NovaMute: 2005
Th'ar be the acid! Just took a French touch to get there. TB-303 action aside, I have to say these Collabs with George Issakidis are the most interesting of the lot, and not just because they stray far from the regular techno workouts as already heard from Jochem's pairing with Adam and Chris. Okay, it's almost entirely because of that too, because in accommodating Monsieur Issakidis' aesthetic into his own, it resulted in some of most unique sounds out of Jochem's discography ever. Which shouldn't come as too much of a surprise considering the former Micronaut was also responsible for the Superior Version of Block Rockin' Beats.
As for how this pairing came about, I assume George was itching to get involved in the 'proper techno' scene after splitting off on his own – anything to escape the big-beat stigma. Some chance meeting with Jochem resulted in the two discovering shared mojo in working on music together, and here we are.
The first cut out of this, Looks Something Like You, is a ten-plus minute outing of steady, noisy bedlam. Really, it sounds like an extended jam session, the two playing all manner of filter and effects over the bare-bones acid house lurking underneath. While of a much lower BPM than the other tracks thus featured in the Collabs series, the intensity is no less gratifying. Hell, some of the percussion could very well be industrial, rattling off like machine gun fire and all. That may just be something for the 'old heads' though, as what was truly blowing up at the time in Francophone lands was sleazy, filthy, abrasive acid, so here's that in the form of Understand What I'm Saying on the flip of Collabs 400. Holy shit, how can this thing go for nearly eleven minutes, and never grow weary or repetitive? The warped vocals are fun enough as it is, but throw in all the distorted, clanking percussion along the way, and you have the closest thing to Speedy J going Ed Banger you'll ever hear!
Okay, maybe that was all a bit much for the techno purists out there, so on Collabs 401, the pair slow things way down on Overblaak, a quite minimalist piece where the TB-303 gets the most shine. Even here though, just the little things, like a mint, crunchy skippity-shuffle on the beat, has you hanging on every minute of its near-fourteen worth. Kaalbrevo, meanwhile, decides to get dubby on the distorted acid vibes, the duo providing a track that would fit snugly in a vintage Swayzak set. This, too, breaches a dozen minutes in length, but somehow holds your attention with every flange and filter effect thrown in. Not that I'd expect anything less ol' Issakidis.
Which is what I should say, if I'd actually heard more of his work outside this and early Micronauts. Time to do some more diggin' and he's got a rather skint discography after all. Mm, well, at least it won't take as long to sift through as Gerd's.
Showing posts with label acid house. Show all posts
Showing posts with label acid house. Show all posts
Tuesday, February 20, 2024
Sunday, August 13, 2023
Various - Sven Väth: What I Used To Play (CD3)
Cocoon Recordings: 2023
Can I say how weird it is seeing photos of Cherub Sven? RIght, I've chosen his most puckish mug shot out from the ones included with the booklet as CD3's cover art, but most aren't that much older looking. I'll grant decades of clubbing will age anyone in rapid order, but he looks like a wee chile' compared to the soul-patch sporting harlequin of his Harthouse days. To say nothing of the Papa Sven look he adopted at the height of his Amnesia fame. Heck, for a large portion of contemporary punters, the grizzled German has always been 'that kooky uncle you love'. I, of course, knew of him earlier than that, such that the 'wet look era' came off quite shocking to yours truly, but man, just how young can this man actually get? Yes, I know that don't make a lick of sense.
We're into the rave years of What [Sven] Used To Play on the final disc, though nothing too bangin' or hype, so if you're expecting some vintage Frankfurt trance, this ain't it. Yes, even though we're definitely in the OMEN era, and even dip our toes into the '90s with tracks like Bobby Konders' Nervous Acid and Primal Scream's Loaded with Andrew Weatherall on the rub. Oh hey, it's that remix, which basically kicked off that whole 'rockers go rave' movement of the Second Summer Of Love.
Other essential rave classics here include A Guy Called Gerald's Voodoo Ray, Ecstasy Club's Jesus Loves The Acid (that's “Aciieedd!” to you), and Meat Beat Manifesto's Helter Skelter. You probably know this tune more for its wildly popular b-side Radio Babylon; aka: that one with the rhythm break knicked by a lot of folks after. And speaking of sampling, here's the first proto-plunderphonic single that charted, M|A|R|R|S' Pump Up The Volume (“Pump up the volume... Dance! Dance!”). Man, did that ever set off an arms race of throwing whatever one could into the production pot, soon after getting suits paranoid over what the actual legalities of all that cribbing of 'found sounds' actually was.
That's most of the familiar tunes sorted. Can't say I ever heard Foremost Poets' Reason To Be Dismal or Lhasa's The Attic, so it's cool filling out a couple personal blanks. The latter sounds like a very primitive piece of New Beat trance, so I can understand why Sven included it, the sort of tune that'd go on to inspire much of Eye Q Records' output. Just, y'know, up the BPM some twenty to thirty notches.
Rounding things out is a re-interpretation of Manuel Göttsching's epic E2-E4 from Sueño Latino – and by 're-interpretation', I mean sampling the tune for their own Balearic house jam. And what collection of early Väth vibes would be complete without at least one OFF track, in this case Electrica Salsa. I dunno', was this popular? I appreciate it for its historical context, but yeah, I'll take Rhythm Is A Dancer or An Accident In Paradise over that any day.
Can I say how weird it is seeing photos of Cherub Sven? RIght, I've chosen his most puckish mug shot out from the ones included with the booklet as CD3's cover art, but most aren't that much older looking. I'll grant decades of clubbing will age anyone in rapid order, but he looks like a wee chile' compared to the soul-patch sporting harlequin of his Harthouse days. To say nothing of the Papa Sven look he adopted at the height of his Amnesia fame. Heck, for a large portion of contemporary punters, the grizzled German has always been 'that kooky uncle you love'. I, of course, knew of him earlier than that, such that the 'wet look era' came off quite shocking to yours truly, but man, just how young can this man actually get? Yes, I know that don't make a lick of sense.
We're into the rave years of What [Sven] Used To Play on the final disc, though nothing too bangin' or hype, so if you're expecting some vintage Frankfurt trance, this ain't it. Yes, even though we're definitely in the OMEN era, and even dip our toes into the '90s with tracks like Bobby Konders' Nervous Acid and Primal Scream's Loaded with Andrew Weatherall on the rub. Oh hey, it's that remix, which basically kicked off that whole 'rockers go rave' movement of the Second Summer Of Love.
Other essential rave classics here include A Guy Called Gerald's Voodoo Ray, Ecstasy Club's Jesus Loves The Acid (that's “Aciieedd!” to you), and Meat Beat Manifesto's Helter Skelter. You probably know this tune more for its wildly popular b-side Radio Babylon; aka: that one with the rhythm break knicked by a lot of folks after. And speaking of sampling, here's the first proto-plunderphonic single that charted, M|A|R|R|S' Pump Up The Volume (“Pump up the volume... Dance! Dance!”). Man, did that ever set off an arms race of throwing whatever one could into the production pot, soon after getting suits paranoid over what the actual legalities of all that cribbing of 'found sounds' actually was.
That's most of the familiar tunes sorted. Can't say I ever heard Foremost Poets' Reason To Be Dismal or Lhasa's The Attic, so it's cool filling out a couple personal blanks. The latter sounds like a very primitive piece of New Beat trance, so I can understand why Sven included it, the sort of tune that'd go on to inspire much of Eye Q Records' output. Just, y'know, up the BPM some twenty to thirty notches.
Rounding things out is a re-interpretation of Manuel Göttsching's epic E2-E4 from Sueño Latino – and by 're-interpretation', I mean sampling the tune for their own Balearic house jam. And what collection of early Väth vibes would be complete without at least one OFF track, in this case Electrica Salsa. I dunno', was this popular? I appreciate it for its historical context, but yeah, I'll take Rhythm Is A Dancer or An Accident In Paradise over that any day.
Various - Sven Väth: What I Used To Play (CD2)
Cocoon Recordings: 2023
By the by, I wasn't kidding in suspecting part of the reason this compilation was made was for the boutique vinyl market. In fact, I can't help but think it's the sole reason, as the record option features twelve 12”s. Yes, that means only one or two tracks per side! Which hey, is kinda' handy for record collectors who don't want the fuss of scouring the internet for original (or re-issues upon re-issues) of all these tunes. Yeah, some of this is undoubtedly redundant for serious black crack enthusiasts – having New Order's Blue Monday is almost mandatory for any proper collection – but at least they're all here in one box-set with Sven's seal of approval, right?
Speaking of, if I must levy a major nitpick over What I Used To Play, it's that the presentation is rather bare-bones. The included booklet just features all the various mug shots of Mr. Väth in the cover's collage. There's no liner notes about the tracks, no written blurbs about their history or what they mean to Sven's career. Not even some insight into his early days as a DJ at Dorian Gray in the '80s or setting up Omen later that decade. Highly detailed historical context doesn't seem to be the point of What I Used To Play, letting the music speak for itself. I suppose if you really wanted to know that stuff, you can easily find it all over the internet. Again, disappointing if you wanted more out of this compilation, but far from a deal breaker as a whole.
After an opening salvo of synth-heavy new wave music (holy cow, is Anne Clark's Our Darkness ever an early precursor to New Beat!), disc number two brings us to the midlands of American. That's right, folks, we got our acid (Phuture), we got our Detroit techno (Model 500), and we got Chicago house (Frankie Knuckles and Quest). Okay, hearing No UFO's and Your Love is rather redundant in my case, but at least Sven picked the less obvious We Are Phuture over Acid Tracks, not to mention a real obscurity in Quest's Mind Games (Street Mix). See, there's some merit to this compilation for even the hardiest of crate diggers!
Then CD2 takes turn for the ...world beat? Okay, not really, as that was really a thing yet in the '80s. More like jazz fusion musicians fusing whatever they could get away with, and if that included some Afro chant with drum machines, so be it. So we get the epic fifteen-minute digital drum jam of Jasper Van't Hof's Pili Pili, the pure percussive workout of Guem Et Zaka Percussion's Le Serpent, the Afro trumpet-boogie vibes of Hugh Masekela's Don't Go Loose It Baby, and the... wait, hip-hop of Sly & Robbie? I thought these guys were reggae and dancehall. What are they doing here sounding like something straight out of the vaults of Rick Rubin? Never would have expect such guitar shredding from these chaps.
By the by, I wasn't kidding in suspecting part of the reason this compilation was made was for the boutique vinyl market. In fact, I can't help but think it's the sole reason, as the record option features twelve 12”s. Yes, that means only one or two tracks per side! Which hey, is kinda' handy for record collectors who don't want the fuss of scouring the internet for original (or re-issues upon re-issues) of all these tunes. Yeah, some of this is undoubtedly redundant for serious black crack enthusiasts – having New Order's Blue Monday is almost mandatory for any proper collection – but at least they're all here in one box-set with Sven's seal of approval, right?
Speaking of, if I must levy a major nitpick over What I Used To Play, it's that the presentation is rather bare-bones. The included booklet just features all the various mug shots of Mr. Väth in the cover's collage. There's no liner notes about the tracks, no written blurbs about their history or what they mean to Sven's career. Not even some insight into his early days as a DJ at Dorian Gray in the '80s or setting up Omen later that decade. Highly detailed historical context doesn't seem to be the point of What I Used To Play, letting the music speak for itself. I suppose if you really wanted to know that stuff, you can easily find it all over the internet. Again, disappointing if you wanted more out of this compilation, but far from a deal breaker as a whole.
After an opening salvo of synth-heavy new wave music (holy cow, is Anne Clark's Our Darkness ever an early precursor to New Beat!), disc number two brings us to the midlands of American. That's right, folks, we got our acid (Phuture), we got our Detroit techno (Model 500), and we got Chicago house (Frankie Knuckles and Quest). Okay, hearing No UFO's and Your Love is rather redundant in my case, but at least Sven picked the less obvious We Are Phuture over Acid Tracks, not to mention a real obscurity in Quest's Mind Games (Street Mix). See, there's some merit to this compilation for even the hardiest of crate diggers!
Then CD2 takes turn for the ...world beat? Okay, not really, as that was really a thing yet in the '80s. More like jazz fusion musicians fusing whatever they could get away with, and if that included some Afro chant with drum machines, so be it. So we get the epic fifteen-minute digital drum jam of Jasper Van't Hof's Pili Pili, the pure percussive workout of Guem Et Zaka Percussion's Le Serpent, the Afro trumpet-boogie vibes of Hugh Masekela's Don't Go Loose It Baby, and the... wait, hip-hop of Sly & Robbie? I thought these guys were reggae and dancehall. What are they doing here sounding like something straight out of the vaults of Rick Rubin? Never would have expect such guitar shredding from these chaps.
Sunday, April 3, 2022
Various - EarthBeat
Jumpin' & Pumpin': 1992/2021
Well, this certainly makes that 4-CD Techno Explosion compilation redundant. If you recall my five year old review (!!), I picked it up for exactly one track, Q by Mental Cube. My reasoning was, of the few available options out there, it seemed the most cost-effective. Old pre-FSOL music from Dougans and Cobain was growing pricier on the second-hand market, and no way any of those early collections from Jumpin' & Pumpin' would see a re-issue. So of course they put out a 30th Anniversary release of EarthBeat, the compilation highlighting a bunch of tunes from their early pre-Accelerator catalogue, including Q by Mental Cube. Thanks, Jumpin' & Pumpin'! Or is it fsoldigital that did it? Whoever put it on their Bandcamp page.
In case you haven't kept up with your Future Sound Of London history, Earthbeat is the name of Brian and Dougans' original studio, infamously barely bigger than a working closet lodged between a couple other music gear shops. The lucrative Virgin deal landed them the money to expand, but before their breakout in Papua New Guinea, they mostly used the typical tools of the techno trade of the time: Roland synths and drum machines, Akai samplers, Atari computer, and the like. Small wonder the material released as Mental Cube or Indo Tribe or Smart Systems or Yage wasn't much evolved ('future sounding', if you will) compared to their contemporaries of the time. All they could afford was whatever else everyone else was using, including a few hand-me-downs. Not to mention a little self plagiarism when they finally did a proper album in Accelerator.
With that in mind, going into EarthBeat expecting something mind-bending three decades on is a fool's errand. This compilation is very much a product of its time, techno that you instantly date to three specific years (1990, 1991, 1992), with very little hope of excelling beyond. Yes, Q is one of the few – how many tunes can lay claim to a bunch of bleeping turning into an earworm? Papua New Guinea is also here, but it's the Dumb Child Of Q remix (aka: just the ambient-ish intro), which will never not leave the listener with blue ear-balls. Elsewhere, In The Mind Of A Child is another strong outing for bleep techno, and Tingler's fun for some ol' skool 'ardcore.
As for the rest, they're mostly fine, and certainly show off more diversity than you'd expect from early FSOL: You Took My Love going piano house, People Livin' Today a pure Balearic house outing, Chile Of The Bass Generation repping that Meat Beat Manifesto vibe, the Coby '94 Mix of Stakker Humanoid going full-bore acid techno. If you didn't know better, you might even believe all these aliases were unique artistes on the same label.
The byline on EarthBeat's cover sure suggests so, implicating FSOL, Indo Tribe, Semi Real, Smart Systems, Yage, Mental Cube, Candese, and Humanoid all different. Like, it was some secret knowledge that had to be maintained for all time.
Well, this certainly makes that 4-CD Techno Explosion compilation redundant. If you recall my five year old review (!!), I picked it up for exactly one track, Q by Mental Cube. My reasoning was, of the few available options out there, it seemed the most cost-effective. Old pre-FSOL music from Dougans and Cobain was growing pricier on the second-hand market, and no way any of those early collections from Jumpin' & Pumpin' would see a re-issue. So of course they put out a 30th Anniversary release of EarthBeat, the compilation highlighting a bunch of tunes from their early pre-Accelerator catalogue, including Q by Mental Cube. Thanks, Jumpin' & Pumpin'! Or is it fsoldigital that did it? Whoever put it on their Bandcamp page.
In case you haven't kept up with your Future Sound Of London history, Earthbeat is the name of Brian and Dougans' original studio, infamously barely bigger than a working closet lodged between a couple other music gear shops. The lucrative Virgin deal landed them the money to expand, but before their breakout in Papua New Guinea, they mostly used the typical tools of the techno trade of the time: Roland synths and drum machines, Akai samplers, Atari computer, and the like. Small wonder the material released as Mental Cube or Indo Tribe or Smart Systems or Yage wasn't much evolved ('future sounding', if you will) compared to their contemporaries of the time. All they could afford was whatever else everyone else was using, including a few hand-me-downs. Not to mention a little self plagiarism when they finally did a proper album in Accelerator.
With that in mind, going into EarthBeat expecting something mind-bending three decades on is a fool's errand. This compilation is very much a product of its time, techno that you instantly date to three specific years (1990, 1991, 1992), with very little hope of excelling beyond. Yes, Q is one of the few – how many tunes can lay claim to a bunch of bleeping turning into an earworm? Papua New Guinea is also here, but it's the Dumb Child Of Q remix (aka: just the ambient-ish intro), which will never not leave the listener with blue ear-balls. Elsewhere, In The Mind Of A Child is another strong outing for bleep techno, and Tingler's fun for some ol' skool 'ardcore.
As for the rest, they're mostly fine, and certainly show off more diversity than you'd expect from early FSOL: You Took My Love going piano house, People Livin' Today a pure Balearic house outing, Chile Of The Bass Generation repping that Meat Beat Manifesto vibe, the Coby '94 Mix of Stakker Humanoid going full-bore acid techno. If you didn't know better, you might even believe all these aliases were unique artistes on the same label.
The byline on EarthBeat's cover sure suggests so, implicating FSOL, Indo Tribe, Semi Real, Smart Systems, Yage, Mental Cube, Candese, and Humanoid all different. Like, it was some secret knowledge that had to be maintained for all time.
Monday, February 10, 2020
Various - Balance 015: Will Saul
EQ Recordings: 2009
Won't deny, I had low thoughts about this one when I first saw it advertised a decade ago. I generally liked the Balance series to that point, but Joris Voorn's contribution had me wondering whether things were taking a turn for the over-indulgent, hipster-baiting path. Glancing at the tracklist didn't allay my suspicions either, what with inclusions from Ricardo Villalobos' Minimoonstar, Hercules & Love Affair, Seth 'he so crazy!' Troxler, and that new-fangled 'dubstep' the kids wouldn't shut up about, b'gar. Throw in a cover shot that has Mr. Saul looking like he's posing for Craft Beers Monthly (“This Issue, The 20 Best New IPAs From Mercer Island You MUST Try!”), and yeah, my totally sad first impression wasn't good.
But Will Saul's 3CD set for Balance is good. Real damn good. Ignore what Late 2009 Sykonee thinks. He was getting disillusioned about things anyway.
Besides, my ignorant thoughts were mostly due to ignorance of who Will Saul is. I assume he's a fairly big deal in the UK, though I hadn't heard of him before, and haven't heard much of him since. Has a couple labels behind his belt. Recently released his second album. Look, I've limited word count here, and I'd rather spend it discussing these CDs over Mr. Saul's biography.
And what a lovely assortment of CDs we have here. We're deep in Balance's 'No Genres Off Limits!' era, and with three discs to indulge himself, Will indulges himself indeed. Instead of making each CD strict genre exercises though, Mr. Saul works a general theme while dedicating significant chunks of his sets to specific styles. CD1 gets in on that deep house and space disco vibe, with a tasty acid and Chicago closer. CD2 is the more (then) conventional set of the three, sticking to trendy, minimalist tech-house before taking a slight detour into Detroit's back alleys. Then, in a total tonal shift, Will finishes the set out with future garage (still called 'dubstep' back then). Yeah, that's probably just as trendy, but I like this stuff, so it coo'.
Opening CD3 with reggae dub though? Oh... oh my! Who in the history of Balance has done that? Okay, Jimmy Van M, kinda', but that was just one song, whereas Will spends eight. Some of it is modern 'reggae dub', sure (re: dubstep that actually honours its Jamaican roots), but as found elsewhere across Balance 015, he mixes these (then) contemporary styles with vintage stuff quite nicely. Things move on from there into funk and soul (old and new, including Wolf + Lamb), plus garage and house, with mostly (then) new stuff trying to sound like way old stuff. The retro was in full swing by the late '00s, absolutely.
So yeah, I quite like Will Saul's CD3 here, and even enjoy CD1 despite not having quite as much to say about it. CD2 feels quite of its time though, but is fine for what it offers. Plus, very little of Minimoonstar was used. I LOL'd.
Won't deny, I had low thoughts about this one when I first saw it advertised a decade ago. I generally liked the Balance series to that point, but Joris Voorn's contribution had me wondering whether things were taking a turn for the over-indulgent, hipster-baiting path. Glancing at the tracklist didn't allay my suspicions either, what with inclusions from Ricardo Villalobos' Minimoonstar, Hercules & Love Affair, Seth 'he so crazy!' Troxler, and that new-fangled 'dubstep' the kids wouldn't shut up about, b'gar. Throw in a cover shot that has Mr. Saul looking like he's posing for Craft Beers Monthly (“This Issue, The 20 Best New IPAs From Mercer Island You MUST Try!”), and yeah, my totally sad first impression wasn't good.
But Will Saul's 3CD set for Balance is good. Real damn good. Ignore what Late 2009 Sykonee thinks. He was getting disillusioned about things anyway.
Besides, my ignorant thoughts were mostly due to ignorance of who Will Saul is. I assume he's a fairly big deal in the UK, though I hadn't heard of him before, and haven't heard much of him since. Has a couple labels behind his belt. Recently released his second album. Look, I've limited word count here, and I'd rather spend it discussing these CDs over Mr. Saul's biography.
And what a lovely assortment of CDs we have here. We're deep in Balance's 'No Genres Off Limits!' era, and with three discs to indulge himself, Will indulges himself indeed. Instead of making each CD strict genre exercises though, Mr. Saul works a general theme while dedicating significant chunks of his sets to specific styles. CD1 gets in on that deep house and space disco vibe, with a tasty acid and Chicago closer. CD2 is the more (then) conventional set of the three, sticking to trendy, minimalist tech-house before taking a slight detour into Detroit's back alleys. Then, in a total tonal shift, Will finishes the set out with future garage (still called 'dubstep' back then). Yeah, that's probably just as trendy, but I like this stuff, so it coo'.
Opening CD3 with reggae dub though? Oh... oh my! Who in the history of Balance has done that? Okay, Jimmy Van M, kinda', but that was just one song, whereas Will spends eight. Some of it is modern 'reggae dub', sure (re: dubstep that actually honours its Jamaican roots), but as found elsewhere across Balance 015, he mixes these (then) contemporary styles with vintage stuff quite nicely. Things move on from there into funk and soul (old and new, including Wolf + Lamb), plus garage and house, with mostly (then) new stuff trying to sound like way old stuff. The retro was in full swing by the late '00s, absolutely.
So yeah, I quite like Will Saul's CD3 here, and even enjoy CD1 despite not having quite as much to say about it. CD2 feels quite of its time though, but is fine for what it offers. Plus, very little of Minimoonstar was used. I LOL'd.
Labels:
2009,
acid house,
Balance,
deep house,
disco house,
DJ Mix,
dub,
EQ Recordings,
funk,
future garage,
minimal tech-house,
reggae,
soul,
space synth,
synth-pop,
tech-house,
techno,
Will Saul
Monday, February 3, 2020
Various - Balance 013: SOS
EQ Recordings: 2008
Thirteen volumes deep, and the Balance series came full circle. Or looped around. Reached into its past. Had its first instance of a returning DJ, is what I'm getting at. This time though, he's with two other chaps as a super-group (before being in a super-group was cool). In a more subtle sense, Balance 013 brings in Omid '16B' Nourizadeh for the first time. You might recall I've come into contact with him via his Changing Shape alias, the track Keep It On opening Bill Hamel's contribution to the Nokturnel Mix Sessions series. And Bill Hamel did the third volume of the Balance series! Which means... which means... I could really go for a side of bacon in my next breakfast.
The inlay blurb (and Discogs entry) has quite the lengthy spiel of positive hyperbole regarding Omid, Desyn, and Demi's impact upon the clubbing scene. As I look back upon those heady years of the late '00s, however, I fail recalling anything of the collective called SOS. Maybe it was mostly in the UK and Europe they did their damage, the cross-Atlantic markets denied their tours. Still, as with Deysen's own career, SOS seemed to have disappeared from the Discoggian archives as the 2010s took hold. Not that there was much prior either, but when clubbing culture became all about the super-group DJ squads, I can't imagine SOS stood out from the pack as much anymore.
Still, compared to some of the Balance sets of the period (*cough-012-cough*), this has held up quite well. It's not a brilliant 3CD set by any stretch, and would likely be poo-poo'd out of Very Important critical discussion compared to the series' follow-ups. Very little feels dated though, tunes that knew exactly what they were aiming for, with DJs deploying them in an efficient manner.
Well, maybe not so much CD1. Clearly meant to be the 'chill-out' set, this one's too scattershot to accomplish its goal. Yeah, I like hearing Speedy J's De-Orbit and Bryan Ferry's Don't Stop The Dance, but in cramming the variety they do with competing visions, it comes off rather aimless and jumbled. Stick to the dancefloors, mates.
So they do, CDs two and three riding things out with acid house, Balearic prog, spacey disco, beefy breakbeats, and Aeroplane. Someone in SOS sure loves them some Aeroplane. About the only time things go super hands-in-the-air is with Michael Cassette's Shadow's Movement, but their retro sounds are charming enough for an anthem, so I'll allow it.
As much as I grooved to these sets though, I can't say they often got me excited either. It could just be the three-disc format making it difficult to take in all at once, but then other 3CDers in this series don't have that problem. For better or worse, I know what each set sounded like in other Balances, whereas they blended together here. Still not sure if that's a good or bad thing, but for certain, it is a thing.
Thirteen volumes deep, and the Balance series came full circle. Or looped around. Reached into its past. Had its first instance of a returning DJ, is what I'm getting at. This time though, he's with two other chaps as a super-group (before being in a super-group was cool). In a more subtle sense, Balance 013 brings in Omid '16B' Nourizadeh for the first time. You might recall I've come into contact with him via his Changing Shape alias, the track Keep It On opening Bill Hamel's contribution to the Nokturnel Mix Sessions series. And Bill Hamel did the third volume of the Balance series! Which means... which means... I could really go for a side of bacon in my next breakfast.
The inlay blurb (and Discogs entry) has quite the lengthy spiel of positive hyperbole regarding Omid, Desyn, and Demi's impact upon the clubbing scene. As I look back upon those heady years of the late '00s, however, I fail recalling anything of the collective called SOS. Maybe it was mostly in the UK and Europe they did their damage, the cross-Atlantic markets denied their tours. Still, as with Deysen's own career, SOS seemed to have disappeared from the Discoggian archives as the 2010s took hold. Not that there was much prior either, but when clubbing culture became all about the super-group DJ squads, I can't imagine SOS stood out from the pack as much anymore.
Still, compared to some of the Balance sets of the period (*cough-012-cough*), this has held up quite well. It's not a brilliant 3CD set by any stretch, and would likely be poo-poo'd out of Very Important critical discussion compared to the series' follow-ups. Very little feels dated though, tunes that knew exactly what they were aiming for, with DJs deploying them in an efficient manner.
Well, maybe not so much CD1. Clearly meant to be the 'chill-out' set, this one's too scattershot to accomplish its goal. Yeah, I like hearing Speedy J's De-Orbit and Bryan Ferry's Don't Stop The Dance, but in cramming the variety they do with competing visions, it comes off rather aimless and jumbled. Stick to the dancefloors, mates.
So they do, CDs two and three riding things out with acid house, Balearic prog, spacey disco, beefy breakbeats, and Aeroplane. Someone in SOS sure loves them some Aeroplane. About the only time things go super hands-in-the-air is with Michael Cassette's Shadow's Movement, but their retro sounds are charming enough for an anthem, so I'll allow it.
As much as I grooved to these sets though, I can't say they often got me excited either. It could just be the three-disc format making it difficult to take in all at once, but then other 3CDers in this series don't have that problem. For better or worse, I know what each set sounded like in other Balances, whereas they blended together here. Still not sure if that's a good or bad thing, but for certain, it is a thing.
Monday, April 29, 2019
Pet Shop Boys - Further Listening 1988-1989
Parlaphone: 2018
This isn't a proper Pet Shop Boys release per se, but rather an added bonus to the Introspective re-issue. In fact, most of their albums have these Further Listening CDs attached to them now, which nags the question of whether I should review these as a separate entity at all. I probably wouldn't, but when ripping the CD to my harddrive, it came up as Further Listening 1988-1989, not as Introspective: Disc 2, thus isolating it from its mother album in my alphabetical listening queue. Perfect logical sense! Oh, and yes, Please and Actually have these Further Listening discs too, but my copies of those albums are older versions, sans the reissue bonus stuff. Will likely get the double-discer of Very though, as there was a lot of kick-ass associated material when that album was released (or so I'm told).
If you're worried about Introspective spoilers (because 'worrying about spoilers' is so trendy right now), the good news is Further Listening: Late '80s doesn't have that much material associated with its main album. Part of that is due to the very nature of Introspective, wherein- nope, not gonna' say it here. Gotta' save some material for later. All you need to know is very few disco mixes and alternate versions of songs from there make it here. Two versions of Domino Dancing (a demo and an alternate), two versions of It's Alright (a seven-inch and a ten-inch), and one one seven-inch mix of Left To My Own Devices. Five tracks may seem a lot, but with fifteen to gorge yourself on, 'tis but a droplet (especially when they're just extended/shortened versions of the album tunes).
As always, it's the b-sides that we're here for, and hoo, are there some doozies. Like that The Sound Of The Atom Splitting, essentially the Boys' stab at an acid house track. Of course, being from the UK, they don't quite get it, the track far too over-produced with studio gimmickry to actually be of much utility in a Chicago club, but those five minutes are among the strangest in their discography (apparently the original cut breaches double-digits in length). I'm more intrigued by One Of The Crowd though, what with its vocoder lyrics, synthy lead, and repetitive rhythmic pulse. It's like, proto-trance, even before The KLF were doing it. Okay, around the same time. Another b-side is Don Juan, which has something of a soft tropical vibe going for it, but in that real synthy Pet Shop Boys sort of way. I honestly wouldn't think much of it, but damn, do they know how to hit a chorus.
Then there's I Get Excited, apparently a tune that appeared on one of the Boys' earliest demo tapes (1983) that included West End Girls, One More Chance and It's A Sin. I don't know what's more fascinating, that they had such killer tunes in mind before even considering making albums, or that they were raiding it for supplemental material so long after the fact.
This isn't a proper Pet Shop Boys release per se, but rather an added bonus to the Introspective re-issue. In fact, most of their albums have these Further Listening CDs attached to them now, which nags the question of whether I should review these as a separate entity at all. I probably wouldn't, but when ripping the CD to my harddrive, it came up as Further Listening 1988-1989, not as Introspective: Disc 2, thus isolating it from its mother album in my alphabetical listening queue. Perfect logical sense! Oh, and yes, Please and Actually have these Further Listening discs too, but my copies of those albums are older versions, sans the reissue bonus stuff. Will likely get the double-discer of Very though, as there was a lot of kick-ass associated material when that album was released (or so I'm told).
If you're worried about Introspective spoilers (because 'worrying about spoilers' is so trendy right now), the good news is Further Listening: Late '80s doesn't have that much material associated with its main album. Part of that is due to the very nature of Introspective, wherein- nope, not gonna' say it here. Gotta' save some material for later. All you need to know is very few disco mixes and alternate versions of songs from there make it here. Two versions of Domino Dancing (a demo and an alternate), two versions of It's Alright (a seven-inch and a ten-inch), and one one seven-inch mix of Left To My Own Devices. Five tracks may seem a lot, but with fifteen to gorge yourself on, 'tis but a droplet (especially when they're just extended/shortened versions of the album tunes).
As always, it's the b-sides that we're here for, and hoo, are there some doozies. Like that The Sound Of The Atom Splitting, essentially the Boys' stab at an acid house track. Of course, being from the UK, they don't quite get it, the track far too over-produced with studio gimmickry to actually be of much utility in a Chicago club, but those five minutes are among the strangest in their discography (apparently the original cut breaches double-digits in length). I'm more intrigued by One Of The Crowd though, what with its vocoder lyrics, synthy lead, and repetitive rhythmic pulse. It's like, proto-trance, even before The KLF were doing it. Okay, around the same time. Another b-side is Don Juan, which has something of a soft tropical vibe going for it, but in that real synthy Pet Shop Boys sort of way. I honestly wouldn't think much of it, but damn, do they know how to hit a chorus.
Then there's I Get Excited, apparently a tune that appeared on one of the Boys' earliest demo tapes (1983) that included West End Girls, One More Chance and It's A Sin. I don't know what's more fascinating, that they had such killer tunes in mind before even considering making albums, or that they were raiding it for supplemental material so long after the fact.
Friday, December 14, 2018
Mark Farina - Air Farina
OM Records: 2003
I honestly can't remember whether Mark Farina's debut album was hotly anticipated or not. Like, I'm sure there was long, gestating buzz over whether he'd ever do the deed, as the discourse is wont to go when it comes to popular DJs. Curating all those class deep house records, groovy downtempo tracks, and funky Chicago-San Fran' vibes, surely had to impress some inspiration upon Mr. Farina such that his muse demanded his own tunes too. And as his career continuously went from strength to strength (Mushroom Jazz, OM Records, Frisco Disco!), the time seemed about right to drop an LP of original music in ye' olde year of 2003.
Yet, I was taken completely by surprise when I saw it sitting in the store that day, having heard not a word about it prior. Part of that was the unfortunate death of rags I was following at the time, but even among music boards I lingered on, I didn't see much hype on Air Farina, nor much talk of it since, and I live around his hottest touring regions. It all seems very odd to yours truly, especially since I quite enjoy the album ...after a time.
Right, my initial reaction to hearing Air Farina's production was utter befuddlement. Farina's trademark DJing sound is of irresistible deep funky house, with sounds and production that warms the soul. This stuff though, it sounds like it was made on a plastic Apple music box, everything ultra-compressed and nary a spot of grit and grime within. I get no sense of Chicago warehouses or California beaches – it's as though Farina took his 'music from airports' concept all the way to the aesthetic level, existing in an artificial reality where nothing seems quite real or lived-in. For sure, once the album gets moving, and the songcraft has its chance to strut its stuff, the production becomes less of an issue. And hey, I cannot deny I've never heard any other album sounding like this, much less within the realms of house music, so Air Farina at least stands out on that merit alone. Whether you dig it or not probably boils down to how much you like Mark's tunes, and as I still don't hear much talk about this album fifteen years on, well...
Interspersed with dialog from pilot training videos (plus a humorous clip from The Phantom), Air Farina plays out in enjoyable chunks, a downtempo jam or two followed up by a run of bumpin' house tunes with ear-wormy vocals samples. There's no denying Marks' skill in making his own house, tunes like Dropped Into Water, Gramma So, and Leaving SF just as infectiously groovy as anything he's rinsed out. Meanwhile, floating chill moments like Dream Machine and dips into hip-hop with People Under The Stairs (Travel) show off his diversity just fine. Just, man... that ultra-plastic production though. I can understand why some are ambivalent towards Air Farina, when all they desire is another Mushroom Jazz session.
I honestly can't remember whether Mark Farina's debut album was hotly anticipated or not. Like, I'm sure there was long, gestating buzz over whether he'd ever do the deed, as the discourse is wont to go when it comes to popular DJs. Curating all those class deep house records, groovy downtempo tracks, and funky Chicago-San Fran' vibes, surely had to impress some inspiration upon Mr. Farina such that his muse demanded his own tunes too. And as his career continuously went from strength to strength (Mushroom Jazz, OM Records, Frisco Disco!), the time seemed about right to drop an LP of original music in ye' olde year of 2003.
Yet, I was taken completely by surprise when I saw it sitting in the store that day, having heard not a word about it prior. Part of that was the unfortunate death of rags I was following at the time, but even among music boards I lingered on, I didn't see much hype on Air Farina, nor much talk of it since, and I live around his hottest touring regions. It all seems very odd to yours truly, especially since I quite enjoy the album ...after a time.
Right, my initial reaction to hearing Air Farina's production was utter befuddlement. Farina's trademark DJing sound is of irresistible deep funky house, with sounds and production that warms the soul. This stuff though, it sounds like it was made on a plastic Apple music box, everything ultra-compressed and nary a spot of grit and grime within. I get no sense of Chicago warehouses or California beaches – it's as though Farina took his 'music from airports' concept all the way to the aesthetic level, existing in an artificial reality where nothing seems quite real or lived-in. For sure, once the album gets moving, and the songcraft has its chance to strut its stuff, the production becomes less of an issue. And hey, I cannot deny I've never heard any other album sounding like this, much less within the realms of house music, so Air Farina at least stands out on that merit alone. Whether you dig it or not probably boils down to how much you like Mark's tunes, and as I still don't hear much talk about this album fifteen years on, well...
Interspersed with dialog from pilot training videos (plus a humorous clip from The Phantom), Air Farina plays out in enjoyable chunks, a downtempo jam or two followed up by a run of bumpin' house tunes with ear-wormy vocals samples. There's no denying Marks' skill in making his own house, tunes like Dropped Into Water, Gramma So, and Leaving SF just as infectiously groovy as anything he's rinsed out. Meanwhile, floating chill moments like Dream Machine and dips into hip-hop with People Under The Stairs (Travel) show off his diversity just fine. Just, man... that ultra-plastic production though. I can understand why some are ambivalent towards Air Farina, when all they desire is another Mushroom Jazz session.
Tuesday, November 27, 2018
The Future Sound Of London - Accelerator
Jumpin' & Pumpin'/Hypnotic: 1991/2002
The only Future Sound Of London album you need, if you listen to certain sorts of people. Let's call them 'stuck in The Haçienda' kind of people, UK ravers who never grew beyond that era's acid house scene, will only accept electronic music as it sounded then, and not a month later. Never mind that Brian Dougans and Garry Cobain ventured forth into new, fascinating realms of pure headtrip, mind-fuck album works – it's just not danceable, mate. I sense, though, such folks are forlorn at the coulda'-been, the shoulda'-been of FSOL's potential as studio hounds producing clubbing fodder. They made so many classic, genre-defining tunes at the time, the possibilities of what they might have done after had they scaled back the arty, pretentious aspirations boggles the mind. But nay, the lads from Manchester had grander visions in mind.
And I get it – oh man, do I ever get it. For as much as I've continued enjoying FSOL's work, there's an undeniable addictive simplicity about the tunes on Accelerator that remain effective to this day. Papua New Guinea, obviously, but I've no doubt tracks like the future-shock breaks of Expander, acid-bleep dopeness of Calcium, and blissed-out trancey acid house of Pulse State would be just as effective in any contemporary setting. Hell, I heard 1 In 8 at a music festival this past summer. 1 In 8, one of the 'filler' tracks on this album! Who plays 1 In 8 in this age? A DJ at Basscoast, apparently.
Still, one cannot deny there's some rather dated material on Accelerator too. Despite the smashing opening of Expander (oh, you just know Sasha cribbed that title), Stolen Documents is little more than a peppy transitional track of bleepy sounds and chirpy acid funk. While Others Cry has a little more personality going for it with its Balearic-Jamaican vibe (yes, really), nice for a sway in a hammock or beach lounge. On the other hand though, It's Not My Problem and Moscow have the unenviable task of bookmarking the album centrepiece of Papua New Guinea, and in being such abrasive, boshing tunes, neither are capable of it – you're just waiting for Papua while Problem is playing, and Moscow always feels like a comedown from New Guinea. As for hints at where FSOL would take their music, Central Industrial slows things down and plays up the future-shock scenery full-tilt. Psygnosis Studios were definitely paying attention.
When Accelerator was rolled out for a tenth anniversary re-issue, it included a bonus disc of Papua New Guinea remixes. Most of them take the tune's basic structure and re-purposes them into a particular genre (Satoshi Tomiie does the prog thing, Hybrid do the prog-breaks thing, Oil do the funk-dub thing). The most interesting of the lot are the Simian Mix, where the rock band turns Papua into a bizarre, stoned, jazz-stomp indie hoe-down (I'm sure Gary loved it), and Andrew Weatherall's eleven-minute rub – progressive house of epic proportions, that one!
The only Future Sound Of London album you need, if you listen to certain sorts of people. Let's call them 'stuck in The Haçienda' kind of people, UK ravers who never grew beyond that era's acid house scene, will only accept electronic music as it sounded then, and not a month later. Never mind that Brian Dougans and Garry Cobain ventured forth into new, fascinating realms of pure headtrip, mind-fuck album works – it's just not danceable, mate. I sense, though, such folks are forlorn at the coulda'-been, the shoulda'-been of FSOL's potential as studio hounds producing clubbing fodder. They made so many classic, genre-defining tunes at the time, the possibilities of what they might have done after had they scaled back the arty, pretentious aspirations boggles the mind. But nay, the lads from Manchester had grander visions in mind.
And I get it – oh man, do I ever get it. For as much as I've continued enjoying FSOL's work, there's an undeniable addictive simplicity about the tunes on Accelerator that remain effective to this day. Papua New Guinea, obviously, but I've no doubt tracks like the future-shock breaks of Expander, acid-bleep dopeness of Calcium, and blissed-out trancey acid house of Pulse State would be just as effective in any contemporary setting. Hell, I heard 1 In 8 at a music festival this past summer. 1 In 8, one of the 'filler' tracks on this album! Who plays 1 In 8 in this age? A DJ at Basscoast, apparently.
Still, one cannot deny there's some rather dated material on Accelerator too. Despite the smashing opening of Expander (oh, you just know Sasha cribbed that title), Stolen Documents is little more than a peppy transitional track of bleepy sounds and chirpy acid funk. While Others Cry has a little more personality going for it with its Balearic-Jamaican vibe (yes, really), nice for a sway in a hammock or beach lounge. On the other hand though, It's Not My Problem and Moscow have the unenviable task of bookmarking the album centrepiece of Papua New Guinea, and in being such abrasive, boshing tunes, neither are capable of it – you're just waiting for Papua while Problem is playing, and Moscow always feels like a comedown from New Guinea. As for hints at where FSOL would take their music, Central Industrial slows things down and plays up the future-shock scenery full-tilt. Psygnosis Studios were definitely paying attention.
When Accelerator was rolled out for a tenth anniversary re-issue, it included a bonus disc of Papua New Guinea remixes. Most of them take the tune's basic structure and re-purposes them into a particular genre (Satoshi Tomiie does the prog thing, Hybrid do the prog-breaks thing, Oil do the funk-dub thing). The most interesting of the lot are the Simian Mix, where the rock band turns Papua into a bizarre, stoned, jazz-stomp indie hoe-down (I'm sure Gary loved it), and Andrew Weatherall's eleven-minute rub – progressive house of epic proportions, that one!
Wednesday, May 23, 2018
808 State - 88:98 (2018 Update)
Universal Records: 1998
(Click here to bang your head against an impenetrable wall of text)
I've severely lagged in my 808 State gathering. Hell, it's almost shameful it took me until just last year to snag me a copy of at least one proper LP from the Manchester group, any LP. ex:el is a decent jumping on point, I suppose, but I'm certain most acid heads declare their first couple of records - Newbuild and Ninety - the only true 808 State albums you're supposed to have, even if you're not an 808 State fan. “But wait!”, say some, “Don't you dare dismiss their post-ex:el material either, Gorgeous and Don Solaris just as worthy of discussion as any of the band's seminal '80s work.”
Yeah, those too, though considering I've seen Gorgeous in the used-shops on occasion, I do have some suspicions of that one's overall quality. Strikes me as the sort of record that I would have stumbled upon back in my exploratory years, picked up to hear why 808 State were held in such high regard, and came away entertained but unimpressed. But hey, until I actually hear Gorgeous in full, I can't make that claim.
For now, all I have to go on is the fact only three of that album's tracks made the cut on this retrospective, whereas ex:el earned a whopping five out of thirteen potential slots. Not to mention none of the songs got a spiffy '98 update like Pacific and Cubik did. No, wait, this is bad logic on my part! Newbuild got jack-shite representation with 88:98, which follows that it's a completely rubbish outing. Well, we must concede it's the least commercially viable for a compilation such as this, but that's probably why so many True Heads adore that acid excursion compared to what came after. Only way you'd hear Flow Coma on the radio is via pirate options.
I cannot deny having 88:98 makes getting the band's post ex:el material a rather low priority. Yeah, you can argue this compilation also makes having ex:el redundant (or the other way around), but c'mon, tracks like Lift and In Yer Face are worth having as many times as possible! If this is meant to be a gathering of their best material though, then I've already heard all the highlights from Gorgeous and Don Solaris, everything else on those albums 'just for the fans' options. Then again, if I went by that logic, then I'd have assumed I wouldn't need anymore tunes off of ex:el, as there's no possible way the five on 88:98 are the peak. Then I heard ex:el, and realized they could have thrown even more on here than what's offered.
There, that should be enough circular rambling to sate anyone. As should be painfully apparent by now, I really have nothing else to add or update with 88:98. It's still a handy intro to 808 State, but far from a complete story. Besides, there's plenty of streaming options for that now anyway. Wow, the 'retrospective CD' market truly is dead, inn'it?
(Click here to bang your head against an impenetrable wall of text)
I've severely lagged in my 808 State gathering. Hell, it's almost shameful it took me until just last year to snag me a copy of at least one proper LP from the Manchester group, any LP. ex:el is a decent jumping on point, I suppose, but I'm certain most acid heads declare their first couple of records - Newbuild and Ninety - the only true 808 State albums you're supposed to have, even if you're not an 808 State fan. “But wait!”, say some, “Don't you dare dismiss their post-ex:el material either, Gorgeous and Don Solaris just as worthy of discussion as any of the band's seminal '80s work.”
Yeah, those too, though considering I've seen Gorgeous in the used-shops on occasion, I do have some suspicions of that one's overall quality. Strikes me as the sort of record that I would have stumbled upon back in my exploratory years, picked up to hear why 808 State were held in such high regard, and came away entertained but unimpressed. But hey, until I actually hear Gorgeous in full, I can't make that claim.
For now, all I have to go on is the fact only three of that album's tracks made the cut on this retrospective, whereas ex:el earned a whopping five out of thirteen potential slots. Not to mention none of the songs got a spiffy '98 update like Pacific and Cubik did. No, wait, this is bad logic on my part! Newbuild got jack-shite representation with 88:98, which follows that it's a completely rubbish outing. Well, we must concede it's the least commercially viable for a compilation such as this, but that's probably why so many True Heads adore that acid excursion compared to what came after. Only way you'd hear Flow Coma on the radio is via pirate options.
I cannot deny having 88:98 makes getting the band's post ex:el material a rather low priority. Yeah, you can argue this compilation also makes having ex:el redundant (or the other way around), but c'mon, tracks like Lift and In Yer Face are worth having as many times as possible! If this is meant to be a gathering of their best material though, then I've already heard all the highlights from Gorgeous and Don Solaris, everything else on those albums 'just for the fans' options. Then again, if I went by that logic, then I'd have assumed I wouldn't need anymore tunes off of ex:el, as there's no possible way the five on 88:98 are the peak. Then I heard ex:el, and realized they could have thrown even more on here than what's offered.
There, that should be enough circular rambling to sate anyone. As should be painfully apparent by now, I really have nothing else to add or update with 88:98. It's still a handy intro to 808 State, but far from a complete story. Besides, there's plenty of streaming options for that now anyway. Wow, the 'retrospective CD' market truly is dead, inn'it?
Tuesday, February 27, 2018
Various - X-Mix: Hardfloor - Jack The Box
Stud!o K7: 1998
This is the tenth and final volume of X-Mix, ending on a surprisingly retro note. However, Stud!o K7 had a new-fangled DJ mix series gaining steam - DJ-Kicks - and the market for trippy home videos full of tekno musiks was on the wane by the end of the century. Like, who'd have ever guessed ravers could actually watch such weirdness on regular TV channels? No, best to wrap things up, maybe initiate a label rebrand in the process, and let X-Mix slowly recede from the collective memory as but a quirky artifact of '90s nostalgia. Makes springing for the DVD editions that much more tempting, right?
If tapping German acid masters Hardfloor for a throwback acid house set wasn't odd enough, the accompanying video is remarkably retro too. For sure there's still computer editing and CGI trickery involved, but more than ever before, the studios utilized ample amounts of 9mm film footage, splicing, cutting, and layering with effects to such a degree that... well, they honestly look like the sort of underground visuals you'd often see at clubs at the time, and well into the here and now. Again, it makes sense, the CGI rendering of older X-Mix videos easily capable with computer screen-savers by '98. Oh, you know if you went to budget party at the time, you'd find a Windows Visualizer projection on a blank wall. Unearthing '70s Hong Kong movie footage, however, and syncing it to acid house? Now that's art!
One thing I wonder, though, is whether going old-school was Hardfloor and !K7's intent with the final X-Mix all along. Like, I've no doubt the label wanted misters Bondzio and Zenker regardless, but might have they been expecting a more modern take on acid? I'm not even sure they could have delivered on that front, most acid of the day the hard, bangin', London Tekno Crew stuff, which Hardloor generally eschewed. Acid house though, in all its original, late '80s form, was basically dead, and at least another half-decade away from any sort of retro revival.
So aside from a few newer cuts of their own (because Hardfloor wasn't a thing yet in '88), our intrepid acid duo break out their crates of all the acid alum. Phuture is here! Fast Eddie is here! Adonis is here! Sleezy D. is here! Armando is here! Steve Pointexter is here! Dudes who like 'Jack' are here! Oh, sweet, even Bam Bam's Where Is Your Child? is here, a right-proper mood setting in the early going of this set.
Folks tend to forget just how weird and evil this music sounded when it first emerged, what with ever weirder and eviler music emerging throughout the '90s. That Bam Bam cut though, it never fails to send the creeps sweeping through your spinal column. I can only imagine what actual parents thought of it then. Or, heck, even now! Forget the obnoxious noise of brostep, Where Is Your Child? will still panic conservative sorts.
This is the tenth and final volume of X-Mix, ending on a surprisingly retro note. However, Stud!o K7 had a new-fangled DJ mix series gaining steam - DJ-Kicks - and the market for trippy home videos full of tekno musiks was on the wane by the end of the century. Like, who'd have ever guessed ravers could actually watch such weirdness on regular TV channels? No, best to wrap things up, maybe initiate a label rebrand in the process, and let X-Mix slowly recede from the collective memory as but a quirky artifact of '90s nostalgia. Makes springing for the DVD editions that much more tempting, right?
If tapping German acid masters Hardfloor for a throwback acid house set wasn't odd enough, the accompanying video is remarkably retro too. For sure there's still computer editing and CGI trickery involved, but more than ever before, the studios utilized ample amounts of 9mm film footage, splicing, cutting, and layering with effects to such a degree that... well, they honestly look like the sort of underground visuals you'd often see at clubs at the time, and well into the here and now. Again, it makes sense, the CGI rendering of older X-Mix videos easily capable with computer screen-savers by '98. Oh, you know if you went to budget party at the time, you'd find a Windows Visualizer projection on a blank wall. Unearthing '70s Hong Kong movie footage, however, and syncing it to acid house? Now that's art!
One thing I wonder, though, is whether going old-school was Hardfloor and !K7's intent with the final X-Mix all along. Like, I've no doubt the label wanted misters Bondzio and Zenker regardless, but might have they been expecting a more modern take on acid? I'm not even sure they could have delivered on that front, most acid of the day the hard, bangin', London Tekno Crew stuff, which Hardloor generally eschewed. Acid house though, in all its original, late '80s form, was basically dead, and at least another half-decade away from any sort of retro revival.
So aside from a few newer cuts of their own (because Hardfloor wasn't a thing yet in '88), our intrepid acid duo break out their crates of all the acid alum. Phuture is here! Fast Eddie is here! Adonis is here! Sleezy D. is here! Armando is here! Steve Pointexter is here! Dudes who like 'Jack' are here! Oh, sweet, even Bam Bam's Where Is Your Child? is here, a right-proper mood setting in the early going of this set.
Folks tend to forget just how weird and evil this music sounded when it first emerged, what with ever weirder and eviler music emerging throughout the '90s. That Bam Bam cut though, it never fails to send the creeps sweeping through your spinal column. I can only imagine what actual parents thought of it then. Or, heck, even now! Forget the obnoxious noise of brostep, Where Is Your Child? will still panic conservative sorts.
Sunday, February 25, 2018
Various - X-Mix-3: Richie Hawtin & John Acquaviva - Enter: Digital Reality
Stud!o K7: 1994
No longer satisfied with one DJ for their X-Mix series, Stud!o K7 settled for nothing less than a tag-team set for volume three. Or they had no choice in the matter, Richie Hawtin and John Acquaviva a package deal at this stage of their careers. If you want one of these techno dons, you gotta' book the other – a brilliant marketing tactic that carries on to this day by many scene-whoring sorts (Steve Angello & Sebatstian Ingrosso, Excision & Datsik, Dimitri Vegas & that guy who shouts shit). Still, though one would go onto mega-stardom while the other remained a 'DJ's DJ', at this point you couldn't think of one without the other, their Plus 8 print one of the hottest labels to emerge out ofWindsor Detroit-region in the early '90s.
It's remarkable that for a German label, !K7 didn't really rely on their local DJs in this series. Yeah, Paul van Dyk provided the MFS-showcase kick-off, but his pure trance set's now regarded as an outlier in the X-Mix canon. DJ Hell and Hardfloor would get mixes down the road, but !K7 did their homework in scouring the globe for techno talent in need of a debut commercial set for their discographies. That... was among their manifestos, right? It's definitely a trend they held up for most of these releases. As an aside, I find it amusing that, for as many Genre Defining, Trend Setting, Forward-Thinking, and Very Important mix CDs Richie Hawtin would put out over the years, his first mix CD was in service of old-school CGI rave videos.
But first, we're treated to Mr. Acquaviva's mix, featuring tunes from Speedy J, Hardfloor, Laurent Garnier, and L.S.G. Whoa, wait, what's Blueprint doing here? Aren't these guys techno through and through? Maybe Richie is, but John's often more adventurous with his sets, and X-Mix-3 is no exception. Despite burning through a half-dozen tracks in around twenty minutes, the opening portions of his mix has a surprising prog-house vibe going for it. Obviously not proper prog or the like, but techno and acid house that's rather groovy, chill, and spaced-out for the time. Can't deny being a little put off hearing such blatant sampling of Steve Hillage's Garden Of Paradise in Orson Karte's Metamorphosis though.
Eventually John settles into the sort of acid techno you'd expect from the owners of Plus 8, building things to a nifty crescendo of Hardfloor's Alternative. When Hawtin takes over, he can't help but use an ambient interlude bridging things together, a small letdown coming off the acid high of Hardfloor, but Hawtin's gotta' start fresh for his unfussy minimalism.
His set runs shorter than Acquaviva's, and does about as you'd expect of a mid-'90s Hawtin rinse-out (just tunes, none of that micro-edit mixing). Spastik's here, of course, as is Spaz, his LFO collab' Loop, a remix he did on Teste's The Wipe, plus cuts from Lemon8, Peelo, and Speedy J. Man, did techno dudes ever love them some J' back then.
No longer satisfied with one DJ for their X-Mix series, Stud!o K7 settled for nothing less than a tag-team set for volume three. Or they had no choice in the matter, Richie Hawtin and John Acquaviva a package deal at this stage of their careers. If you want one of these techno dons, you gotta' book the other – a brilliant marketing tactic that carries on to this day by many scene-whoring sorts (Steve Angello & Sebatstian Ingrosso, Excision & Datsik, Dimitri Vegas & that guy who shouts shit). Still, though one would go onto mega-stardom while the other remained a 'DJ's DJ', at this point you couldn't think of one without the other, their Plus 8 print one of the hottest labels to emerge out of
It's remarkable that for a German label, !K7 didn't really rely on their local DJs in this series. Yeah, Paul van Dyk provided the MFS-showcase kick-off, but his pure trance set's now regarded as an outlier in the X-Mix canon. DJ Hell and Hardfloor would get mixes down the road, but !K7 did their homework in scouring the globe for techno talent in need of a debut commercial set for their discographies. That... was among their manifestos, right? It's definitely a trend they held up for most of these releases. As an aside, I find it amusing that, for as many Genre Defining, Trend Setting, Forward-Thinking, and Very Important mix CDs Richie Hawtin would put out over the years, his first mix CD was in service of old-school CGI rave videos.
But first, we're treated to Mr. Acquaviva's mix, featuring tunes from Speedy J, Hardfloor, Laurent Garnier, and L.S.G. Whoa, wait, what's Blueprint doing here? Aren't these guys techno through and through? Maybe Richie is, but John's often more adventurous with his sets, and X-Mix-3 is no exception. Despite burning through a half-dozen tracks in around twenty minutes, the opening portions of his mix has a surprising prog-house vibe going for it. Obviously not proper prog or the like, but techno and acid house that's rather groovy, chill, and spaced-out for the time. Can't deny being a little put off hearing such blatant sampling of Steve Hillage's Garden Of Paradise in Orson Karte's Metamorphosis though.
Eventually John settles into the sort of acid techno you'd expect from the owners of Plus 8, building things to a nifty crescendo of Hardfloor's Alternative. When Hawtin takes over, he can't help but use an ambient interlude bridging things together, a small letdown coming off the acid high of Hardfloor, but Hawtin's gotta' start fresh for his unfussy minimalism.
His set runs shorter than Acquaviva's, and does about as you'd expect of a mid-'90s Hawtin rinse-out (just tunes, none of that micro-edit mixing). Spastik's here, of course, as is Spaz, his LFO collab' Loop, a remix he did on Teste's The Wipe, plus cuts from Lemon8, Peelo, and Speedy J. Man, did techno dudes ever love them some J' back then.
Friday, February 2, 2018
Various - United DJs Of America, Vol. 3: Josh Wink - Philadelphia, PA
DMC America: 1995
It's been a while since I did a “DJ mix series retrospective on the cheap”, and if there's one that could use another look while being affordable, it's United DJs Of America. While Europe and especially the U.K. were absolutely gung-ho about their vinyl spinners, many DJs in America struggled to gain much attention outside clubbing hotbeds, save the occasional crossover single they produced on the side. DMC figured they could make bank highlighting some of America's most prominent jocks, and started the series up in 1994.
Hot off the heels of his breakout acid anthem of Higher State Of Consciousness, DMC tapped Josh Wink for the series' third entry. Heh, no, that wasn't the sole reason. The whole point of United DJs Of America was to shed some shine on locales beyond the famed clubbing hotbeds of New York City, Chicago, South Florida, and San Francisco (Detroit was more about warehouses than clubs), and Philadelphia often went overlooked. However, DJ Jazzy Jeff wasn't part of the house and techno scene, ?uestlove was busy doing his own thing with The Roots, and Diplo was an unknown teen in '95. If any Philly jock was to get the greenlight here, Josh Wink was the man, a well-established veteran with discerning heads even before hitting big with Higher State.
United DJs Of America was Wink's first commercial DJ mix, and I suspect he was still in the feeling-out process of how to make one. It starts fine enough with some bumpin' house action from Murk and Madd African, but soon gives way to the sort of minimal techno and house that Wink made his name on, including his own pre-Higher State cut How's The Music. It's all very heady music, and I'm sure worked wonderfully in dark, sweaty clubs back when, but does it ever drag listening to it on the homefront. Plus, I'm kinda' worn out on DBX' Losing Control now, thanks.
But we all know ol' Josh for the acid, and the back end of his set comes correct with the tweakin' 303 action, tracks like Cappio Bros.' Caffeine 4 Daze?, Firefly's Supernatural, and ten-plus minutes of Tata Box Inhibitors' Plasmids doing the damage proper-like. A strong finish, though a rather tedious trip to get there.
I can't do a DJ mix series retrospective without some gimmick, so what better way to celebrate each selected city than having a guest review spot by someone famous from each location. And I can't think of anyone more famous from Philly than Rocky Balboa! What, I didn't say they had to be real.
Rocky: A'yo, if DJing is something Josh wanna do, and is something Josh gotta' do, then Josh will do it, ya' know? Remember, big arms can move rocks, but big beats can move mountains. Ya' know, they always say if you live in one place long enough, you are that place, and Josh, he's Philly, through an' through. He's a contender that refused to give up.
It's been a while since I did a “DJ mix series retrospective on the cheap”, and if there's one that could use another look while being affordable, it's United DJs Of America. While Europe and especially the U.K. were absolutely gung-ho about their vinyl spinners, many DJs in America struggled to gain much attention outside clubbing hotbeds, save the occasional crossover single they produced on the side. DMC figured they could make bank highlighting some of America's most prominent jocks, and started the series up in 1994.
Hot off the heels of his breakout acid anthem of Higher State Of Consciousness, DMC tapped Josh Wink for the series' third entry. Heh, no, that wasn't the sole reason. The whole point of United DJs Of America was to shed some shine on locales beyond the famed clubbing hotbeds of New York City, Chicago, South Florida, and San Francisco (Detroit was more about warehouses than clubs), and Philadelphia often went overlooked. However, DJ Jazzy Jeff wasn't part of the house and techno scene, ?uestlove was busy doing his own thing with The Roots, and Diplo was an unknown teen in '95. If any Philly jock was to get the greenlight here, Josh Wink was the man, a well-established veteran with discerning heads even before hitting big with Higher State.
United DJs Of America was Wink's first commercial DJ mix, and I suspect he was still in the feeling-out process of how to make one. It starts fine enough with some bumpin' house action from Murk and Madd African, but soon gives way to the sort of minimal techno and house that Wink made his name on, including his own pre-Higher State cut How's The Music. It's all very heady music, and I'm sure worked wonderfully in dark, sweaty clubs back when, but does it ever drag listening to it on the homefront. Plus, I'm kinda' worn out on DBX' Losing Control now, thanks.
But we all know ol' Josh for the acid, and the back end of his set comes correct with the tweakin' 303 action, tracks like Cappio Bros.' Caffeine 4 Daze?, Firefly's Supernatural, and ten-plus minutes of Tata Box Inhibitors' Plasmids doing the damage proper-like. A strong finish, though a rather tedious trip to get there.
I can't do a DJ mix series retrospective without some gimmick, so what better way to celebrate each selected city than having a guest review spot by someone famous from each location. And I can't think of anyone more famous from Philly than Rocky Balboa! What, I didn't say they had to be real.
Rocky: A'yo, if DJing is something Josh wanna do, and is something Josh gotta' do, then Josh will do it, ya' know? Remember, big arms can move rocks, but big beats can move mountains. Ya' know, they always say if you live in one place long enough, you are that place, and Josh, he's Philly, through an' through. He's a contender that refused to give up.
Tuesday, September 20, 2016
Claptone - Charmer
Different: 2015
DJs and producers hiding behind masked gimmicks are far from a unique thing in dance music. And I’ve gone on record as being a fan of the concept, even when I’m not a fan of the music they make and perform (hi, deadmau5!). It adds a saucy bit of spice to club culture, where the mantra of most scenes is to lose yourself in a sea of like-minded yet equally anonymous individuals. Having some bloke with a cool t-shirt and nice haircut bobbing behind the DJ’s deck as all lights flash upon him sullies that. If you must make your playing of other people’s music the focus of the night, why not add to the atmosphere with your own mask or costume? Such is the manifesto Claptone preaches, always donning a golden-beaked harlequin facade, a rather unsettling sight given such masks’ reputation as adorned by plague doctors.
Fortunately for Claptone, he’s more than just his gimmick, one of the surprising new stars in an overstuffed house scene. Would he have gotten to this point without the mask? Eh, probably, though you cannot deny it gave him a substantial boost. Groovy, soulful gems like No Eyes, Puppet Theatre, and Dear Life were gonna’ get repped by all the very important deep house jocks regardless, but as performed by a DJ committed to his act? Now that’s just mint, m’boy! And despite the rising fame, Claptone’s done an admirable job maintaining his obscurity. Still, I’m certain the Google return for “who is Claptone” is accurate, if only because the beard matches. The Berlin hometown is also a solid clue in this Police Squad level of sleuthing.
Anyhow, Charmer, the debut album from Claptone. The first thing that struck me while listening to it is how much it feels indebted to Hercules & Love Affair. Yeah, ‘member when vintage deep house last had a big resurgence, some eight years past? It didn’t linger (for reasons), but if it had, the music on this record is likely the sound that would have carried on in its stead. Taking garage and soul of days long past and giving it a modern sheen, all the while throwing in an assortment of indie crooners famed and obscure - sounds familiar, don't it. Singers included here are Jay-Jay Johanson, Nathan Nicholson, Young Galaxy, Peter Bjorn, Jaw, and Alec Ounsworth of Clap Your Hands Say Yeah (one of the most insufferable indie rock band names ever). And while the deep end of house generally rules Charmer, Claptone finds room for a few bumpin’ acid cuts too (The Music Got me, Party Girl, Your Body), plus a little Latin vibe in Ghost.
Charmer is definitely an album that lives up to its name, always class and never overselling itself. Even the one major complaint one can levy against it – that all the rhythms essentially boil down to a stock thunk-clap-thunk-clap template – are overcome by Claptone’s sense of songcraft. Easily one of the best deep house records of the past year, this.
DJs and producers hiding behind masked gimmicks are far from a unique thing in dance music. And I’ve gone on record as being a fan of the concept, even when I’m not a fan of the music they make and perform (hi, deadmau5!). It adds a saucy bit of spice to club culture, where the mantra of most scenes is to lose yourself in a sea of like-minded yet equally anonymous individuals. Having some bloke with a cool t-shirt and nice haircut bobbing behind the DJ’s deck as all lights flash upon him sullies that. If you must make your playing of other people’s music the focus of the night, why not add to the atmosphere with your own mask or costume? Such is the manifesto Claptone preaches, always donning a golden-beaked harlequin facade, a rather unsettling sight given such masks’ reputation as adorned by plague doctors.
Fortunately for Claptone, he’s more than just his gimmick, one of the surprising new stars in an overstuffed house scene. Would he have gotten to this point without the mask? Eh, probably, though you cannot deny it gave him a substantial boost. Groovy, soulful gems like No Eyes, Puppet Theatre, and Dear Life were gonna’ get repped by all the very important deep house jocks regardless, but as performed by a DJ committed to his act? Now that’s just mint, m’boy! And despite the rising fame, Claptone’s done an admirable job maintaining his obscurity. Still, I’m certain the Google return for “who is Claptone” is accurate, if only because the beard matches. The Berlin hometown is also a solid clue in this Police Squad level of sleuthing.
Anyhow, Charmer, the debut album from Claptone. The first thing that struck me while listening to it is how much it feels indebted to Hercules & Love Affair. Yeah, ‘member when vintage deep house last had a big resurgence, some eight years past? It didn’t linger (for reasons), but if it had, the music on this record is likely the sound that would have carried on in its stead. Taking garage and soul of days long past and giving it a modern sheen, all the while throwing in an assortment of indie crooners famed and obscure - sounds familiar, don't it. Singers included here are Jay-Jay Johanson, Nathan Nicholson, Young Galaxy, Peter Bjorn, Jaw, and Alec Ounsworth of Clap Your Hands Say Yeah (one of the most insufferable indie rock band names ever). And while the deep end of house generally rules Charmer, Claptone finds room for a few bumpin’ acid cuts too (The Music Got me, Party Girl, Your Body), plus a little Latin vibe in Ghost.
Charmer is definitely an album that lives up to its name, always class and never overselling itself. Even the one major complaint one can levy against it – that all the rhythms essentially boil down to a stock thunk-clap-thunk-clap template – are overcome by Claptone’s sense of songcraft. Easily one of the best deep house records of the past year, this.
Wednesday, February 17, 2016
Tiga - Sexor
[PIAS] Recordings: 2006
Confessional 10, sub-admittance 32: I had serious doubts over this album. Me, the guy who’d been flying the Tiga flag since I first took the Turbo plunge, who preached the Sontag gospel when every opportunity presented itself. For you see, I was won over by his charms and talents as a tastemaker, plus his impeccable cover artistry. Nearly everything he’d put out in his singing career was his take on other people’s songs, and he was darn good at it too. Still, would folks really be enthralled by a full LP of covers? Not terribly likely, but nor had Tiga at any point prior established himself as someone capable of writing original tunes either. With these factors bearing on my mind, I skipped out on Sexor, letting Tiga’s chips fall where they may as he set out on conquering Canadian content airwaves. Of course things turned out perfectly hunky-dory for the man from Montreal, so why did it take me nearly a got’dang decade to finally get this album into my collection? I… really have no answers for that. File this one with Dig Your Own Hole and “Anything Orbital” under the ‘Sykonee’s Unforgivable Omissions’ header.
Okay, one reason I wasn’t so quick to jump into the big bed of Sexor was due to how omnipresent it was within my social circle. I didn’t need to get it for myself when everyone else was jamming to Pleasure From The Bass. It seemed like the (Far From) Home video was on constant rotation at every house gathering I went to (that walk!). And damn straight folks couldn’t get enough of Burning Down The House, since everything Talking Heads was super cool again. Getting his David Byrne on aside, Tiga choice of covers sure came from unexpected places. There’s an acid house rub of Public Enemy’s Louder Than A Bomb, and a slinky electro-ballad of Nine Inch Nails’ way-early single Down In It. Not the first time Tiga’d done covers of hip-hop or industrial, but considering he made his name in the synth-pop market, it’s a bold move nonetheless. So’s all the acid house and techno on this album, come to think of it.
For sure he gets some synth-pop in with another Jori Hulkkonen team-up winner (High School), but much of the co-production on Sexor is divided between Jesper Dahlbäck (aka: the Good Dahlbäck) and Soulwax, whom were at the height of their star power. The first half is mostly dominated by Jesper’s groovin’ acid funk and downtempo cuts (plus an industrial freak-out in Who’s That?), while Soulwax bring the noisy electro anthems to the their works. All through it all, Tiga carries the tunes with all the swagger and suave finesse of a singer who’s fully confident in his stride. The lyrics are generally simplistic, but they carry such sincerity and charisma you can’t help but bobble your head along (or… that walk!). Throw in a few introspective moments, and you’ve a pop record that holds strong ten years on.
Confessional 10, sub-admittance 32: I had serious doubts over this album. Me, the guy who’d been flying the Tiga flag since I first took the Turbo plunge, who preached the Sontag gospel when every opportunity presented itself. For you see, I was won over by his charms and talents as a tastemaker, plus his impeccable cover artistry. Nearly everything he’d put out in his singing career was his take on other people’s songs, and he was darn good at it too. Still, would folks really be enthralled by a full LP of covers? Not terribly likely, but nor had Tiga at any point prior established himself as someone capable of writing original tunes either. With these factors bearing on my mind, I skipped out on Sexor, letting Tiga’s chips fall where they may as he set out on conquering Canadian content airwaves. Of course things turned out perfectly hunky-dory for the man from Montreal, so why did it take me nearly a got’dang decade to finally get this album into my collection? I… really have no answers for that. File this one with Dig Your Own Hole and “Anything Orbital” under the ‘Sykonee’s Unforgivable Omissions’ header.
Okay, one reason I wasn’t so quick to jump into the big bed of Sexor was due to how omnipresent it was within my social circle. I didn’t need to get it for myself when everyone else was jamming to Pleasure From The Bass. It seemed like the (Far From) Home video was on constant rotation at every house gathering I went to (that walk!). And damn straight folks couldn’t get enough of Burning Down The House, since everything Talking Heads was super cool again. Getting his David Byrne on aside, Tiga choice of covers sure came from unexpected places. There’s an acid house rub of Public Enemy’s Louder Than A Bomb, and a slinky electro-ballad of Nine Inch Nails’ way-early single Down In It. Not the first time Tiga’d done covers of hip-hop or industrial, but considering he made his name in the synth-pop market, it’s a bold move nonetheless. So’s all the acid house and techno on this album, come to think of it.
For sure he gets some synth-pop in with another Jori Hulkkonen team-up winner (High School), but much of the co-production on Sexor is divided between Jesper Dahlbäck (aka: the Good Dahlbäck) and Soulwax, whom were at the height of their star power. The first half is mostly dominated by Jesper’s groovin’ acid funk and downtempo cuts (plus an industrial freak-out in Who’s That?), while Soulwax bring the noisy electro anthems to the their works. All through it all, Tiga carries the tunes with all the swagger and suave finesse of a singer who’s fully confident in his stride. The lyrics are generally simplistic, but they carry such sincerity and charisma you can’t help but bobble your head along (or… that walk!). Throw in a few introspective moments, and you’ve a pop record that holds strong ten years on.
Labels:
2006,
acid house,
album,
electro,
PIAS Recordings,
synth pop,
techno,
Tiga
Monday, August 31, 2015
Tiga - Non Stop
Different: 2012
Hard to believe it was a full decade before Tiga released another standalone mix CD onto the market. After a trio of solid sets on his own label Turbo, and a stellar offering to DJ-Kicks, the Montreal native seemed primed to become one of the top jocks on the market. Then he discovered an innate talent at producing pseudo-pop music for a savvy clubbing audience, and he's hardly looked back since. He still did the DJ circuit, but it wasn't where his hype focused on, letting his artist albums do the talking for him instead. Thus, the only mix CD to his name between DJ-Kicks and this is a double-disc joint effort with Adrian Thomas called inthemix.05, which I assume is associated with the Australian website of the same name? Doesn't matter, since it's essentially a forgotten set compared to American Gigolo and Montreal Mix Sessions, and way overshadowed by all the quirky singles he was putting out during the mid-'00s.
Back to the heavyweight CD-mix jam we've ended up though, which can only signify one thing for Mr. Sontag: career reinvention! C'mon, it's how this story always goes. Trendy tastemaker makes mark on club scene with definitive DJ mixes, sustains a lengthy career with the sound, sound falls out of favor, jump on a fresher sound to stay relevant. Or, if incredibly uncanny, manages to create a new sound all on his/her own, but I doubt even Tiga could do that. Nay, he's instead fallen in with some of the biggest festival headliners around these last few years, like Boys Noize and the Mad Decent posse. Wait... he already was pals with them, back when he was the star and they were getting their breaks. Okay, never mind, this theory's the bunk.
In reality, Non Stop is nothing less than a statement on where Tiga's musical influences currently resides. Not a terribly adventurous concept then, but considering it's been such a long time since he gave us anything in a physical form, I'll take it. Like many of his sets from the past, Mr. Sontag is fearless in throwing various genres and styles into his mix, often using transitional snippets and blending tracks together for mash-ups ranging from cheeky to thrilling. Past attempts were often rather rough though, vinyl technology just not up to snuff in providing studio-perfect blends. Not so with Non Stop, every mix and layering sounding effortless and smooth – thanks, studio hands! Some might quibble it detracts from the sort of spontaneous, on-the-fly set Tiga's been known for, but I contend such tinkering only perfects the musical journey he's always taken folks on.
The music itself runs the gamut from warped AFX acid to bumpin’ Adam Marshall tech-house to tribal Lula Circus funk to thumpin’ Blawan techno, and proto-trance Homeboy-Hippie-FunkiDredd old-school rave. Yes, in that order, with all the gradual changes in tempo and genres that comes with it. Non Stop is a fun mix, all said, but then you’d expect nothing less from Tiga.
Hard to believe it was a full decade before Tiga released another standalone mix CD onto the market. After a trio of solid sets on his own label Turbo, and a stellar offering to DJ-Kicks, the Montreal native seemed primed to become one of the top jocks on the market. Then he discovered an innate talent at producing pseudo-pop music for a savvy clubbing audience, and he's hardly looked back since. He still did the DJ circuit, but it wasn't where his hype focused on, letting his artist albums do the talking for him instead. Thus, the only mix CD to his name between DJ-Kicks and this is a double-disc joint effort with Adrian Thomas called inthemix.05, which I assume is associated with the Australian website of the same name? Doesn't matter, since it's essentially a forgotten set compared to American Gigolo and Montreal Mix Sessions, and way overshadowed by all the quirky singles he was putting out during the mid-'00s.
Back to the heavyweight CD-mix jam we've ended up though, which can only signify one thing for Mr. Sontag: career reinvention! C'mon, it's how this story always goes. Trendy tastemaker makes mark on club scene with definitive DJ mixes, sustains a lengthy career with the sound, sound falls out of favor, jump on a fresher sound to stay relevant. Or, if incredibly uncanny, manages to create a new sound all on his/her own, but I doubt even Tiga could do that. Nay, he's instead fallen in with some of the biggest festival headliners around these last few years, like Boys Noize and the Mad Decent posse. Wait... he already was pals with them, back when he was the star and they were getting their breaks. Okay, never mind, this theory's the bunk.
In reality, Non Stop is nothing less than a statement on where Tiga's musical influences currently resides. Not a terribly adventurous concept then, but considering it's been such a long time since he gave us anything in a physical form, I'll take it. Like many of his sets from the past, Mr. Sontag is fearless in throwing various genres and styles into his mix, often using transitional snippets and blending tracks together for mash-ups ranging from cheeky to thrilling. Past attempts were often rather rough though, vinyl technology just not up to snuff in providing studio-perfect blends. Not so with Non Stop, every mix and layering sounding effortless and smooth – thanks, studio hands! Some might quibble it detracts from the sort of spontaneous, on-the-fly set Tiga's been known for, but I contend such tinkering only perfects the musical journey he's always taken folks on.
The music itself runs the gamut from warped AFX acid to bumpin’ Adam Marshall tech-house to tribal Lula Circus funk to thumpin’ Blawan techno, and proto-trance Homeboy-Hippie-FunkiDredd old-school rave. Yes, in that order, with all the gradual changes in tempo and genres that comes with it. Non Stop is a fun mix, all said, but then you’d expect nothing less from Tiga.
Labels:
2012,
acid,
acid house,
Different,
DJ Mix,
funk,
old school rave,
tech-house,
techno,
Tiga,
tribal
Saturday, May 17, 2014
Various - fabric 33: Ralph Lawson
Fabric: 2007
*cover art brought to you by fabric's “Tacky Phifties Phamily Photos” period*
Hey, this is the first Fabric cover series I've got a complete set of! Yay, triumphant achievement unlocked, and all that rot. Okay, it’s not that impressive compared to those who've subscribed to the club’s CD, but it's not like I'm specifically gathering them for this reason. It's just a coincidence that folks were eagerly offloading fabrics 31, 32, and 33 at whatever price they could get, even a single penny. I can understand doing so for Marco Carola and Luke Slater's mixes, but Ralph Lawson? This one isn't that bad. Kind of run-of-the-mill, sure, but nothing someone should be embarrassed to own.
First, this Ralph Lawson guy. He's kind of familiar to me, though not in that Carola way. It's likely from his 20:20 Vision/Soundsystem work, which I've seen crop up on the occasional tech-house collection. Also, he has a warmer sound in his productions, with a bit of tribal influence too, making him a favorite for prog DJs tracklisting their early portions of their sets. At least, that was the case in during the first-half of the '00s, before everything went glitchy, minimal, and doff in the tech-house scene. As such, fabric 33 comes off rather retro for a 2007 CD, but I'm not gonna’ complain – I'll take early-aught prog over minimal deep-tech anytime. Not that there’s anything terribly prog in this mix, but it sure sounds proggier than John Digweed’s fabric set.
Ralphbert Lawson warms things up on the deeper side of house music, as most DJs of this sort are wont to do. None of that American or German styled deepness though, this be the warm, dubby, cinematic stylee the Western edges of Europe prefer (and me!). Then there’s a little tribal funk (Dennis Ferrer’s Transitions), a plonk of minimal (Badmouth’s Anymore (Phonique Remix); Marc Romboy’s Jigsaw (John Tejada Remix)), a touch of electro (Swag’s Hot Gloves (Bakazou Mix)), a dash of Detroit (Will Saul’s Pause; Nick Chacona’s The “Right” Wing), a drop of acid (Joakim’s Drum Trax (Beats)), a flaking of disco (Justus Köhncke’s Advance), and- why does writing the music out this way seem so familiar?
I honestly have little more I can detail about Ralphbert Paulson’s CD. It flows well, spices things up without being obnoxious about it, and leaves you with pleasant fuzzies afterwards. It’s about as serviceable a tech-house set as you can hope for. Damn it, why couldn’t it have outright sucked? Those are easier to write about. Eh, the being ‘totally wicked awesome’ option? Haha, this is tech-house, the most functional dance music around. Anything more exciting almost always ends up in another genre category by default. There’s absolutely nothing wrong with this sort of music for a dancefloor or even as a listening experience – it’s just terribly boring music to write about.
Was This Worth The Pennies Paid For It?
Sure, I guess. Hey, at least I finished a cover art series for the first time.
*cover art brought to you by fabric's “Tacky Phifties Phamily Photos” period*
Hey, this is the first Fabric cover series I've got a complete set of! Yay, triumphant achievement unlocked, and all that rot. Okay, it’s not that impressive compared to those who've subscribed to the club’s CD, but it's not like I'm specifically gathering them for this reason. It's just a coincidence that folks were eagerly offloading fabrics 31, 32, and 33 at whatever price they could get, even a single penny. I can understand doing so for Marco Carola and Luke Slater's mixes, but Ralph Lawson? This one isn't that bad. Kind of run-of-the-mill, sure, but nothing someone should be embarrassed to own.
First, this Ralph Lawson guy. He's kind of familiar to me, though not in that Carola way. It's likely from his 20:20 Vision/Soundsystem work, which I've seen crop up on the occasional tech-house collection. Also, he has a warmer sound in his productions, with a bit of tribal influence too, making him a favorite for prog DJs tracklisting their early portions of their sets. At least, that was the case in during the first-half of the '00s, before everything went glitchy, minimal, and doff in the tech-house scene. As such, fabric 33 comes off rather retro for a 2007 CD, but I'm not gonna’ complain – I'll take early-aught prog over minimal deep-tech anytime. Not that there’s anything terribly prog in this mix, but it sure sounds proggier than John Digweed’s fabric set.
Ralphbert Lawson warms things up on the deeper side of house music, as most DJs of this sort are wont to do. None of that American or German styled deepness though, this be the warm, dubby, cinematic stylee the Western edges of Europe prefer (and me!). Then there’s a little tribal funk (Dennis Ferrer’s Transitions), a plonk of minimal (Badmouth’s Anymore (Phonique Remix); Marc Romboy’s Jigsaw (John Tejada Remix)), a touch of electro (Swag’s Hot Gloves (Bakazou Mix)), a dash of Detroit (Will Saul’s Pause; Nick Chacona’s The “Right” Wing), a drop of acid (Joakim’s Drum Trax (Beats)), a flaking of disco (Justus Köhncke’s Advance), and- why does writing the music out this way seem so familiar?
I honestly have little more I can detail about Ralphbert Paulson’s CD. It flows well, spices things up without being obnoxious about it, and leaves you with pleasant fuzzies afterwards. It’s about as serviceable a tech-house set as you can hope for. Damn it, why couldn’t it have outright sucked? Those are easier to write about. Eh, the being ‘totally wicked awesome’ option? Haha, this is tech-house, the most functional dance music around. Anything more exciting almost always ends up in another genre category by default. There’s absolutely nothing wrong with this sort of music for a dancefloor or even as a listening experience – it’s just terribly boring music to write about.
Was This Worth The Pennies Paid For It?
Sure, I guess. Hey, at least I finished a cover art series for the first time.
Sunday, May 11, 2014
Various - fabric 21: DJ Heather
Fabric: 2005
*cover art brought to you by fabric's “Negative Suburban Life” period*
Is DJ Heather the first female entrant in either of Fabric's series? *backchecks* Huh, sure looks like it. That's surprising, taking so long for a member of the fairer sex to finally get the nod. I know the male-to-female DJ ratio is wildly out of whack, but surely Fabric could have offered it to someone sooner. Aside from those ladies who did get fabrics later (Ellen Allien, Magda), there's... um, hmm.
Annie Mac possibly could have done a FabricLive before, but her career only truly took off shortly after this. For a bold option, Mary Anne Hobbs might have worked, but few knew what to make of dubstep at this point in FabricLive’s lifetime. As for the main series, for sure fabric wouldn't bother with hard house gals like DJ Irene or the Tidy Girls, nor prog-leaning dames like Sandra Collins. Uh, help me out here, UK: were there any notable female DJs that could have broken the Fabric gender barrier earlier? I mean, it doesn't look good on your part that they turned to a Chicago resident when they finally did.
Not that Ms. Robinson isn't deserving of such an accolade, having already earned her house-rinsing stripes in the good ol' U.S. Of A. Her birth land may be the East Coast, but her sound bumps West Coast, often held in standing with another Chicago transplant, Mark Farina. Shortly after releasing fabric 21, she signed with San Francisco label OM Records, a label any sort of proper house-head should be familiar with. Sunny, jazzy sounds on the deeper side of house dominate their roster, and DJ Heather’s no exception.
It’s funny that much of the music on fabric 21 was what many considered deep house around the time, the San Francisco sound so influential abroad. That would change within a year thanks to the Germans, perhaps due to a desire for something fresher sounding than the usual funky American soul. I’ve said plenty before finding house mix CDs of this sort wasn’t difficult, and DJ Heather’s contribution to this cliché keeps it such. The music’s perfectly fine, at times on the dubby side (Marko Militano’s Good People; D’Julz’ Ze Theme; 2-Utes’ Bumpin The BQE),other times raiding disco funk vibes (Kaskade’s Steppin’ Out, with Members Only providing an Akufen-styled rub; both Mike Delgado cuts), and elsewhere taking either the jazzy road (DJ Rhythm’s Brazilian Soul; Mario Fabriani’s Release) or acid path (Maxx Renn’s Acid Jack). It’s a set that doesn’t stray far from familiar territory, but with scenery this fun and funky, who really cares.
Was This Worth The Pennies Paid For It?
Can’t fault the music at this bargain price, what with most House Of OM CDs still commanding a fair dollar even on the used market. fabric dips its hands into the San-Fran well every so often, so DJ Heather’s contribution isn’t entirely unique for the series. Aside from that whole “First Female DJ” bit, anyway.
*cover art brought to you by fabric's “Negative Suburban Life” period*
Is DJ Heather the first female entrant in either of Fabric's series? *backchecks* Huh, sure looks like it. That's surprising, taking so long for a member of the fairer sex to finally get the nod. I know the male-to-female DJ ratio is wildly out of whack, but surely Fabric could have offered it to someone sooner. Aside from those ladies who did get fabrics later (Ellen Allien, Magda), there's... um, hmm.
Annie Mac possibly could have done a FabricLive before, but her career only truly took off shortly after this. For a bold option, Mary Anne Hobbs might have worked, but few knew what to make of dubstep at this point in FabricLive’s lifetime. As for the main series, for sure fabric wouldn't bother with hard house gals like DJ Irene or the Tidy Girls, nor prog-leaning dames like Sandra Collins. Uh, help me out here, UK: were there any notable female DJs that could have broken the Fabric gender barrier earlier? I mean, it doesn't look good on your part that they turned to a Chicago resident when they finally did.
Not that Ms. Robinson isn't deserving of such an accolade, having already earned her house-rinsing stripes in the good ol' U.S. Of A. Her birth land may be the East Coast, but her sound bumps West Coast, often held in standing with another Chicago transplant, Mark Farina. Shortly after releasing fabric 21, she signed with San Francisco label OM Records, a label any sort of proper house-head should be familiar with. Sunny, jazzy sounds on the deeper side of house dominate their roster, and DJ Heather’s no exception.
It’s funny that much of the music on fabric 21 was what many considered deep house around the time, the San Francisco sound so influential abroad. That would change within a year thanks to the Germans, perhaps due to a desire for something fresher sounding than the usual funky American soul. I’ve said plenty before finding house mix CDs of this sort wasn’t difficult, and DJ Heather’s contribution to this cliché keeps it such. The music’s perfectly fine, at times on the dubby side (Marko Militano’s Good People; D’Julz’ Ze Theme; 2-Utes’ Bumpin The BQE),other times raiding disco funk vibes (Kaskade’s Steppin’ Out, with Members Only providing an Akufen-styled rub; both Mike Delgado cuts), and elsewhere taking either the jazzy road (DJ Rhythm’s Brazilian Soul; Mario Fabriani’s Release) or acid path (Maxx Renn’s Acid Jack). It’s a set that doesn’t stray far from familiar territory, but with scenery this fun and funky, who really cares.
Was This Worth The Pennies Paid For It?
Can’t fault the music at this bargain price, what with most House Of OM CDs still commanding a fair dollar even on the used market. fabric dips its hands into the San-Fran well every so often, so DJ Heather’s contribution isn’t entirely unique for the series. Aside from that whole “First Female DJ” bit, anyway.
Labels:
2005,
acid house,
deep house,
DJ Heather,
DJ Mix,
Fabric,
house,
jazz
Saturday, August 24, 2013
Frankie Knuckles - His Greatest Hits From Trax Records (2013 Update)
Trax Records: 2004
(Click here to read my original TranceCritic review.)
Hey, kids, are you tired of blasting electro house at festivals, knocking you over with over-the-top 'complextro' nonsense? Have you ever wondered if house music could be simple and groovin', but without sacrificing catchy hooks and kick-ass bass? Then let's take a gander at the roots of the genre, born and raised from the good ol' American city of Chicago. Wait, where are you going? What do you mean you can get your fix elsewheres? New York? Ireland!? Ya'll be trippin', I say. Ain't no house like Chicago house, right from the source. And no, I'm not talking about The Source, from which became synonymous with Frankie Knuckles even though the two likely never even talked to each other over the phone.
Ugh, this isn’t working. I’m just blathering nonsense. Against all odds, that original TranceCritic review I wrote years ago has held up. Yeah, the grammar’s still clunky in places, and I come off pointlessly defensive in the opening paragraph (does it really matter what my sexual orientation is?), but all the information you need’s right there in white on black. And any sort of ‘updating’ I could relay about Knuckles’ music on Trax has been co-opted by the seemingly never-ending ‘classic house revival’ narrative that’s developed in the past while. Hell, I just touched upon that with Hercules & Love Affair.
So I’m left with a 2013 Update with nothing to update on. That said, and half this wasteful exercise over, I’m going out to get drunk right now, and when I come back, let’s see what I’ve to say.
*tick-tock, tick-tock, not much time passed on the clock*
Well, that was pointless. Sure, I got drunk, but all too quickly for my liking. I must be exhausted, a theory totally corroborated by the wonky work hours I’ve had since getting back from vacation. Normally I work late evenings, but it’s been early mornings this past week, screwing up my sleep cycles. Thank God for energy drinks, even if they do weird things to your insides and possibly eyeballs (why do I see so many blobs and dark dots floating about?).
Is anyone still reading this far? If so, don’t be expecting some sort of new epiphany regarding Frankie Knuckles and his greatest tracks from Trax while I’m in this drunken state. The CD remains as good as when I first heard it; so instead, here’s a c+p of my concluding paragraph from my first review:
This release is a good introduction to the house sound of the mid-80s. A vibrant, hedonistic, sexual energy runs through these songs, capturing the carefree days when a gay man could escape the torment of prejudice and lose himself in house music. The tragic breakout of AIDS sadly cut short those years, and, like any scene that sprouts from innocent intents, it will never occur again. This is the soundtrack to those times and, no matter your sexual orientation, you can’t help but get lost in the moment as well.
(Click here to read my original TranceCritic review.)
Hey, kids, are you tired of blasting electro house at festivals, knocking you over with over-the-top 'complextro' nonsense? Have you ever wondered if house music could be simple and groovin', but without sacrificing catchy hooks and kick-ass bass? Then let's take a gander at the roots of the genre, born and raised from the good ol' American city of Chicago. Wait, where are you going? What do you mean you can get your fix elsewheres? New York? Ireland!? Ya'll be trippin', I say. Ain't no house like Chicago house, right from the source. And no, I'm not talking about The Source, from which became synonymous with Frankie Knuckles even though the two likely never even talked to each other over the phone.
Ugh, this isn’t working. I’m just blathering nonsense. Against all odds, that original TranceCritic review I wrote years ago has held up. Yeah, the grammar’s still clunky in places, and I come off pointlessly defensive in the opening paragraph (does it really matter what my sexual orientation is?), but all the information you need’s right there in white on black. And any sort of ‘updating’ I could relay about Knuckles’ music on Trax has been co-opted by the seemingly never-ending ‘classic house revival’ narrative that’s developed in the past while. Hell, I just touched upon that with Hercules & Love Affair.
So I’m left with a 2013 Update with nothing to update on. That said, and half this wasteful exercise over, I’m going out to get drunk right now, and when I come back, let’s see what I’ve to say.
*tick-tock, tick-tock, not much time passed on the clock*
Well, that was pointless. Sure, I got drunk, but all too quickly for my liking. I must be exhausted, a theory totally corroborated by the wonky work hours I’ve had since getting back from vacation. Normally I work late evenings, but it’s been early mornings this past week, screwing up my sleep cycles. Thank God for energy drinks, even if they do weird things to your insides and possibly eyeballs (why do I see so many blobs and dark dots floating about?).
Is anyone still reading this far? If so, don’t be expecting some sort of new epiphany regarding Frankie Knuckles and his greatest tracks from Trax while I’m in this drunken state. The CD remains as good as when I first heard it; so instead, here’s a c+p of my concluding paragraph from my first review:
This release is a good introduction to the house sound of the mid-80s. A vibrant, hedonistic, sexual energy runs through these songs, capturing the carefree days when a gay man could escape the torment of prejudice and lose himself in house music. The tragic breakout of AIDS sadly cut short those years, and, like any scene that sprouts from innocent intents, it will never occur again. This is the soundtrack to those times and, no matter your sexual orientation, you can’t help but get lost in the moment as well.
Sunday, December 27, 2009
808 State - 88:98 (Original TC Review)
Universal Records: Cat. # USD-53139
Released 1998
Track List:
1. Pacific (707) (3:53)
2. Cübik (3:33)
3. In Yer Face (3:55)
4. The Only Rhyme That Bites (Extended Mix) (4:17)
5. Olympic (Flutey Mix) (4:09)
6. Ooops (4:44)
7. Lift (EX:EL Mix) (5:12)
8. One In Ten (2:41)
9. Plan 9 (LP Mix) (4:02)
10. Bombadin (Quica Mix) (4:44)
11. Bond (5:06)
12. Azure (5:44)
13. Lopez (4:31)
14. Crash (5:11)
15. Pacific (808:98) (5:56)
16. Cübik:98 (5:11)
(2010 Update:
The info and descriptions are solid. The quips are clever (at least I think so!). The grammar's clunky. Not much more to say about this one, to be honest. It's pretty typical of the reviews I was writing in the fall of 2005: content's there, it's just 1000 words too long.)
IN BRIEF: A decade of doing it for yourself.
Poor 808 State.
When major American label companies were scouring the British landscape for acts that could fit nicely into the coming 'electronica' strategy, this group seemed to get the shaft out of it all. Which is odd, really, considering since the beginning of their career, the sound crafted by Graham Massey, Andrew Barker, and Darren Partington, (plus former members Gerald Simpson and Martin Price) was one of the few techno acts that managed to cross electronic, jazz, and rock music effortlessly. 808 State were putting guitar licks over breakbeat rhythms long before Liam Howlett probably thought, "That hook would sound much cooler with a metal riff." It should have been an easy sell, right?
Yet, somehow it didn't happen. Acts like The Prodigy and The Chemical Brothers became publicity fodder, old schoolers like Underworld, Orbital, and Apollo 440 became soundtrack fodder, and eclectics like The Orb, Goldie, and F.S.O.L. became compilation fodder during The Year of Electronica. 808 State, one of the oldest groups about, was left in the dust to remain in obscurity, their only contribution seemingly being their original seminal track Pacific to be played on regular video rotation at athletic shoe stores.
Perhaps this ten year retrospective of their material (ironically released a year after the electronica movement fizzled out) can shed some light on the subject. After all, what better way to get to know a group than to delve into a Greatest Hits package? Surely the clues to the answer lie in 808 States history.
Unsurprisingly, we open up with Pacific 707, a track that may have sealed 808 State's fate regardless of what they did next. By no means the first song they did, it certainly is the one that stands the test of time the best. Sure, the rhythms and chirpy sound effects may have early techno written all over it, but with gentle pads that wash over you with wonderful bliss, you can't help but get sucked into that special place only the best music can take you. Add to that a wonderfully crooning saxaphone to give Pacific soul, and you have a track that folks will fall in love with again and again.
808 State and Pacific were forever tied together after it was released, even over fifteen years later when the EDM landscape, and even 808 State themselves, had seen amazing changes and evolution since those innocent acid house days. As will become evident in the course of this release, creating a timeless song can often be a blessing and a curse.
Having released one of the all-time greatest acid house anthems ever, 808 State would need something just as irresistible yet different sounding enough as to not get pigeonholed. Enter their second biggest single ever: Cübik.
Tapping into the burgeoning intense Belgian beat of the 90s, the group crafted one of the grittiest, grimiest, ugliest, and infectious hooks to emerge from that era. It is unapologetically coarse, essentially techno's answer to power chord metal. And, just like Pacific, Cübik still manages to resonate despite the obviously dated sounds on display - the only thing that probably held it from the limelight as much as Pacific was its obvious made-for-Madchester vibe. Intentional dance tracks like Cübik aren't quite as an easy sell to mainstream music lovers.
One thing is certain with Cübik and the not-quite-as-catchy-but-just-as-energetic In Yer Face, though: the seeds of every anthem ever created are ever present. The synths remain distinctive and blast out so effectively, you probably wouldn't even need those funky techno rhythms to get off your nutter. This stuff's just a quirky rap and diva vocal away from the brand of techno that would soon come to dominate the charts for a few years.
Oh, hey, what's this here? A techno song with quirky raps, that's what. The Only Rhyme That Bites sees 808 State very aware of the dangers of being tied to a single track, so they open the song up with a brief bit of dialogue: "The ones who brought you - opening of Pacific plays for a couple seconds - bring you something different." And, boy, is it ever different. Back when hip hop and techno still held an uneasy alliance, this undoubtedly was killer, and MC Tunes' lyrical prowess shames most modern rappers, even if he does resort to lots of metaphors that don't make much sense. However, it is also firmly rooted in the early 90s so folks not too keen on that era will undoubtedly skip past. Also, because it is so different from both Pacific and Cübik, if you came here looking for more of that, you came to the wrong place, which is going to hold true for a lot of what's to come.
For now, though, let's pay close attention to a couple more tracks that some would call definitive 808 State: Olympic and Lift. Even more so than the classic hits, these two tracks meld raw techno sounds and natural instruments so effortlessly, it's small wonder the group were rave darlings. Even when incredibly dated sounds as heard in Lift blare out, it still has just as much soul as the little flute melodies in Olympic. Granted, it's still nothing as memorable as you-know-what, but these are very pleasant groovers in their own right. One thing's certain, too, is 808 State didn't seem concerned if some of the sounds used were relatively ugly compared to the rest of the song. In fact, one could surmise they relished in their cheeky use of it, saying these absolutely inhuman sounds have just as much right to be here as any piano, guitar, or saxaphone.
Still, they could craft a normal sounding song just as easily. Ooops features a then relatively unknown Björk on lyrical duties while the Cowbell Machine Association provide a proto trip-hop rhythm with strumming guitars and cavernous effects complimenting the Icelandic chanteuse's vocal prowess. As for Björk herself, well, she does what she's always been known for. Her style is one that is practically impossible to describe, as there's really no other comparison to her on the planet (that I've heard, in any event). It's a method that, for all intents, just should not work, yet it does. I doubt anyone else could sing like her and make it sound nearly as credible.
Sadly, for all the dynamic production that was offered from 808 State at that stage of their career, they never quite were able to connect to the mainstream crowd quite the way they did with the rave crowds.
The next batch of songs seems to indicate an attempt to reach the other crowds while remaining true to their sound.
One In Ten is a perfect example. Featuring UB40, the song certainly sounds tidier but with an eclectic rhythm that could be construed as a hybrid form of reggae and jungle (no, not ragga jungle). Your natural instruments like saxaphone remain but the electronic ones are subdued now.
Even more so is Plan 9. This is a very pleasant track using Mediterranean sounds like acoustic guitars, chirpy effects, and sun-swept beach atmospherics, all with great sounding production to bring the organic elements to focus. In fact, one could cynically say Plan 9 is an attempt to replicate the success of Pacific with guitars. I'd rather just say it's an 808 State trademark instead of a rehash.
Not to be outdone by the pleasantries of Plan 9 is Bombadin, a fierce slice of tribal-something. Hmm, it's not really house, and far too natural sounding to be techno. Yeah, there are electronic elements about but as with the previous two tracks, 808 State manages to hide them so effectively, you'd think they actually hired a twenty-piece percussion group.
As we move on in the years to some of the most recent material on this release, it becomes very apparent 808 State has left its ravey techno roots far behind. Bond, a thumpy, grungy tune, Azure, a smooth, jazzy d'n'b track, and Lopez, a mellow, morning-after bit of Brit pop, all see the non-electronic instruments and guest vocalists dominate completely. Heck, Lopez is mostly carried by a slide guitar, an admittedly cool sounding instrument that even The KLF used effectively, but is more commonly associated with the country & western camp.
I've heard a number of 808 State's old fans were put off by the group’s latter material, and I can see why. The Don Solaris tracks (of which these last three are from) suggest the group gave into the electronica movement, as these songs certainly wouldn't sound out of place on a This Is Electronica compilation lodged between The Chemical Brothers' Setting Sun and Goldie's Inner City Life. Yet, if that was the case, why didn't we ever see 808 State appear on any of these kinds of comps?
In addition, it's not like these elements were never apparent in the group's work even in their early days. If they wanted to do the techno stuff, they were obviously quite capable of doing it, as the track Crash demonstrates.
An exclusive new track to this North American version of 88:98, you hear the trademark 808 State sound in full effect as erratic rhythms, natural instruments, and quirky electronic sounds meld ever so easily together to form a delightfully jazzy outing.
Therein lays your biggest clue as to why they were never tapped for the electronica movement. No matter what, Graham, Barker, and Partington are musicians first and foremost. Regardless of the instrument, whether organic or synthetic, they will make use of it to do exactly what they please, friend or foe be damned.
I really don't blame 808 State for moving on from the techno sound that made them, as that scene had basically sputtered out by the mid-90s, so they were actually quite free to now do things they may have been wanting to without being tied down by their past. If you didn't like the direction of their newer sound, it didn't really matter to them. They were going to make the music they wanted to make.
Major labels hate that in the acts they sign. It's no small wonder the Don Solaris material ended up getting picked up by the "What!? No one else grabbed the rights? Oh, we are SO on that!" label, Hypnotic, for a stateside release.
There are also a pair of updated remixes of Pacific and Cübik tagged onto this release. The basic structure of them is relatively unchanged but they sound much more cleaned up as 808 State make them ear-friendly for the newer generation of party kids. I'm personally more partial to the originals but that may be more due to nostalgia than actual aesthetic. Like so many others, Pacific was my first introduction to the group, and it still remains their most endearing track.
Why were they unable to replicate the success of it? Truth be told, it would seem Pacific was mostly the work of former member Gerald Simpson, who left shortly after. Was he the sole reason for 808 State's major success?
I doubt it. Even without Pacific, 808 State would have still been a sonic force to be reckoned with. They may not have had an all time classic in their catalogue, but then they wouldn't be constantly tied to it either. The results of their genre-smashing work would have earned them the respect of their peers despite having a classic track. While not everything on this collection may be the most stellar music crafted, it will definitely keep you interested as you continuously try to figure out all of 808 State's little musical tricks.
Score: 8/10
ACE TRACKS:
Pacific 707
Cübik
Written by Sykonee. Originally published 2005 for TranceCritic.com.© All rights reserved.
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