open game. You like house music? Then Cirrus has the hook-up with Superstar DJ and the slightly proggier Nassau. Or how about that good ol' tweakin' chemical breaks action, with the acid knobs twiddlin'? Then Leap Into The Light or the titular cut have you covered. Big obvious breaks anthems with all the James Brown samples you can handle more to your taste? Break In should sate your needs, especially the Transatlantic Move Mix (original's more proper big-beat bosh). Eh, you don't vibe with breaks at all, as it don't compare to the real business that is jungle? Well hey, guess what, Cirrus made a d'n'b cut too, the super peppy, piano jam October 27! Okay, this one might also be Venn Diagramming with happy hardcore.

If this all sounds too upbeat and hectic for you, then don't fret, as Cirrus show off their chill side throughout the album as well. Ghetto Of Life is breaks on the downbeat, Superstar is funky breaks on the downbeat, and Yallah Babibe is breaks on the su-u-u-per downbeat, suffocating in a thick smoke of hashish. Finally, there's Bionic Hippy, a tune that sounds like it should have been on an old-school progressive house collection rather than the closer of a supposed breaks record. No, wait, there's also a right funky slow-jammin' jam as a secret song as the proper closer. Man, Drop The Break is about as mid-'90s an 'electronica' LP as it gets with that.

Sunday, November 15, 2015

Cirrus - Stop & Panic

Moonshine Music: 1999

I feel Moonshine Music oversold us on Cirrus being The Next Big Thing. Not that I blame the label in marketing the Los Angeles breaks duo as their answer to The Chemical Brothers and The Crystal Method. Big beat was big business as the ‘90s drew to a close, but there was only so much big money a label could gather with compilations that (possibly) required big licensing fees. DJ Aaron Carter and Stephen J. Barry had a good look to them, in that so-‘90s L.A. way, and were more than capable of kicking out the jams in various genres, though acidy breaks was their main call of expertise. They could have simply carved out their niche and stayed on the low-key, but after Moonshine had so much success in their promotion of “Superstar DJ” Keoki, another kick at the Crossover Can couldn’t hurt. Or not, if it meant licensing out Cirrus tracks to all manner of receptive video games.

Anyhow, Stop & Panic was the second single from the group’s second album, Back On A Mission. There were no other singles from the LP following this, Cirrus quick to move on from big beat before the year 2000 reared its head. This cut is all big beat though, with guitar licks, fierce crashing percussion, tweaked as fuck acid, siren calls, time stretched vocals of the title, and a little record scratchin’ for good measure. In other words, a good thrashing time.

This being Moonshine, you can’t have a single without a DJ Dan remix, and Dan does the deed with his typical disco funk rub of house. Just in case you felt the original was too much big beat and not enough proper breaks, The Coffee Boys (re: just one guy named Paul Grogan) strips things down some, giving space for the acid to shine without a bunch of other sounds cluttering things up. I’ve talked about DJ Micro’s go on DJ Aaron Carter’s mix CD Lit Up, in that I just mentioned it there as a surprise ending to the hard acid techno set. Still, it was used well in that context, whereas on this single it’s possibly the driest of the remixes. There needs to be more than just siren-wailing bosh in my acid techno.

Finally, progressive trancer Deepsky rounds out the single with a decidedly old-school take on the genre. Seriously, that pitch-bending sawwave is straight out of the bible of Jam & Spoon tricks, even right down to the breakdown where you hear nothing else. I’d keep thinking I’m hearing Follow Me instead of a Stop & Panic remix were it not for the vocal being dropped in throughout. This couldn’t have been a coincidence. Deepsky had to have done it deliberately, just figured no one listening to a Cirrus single would ever know the truth. Well, fool’s on Mr. Blum, as I am one such person! Clearly though, this is among the utmost useless information I have in my possession.

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