Laurent Garnier - 30

F Communications: 1997

Though 30 is Laurent Garnier's second full-length album, I always think of it as his first. Or at least, the start of his musical kleptomania taking hold. His first album, Shot In The Dark, was a strict techno exercise, more a gathering of tunes rinsed out at his Wake Up club night. Upon entering his third decade of travelling around Sol, however, the famed Frenchman was itching to stretch his muse beyond dancefloor tools. A few smatterings of tracks across aliases nudged him into areas like house and trance, but there be broken-beats out there too, by g'ar.

You know you're in for a Serious Artistic Album when your opener is two minutes of minimalist, moody ambient. Deep Sea Diving certainly imparts a sense of dwelling among the Drexciyan fish-folk, though as it doesn't relate much to the rest of the album, comes off superfluous as an opener. Might have made for a decent mid-record intermission though.

From there, we get a few varieties of techno. Sweet Mellow D and Mid Summer Night get in on that freeform Detroit action, teasing out a steady rhythm for almost excruciating lengths, though when that kick hits, it doesn't stick for long. At the other end of the spectrum, we get Crispy Bacon and Flashback, straight-forward techno bangers, with the latter indulging a fair bit of acid too. Unsurprisingly, these were the main singles off 30, since this was the sound most folks familiar with Garnier would be after.

One track preceded those, an almost novelty limited edition records called The Hoe. It samples the line “She ain't nuthin' but a hoe”, looping and cutting it up into a ghetto techno cut that, save some simple strings in the back-half, sounds nothing like Laurent's typical output. Surely the Frenchman has more class than this in his music, though DJ Hell got enough of a kick out of it to provide a remix. And not just as a one-off, 'ghetto-tech' cuts also appearing in the form of electro in Kallit! and I Funk Up. Yep, ol' Laurent was getting himself in on that electro-revival just as it was set to blow up, though I doubt anyone noticed it here. Too enamoured by Crispy Bacon.

There's also a trip-hop outing in For Max, a little reggae techno-dub in Theme From Larry's Dub, a dash of deep house in Feel The Fire, an ethereal outro with chanting, drumming, and synths cribbed from Go To Sleep, plus assorted gimmick interludes, including what I assume is Laurent's child giggling in *?*.

As you can tell, 30 is an album that's all over the place, good tracks scattered among genre dalliances that have been done better elsewhere, including within Laurent's future discography. The tonal clash between some tunes is jarring, to say the least, and I'm not sure how The Hoe could have fit in with anything else here. Folks'll find 30 is best served as a bridge between two different eras of Garnier's production career.

ZerO One - zerO One

Waveform Records: 1998

I never realized this before, though it makes perfect sense with nearly twenty years (!) of hindsight available. Through the high times and the lows, it seems the two acts that have consistently kept the lights on at Waveform Records HQ is ZerO One and Sounds From The Ground, and now that I've taken in plenty of their offerings, I understand why. Kevin Dooley, he has a similar songcraft sensibility to Misters Elliot Jones and Nick Woolfson, striking that perfect middle-ground of competently made, easy-going, dubby downtempo vibes. Never have I heard anything from them that was bad, boring, or bunk, but seldom do they reach the upper echelons of their genre either. Very, very good, absolutely, some tunes doing that heart melting thing many downtempo acts have subjected the ol' blood pumper to. I can't say I'd ever recommend ZerO One or Sounds From The Ground as an introductory act to this scene though, their roles more like a hearty side-dish complimenting the main course. Buttery mashed potatoes to the beef-steak of Kruder & Dorfmeister and Higher Intelligence Agency. Yet, for as long as they've floated around each other's circles, it's surprising they haven't collaborated at some point. Strange, that.

Anyhow, it all starts somewhere, and for Mr. Dooley, that's with a two-decade old (!!) self-titled debut album. Amazing that the ZerO One brand has kept on keepin' to this day, as listening to this CD in the context of the year 1998, I'm surprised anyone gave it much notice. Ambient techno such as this hadn't been in vogue for at least a half-decade, vanguards of the sound like HIA and Autechre having moved on with their respective careers to other pastures. If you were making super-chill electro-dub, chances were you were adopting contemporary production tricks like glitch effects or retro synths into your arsenal. Not ZerO One though, his stuff simple and refined – no need for fussy gimmicks when your musicianship if perfectly fine as is. And Waveform Records, they like themselves some MOR ambient dub more than anything else. Keeps the label's followers sated while they indulge in leftfield shoegaze rock, or whatever it was that Liquid Zen dude was on about.

Now that I've reached the third paragraph, it's time for the obligatory particulars among the eight tracks that make up zerO One. Waken and Trust have nifty little acid lines playing throughout. Nothing To Fight About and Hell is Cooling Off playfully bounce along, while On The Threshold gets as close to ambient techno as I've ever heard Mr. Dooley go. If you want something straight out of HIA's cookbook, super-chill Mind Over Mind has you covered. And I can't complete this review without tying it back to Sounds From The Grounds somehow, so Seek Not Outside Yourself and I Like That reminds me of that duo, if they'd been brought up in electro's realm instead. Seriously, why haven't these two camps collaborated yet? I'm sure Waveform wouldn't mind in the slightest.

ACE TRACKS: December 2017

That's another Gregorian calendar done, and there's one thing I can say I'm truly disappointed in this past orbit of Sol. No, not American politics, I got over that almost immediately – if anything, things could have turned out even worse if they didn't have some of the densest idiots running that daycare circus. Some other projects kinda' stalled this year, but that's not entirely in my hands, so I can let that slide. And while the world has had its ups and downs, I'm strangely okay with how things are heading. Maybe it's blinkered optimism or complacency, but for all the rough, nasty crap folks had to endure, I feel like it was as though lancing a festering boil that had grown into a vicious tumour, a necessary operation for things to get better. It was a year of shitty people over-reaching with their shittiness, and actually getting called out for it, some even suffering consequences from it. It's a start.

No, what irks me the most about 2017 is it was somehow my least productive year, at least with regards to this blog. Of these past five years, I've generated the least amount of new reviews, and while that's partly due to taking a month off, that doesn't provide my only excuse. Hell, I did the same in 2014, and still cranked out a bunch of reviews then. And yes, other projects did take up some time, but I was still taking college classes in 2013, which were just as much a distraction as anything. Really, I got nothing, the lower review turnout just an inexplicable happenstance of the year 2017. And of course, this means I'm somehow still not finished with my regular alphabetical run. This decade though, I promise!

Anyhow, here's the ACE TRACKS for December of 2017.


Full track list here.


MISSING ALBUMS:
WestBam - The Roof Is On Fire
Various - Quinq
SiJ & Item Caligo - Queer Reminiscence
Out Of The Box - Out Of The Box
Various - Nu Balance
Lorenzo Montanà - Nihil

Percentage Of Hip-Hop: 0%
Percentage Of Rock: 4%
Most “WTF?” Track: If not Oak Ridge Boys again, maybe Wednesday Campanella, just for how unexpected it is.

Yep, three months later, and the alphabetical backlog is still chugging along. I've only just hit the 'S' portion of it now, and trust me, like it's regular queue brother, 'S' is a beast – will take me at least half a month to get through that. Then it's onto 'T', 'U', etc. I'd like to say I'll be finished with everything by spring, but, y'know...

WestBam - The Roof Is On Fire

TRS Records: 1991

Every nation has that one DJ that breaks 'rave culture' to the masses, promoting popular parties, club nights, and artists to such a degree they become legends within their respective countries. Britain had Paul Oakenfold. America had Frankie Bones. Even Canada had Chris Shepperd. In Germany, though, one Maximilian Lenz was undoubtedly The Man who became synonymous with 'techno'. Already a disc jockey of some note in Berlin, he performed at the first Love Parade (and most others after), organized the massive Mayday rave which drew over an unprecedented five-thousand souls, and continued to be a prominent personality throughout the ensuing decades. Oh, and some consider him a shameless, commercial sell-out milking that initial goodwill for all it's worth, a template emulated by future media whores like Tiesto and David Guetta. A divisive figure then, this WestBam chap.

One thing he isn't known for, however, is producing major hits. Some popular tunes, sure (especially Love Parade anthems), and Finland loved his stuff for a brief time. At no point has WestBam ever cracked the lucrative American market though, despite knowing enough famous folks on this side of the Atlantic that he should have. Hell, his last album, released in 2013, had features from Iggy Pop, Kanye West and Lil Wayne! If that don't get you attention here, I don't know what will.

Really, his career often shows love for American dance music, his earliest works mostly electro and house jams he'd use as tools for DJ sets. He released quite a few singles in the late '80s, consolidating them into an album called The Cabinet. This was repurposed a couple years later into The Roof Is On Fire for American distribution, and *whoof*, did it not age well even in that short amount of time.

Electronic music can sound dated but still be interesting in the songcraft holds up, but WestBam was far from honing whatever production talent he had at that point. This sounds like he's still in DJ-mode, tracks made of existing drum breaks and overused sample kits to be spliced and looped on the fly, some turntable scratching thrown in for good measure, but no care given to making them memorable tunes. This may work fine when you're DJing and all, but in an album format, this is some drab, dry, dull stuff. Seriously, did he not have any other samples than monkey “whooping”?

The Roof Is On Fire isn't a complete write-off, the house tunes faring better than the rest. Hold Me Back is a surprisingly solid slice of hip-house action, the titular cut is fun enough with 'speak'n'spell' vocals and crowd noises, and WestBam's nods towards New Beat's domain (The Wall, Cold Stomper) are welcome enough diversions in this album. The rest, however, is total pants, annoying novelty tracks that could barely hold muster even when new, much less now. You might enjoy it if you've a fondness for chintzy '80s sample-musik, but for most folks, WestBam's production career starts after this.

Out Of The Box - Out Of The Box

Werkstatt Recordings: 2013

So Werkstatt Recordings was unexpectedly generous in the swag they included with an order of mine. While not Ultimae levels of extras (no incense sticks), receiving various stickers from several releases is a nice touch – satisfies a collector's itch I didn't even know I had. The Greece label also threw in a couple bonus CDrs inside a single slipcase, one of which lacking cover art. In fact, all it has is “Out Of The Box Promo” scrawled in felt pen. “Cool,” thinks I, “Werkstatt's sending me sneak peaks of upcoming releases. How nice of them.” Nope, that's not it at all.

Turns out this already had an official release, four years ago. I mean, obviously so, if there's artwork available. It's the same seven tracks as found on Bandcamp, and there was even a proper limited run of CDs done too - probably, like, twelve copies though, as Werkstatt's really skint with physical mediums. Since Out Of The Box is clearly well past its 'promo' window, why did I receive this? Did Werkstatt have it lying about the office, and threw it in just because? Did they feel I'd get a kick out of the music within, but would never have stumbled upon it on my own? Are they planning a re-release with limited tape copies? All very good questions that honestly don't need an answer. 'Tis all just rather odd, y'know.

And who is this Out Of The Box that Werkstatt felt compelled to include with an overseas order? One Liam White, turns out, though Lord Discogs states this his only release under the moniker. He's released a half-dozen more items as Sick Robot, both with Werkstatt and self-released, most of which falls under the EBM, electro, and retro-trance side of things. Far as I can tell, Out Of The Box was his shot at breaking free of those constraints. Why, you could say Liam's forcing his way through an enclosed space into an open beyond.

First track Common Ground doesn't stretch too far from his comfort zone, though it's definitely a rougher shade of techno compared to his usual fare. Fire In The Sky says nuts to all that, and goes full neurofunk, making this the second Werkstatt release I've covered in a row that's tread into drum 'n bass' domain (the... odds!). That's followed upon by Lost And Found, a slow tech-house groover that erupts with flashy synths midway. And seemingly going out of his way to prove he's a genre-jack of all trades, fourth cut Matter Of Time gets in on that retro-trance action I mentioned earlier (doesn't sound quite “Eighties” enough to be space-synth).

The final run of tunes sticks to electro and tech-house vibes, but it's clear Out Of The Box is intended as a big ol' showcase of Mr. White's eclectic muse. A bit too eclectic, if I'm honest, the genre-jumping rather scattershot in make a lasting impression. As something different from the Werkstatt norm, however, 'tis not bad at all.

Autumn Of Communion - Metal

...txt: 2017

I know, I know. More music from these guys? Aren't there any other modern ambient techno dudes out there I should be checking out? What is this anyway, their fiftieth album in 2017? Actually, and surprisingly, just their first as Autumn Of Communion, though obviously Misters Norris and Chillage have kept themselves busy elsewhere. It's simply a case of me diving deep into some discographies all at once, playing catch-up over the course of a year. Creates an illusion of over-exposure, especially in this unorthodox order of reviewing the music I buy. Just be thankful much of their music's released in scarce quantities. Imagine if I actually could snatch it all up in one shot.

As with every Autumn Of Communion album lately, Lee and Mick went into their latest session with a goal in mind. And if you know what that goal specifically is, please tell me, because I sure haven't seen any PR stating what it is. Like, I know there's always the respectful nods to ambient techno of the '90s, all the while subtly pushing the sound down contemporary roads, but what was the inspiration for Metal? Music for its own sake? Eh, sounds good enough for me.

Actually, if there's anything that marks a difference in these tunes compared to prior albums (that I've thus far heard), it's a heavier emphasis on rhythms - real, propulsive electro beats, a couple of which one could even shuffle to. Not that this is an outright techno album by any means, lengthy stretches of each track noodling about in synth pads or bleepy electronics just as much as any typical AoC LP. With tunes averaging ten to thirteen minutes in length, however, that's plenty of room for blissy lead-ins, head-bobbin' peaks, and calming outros. It also gives each track sturdier trajectory, less about that free-form Fax+ music making than most AoC records so often go.

Thus we get tracks like opener Actinium (89, Ac, useful for radiation therapy) having pleasant space pads and twitchy bleeps, eventually giving way to dubby broken beats for a while as spritely melodies play in the background, followed by some minimalist synth play. Meanwhile, Tungsten (74, W, one tough bastard) is more chill, getting in on that spaced-out vibe while laid-back electro rhythms cruise along. Neptunium (93, Np, helps us make Plutonium) is all ominous and mysterious, with bleepy rhythms that have me recalling HIA if Bobby Bird had been less playful. Longest track Molybdenum (42, Mo, we'd die without it) gets bouncier in its beats, then switches to something more strident in the second half – feels like I'm watching a documentary of a microcosm doing amazing things. 'Shorty' track Manganese (25, Mn, steel and aluminum alloys, yo') is a charming, dubby outing of ambient electro, while closer Radium (88, Ra, cool glowy shit!) gets back on that strident beat, and includes the closest thing to a big, hooky 'anthem' I've ever heard from Lee and Mick. Planning on some festival sets, eh?

ACE TRACKS: October 2017

Well hey, that was a productive month of reviews, wasn't it? Sure helps to set yourself a specific deadline to meet a goal, filling yourself with determination to see it to fruition no matter the cost. Only... no matter my fortitude in my hopes of reaching the end of the 'Z's by the end of the year, I don't think I'll make it after all. I mean, just look at this past month alone, twenty-six reviews, and just squeaking by the 'F's in that time. Dear Lord, 'A' had nine alone. Now imagine what a heavier letter like 'S' or 'T' are holding in this alphabetical queue!

One thing that struck me as curious is how front-loaded some labels ended up with this. Believe me when I say I've bought from a wide range of prints this past summer, some familiar, but others delving into for the first time. Under normal circumstances, you'd think material would be spread out more evenly, but I've essentially shot my load with Carpe Sonum Records and Dronarivm albums; meanwhile, nary a Cryo Chamber CD in this lot, to say nothing of a couple newer entries. Ah well, at least good ol' Waveform Records will pace out nicely in this run. For now, here's the ACE TRACKS for October 2017.




MISSING ALBUMS:
Jafu - Add To Cart
Grey Area - And Then The Clouds
The Oak Ridge Boys - At Their Best
Si Matthews - Aurora
Ajna & Dronny Darko - Black Monolith
Cyril Secq & Orla Wren - Branches
Autumn Of Communion - Broken Apart By Echoes
Aythar - Dream Of Stars
The Oak Ridge Boys - Favorite Songs

Percentage Of Hip-Hop: 0%
Percentage Of Rock: 0% (no, Oak Ridge Boys country doesn't count; Chemical Brothers are more rock than them)
Most “WTF?” Track: Anything Oak Ridge Boys. (this is all leading to something, isn't it?)

Yikes, is that ever a lot of missing albums. I think nearly a third of the tunes on this playlist aren't actually on Spotify (yet), but if you happen to have them in your Local Files, they should play just fine. Man, what are the odds of someone having Autumn Of Communion, Jafu, and Oak Ridge Boys in their directory though? 2 in 7.6 billion? I'm certain I've a doppelganger somewhere out in this wide wide, mad mad world. Maybe we'll cross paths on Kerguelen Island.

Derek Carr - Distant Systems

Firescope: 2017

When I heard there was a new album from Distant System, I couldn't believe it. I've been keeping tabs on Tyler Smith's wonderful, neglected project for ages now, and to have it suddenly pop up out of nowhere? That can't be right! But the cover art sure looks like something the psy side of music would put out. What's going on with- oh, it's an album titled Distant Systems, from Irish techno producer Derek Carr (not to be confused with NFL quarterback Derek Carr). Well, that's almost as spiffy – I liked Mr. Carr's The Digital Space Race, and was interested in developments his career would take since Psychonavigation Records imploded. Still, unintentional as it was, it's a bit of a tease calling his new EP Distant Systems from where I'm sitting. The struggle is real...

Anyhow, Derek Carr has found himself a new home with an intriguing little print called Firescope, who's parent label is B12 Records. Yes, that B12, they of early UK techno legend with Warp Records. I can't say I've gotten into the duo to the same degree as their peers like The Black Dog and Aphex Twin, for no better reason than none of my compilation purchases ever led me to their music. Yes, it's that stupid a reason, but they've remained active, dusting off their own self-titled print a decade ago to release a bunch of back-catalogue for the digital era. For some reason, B12 set up a whole new label in Firescope to release their newer material (just this past year!), and have started inviting like-minded producers into their fold. We'll see how things pan out in time, but if they keep bringing in talent like Derek Carr, it'll be far indeed.

If you missed that Digital Space Race review, or somehow overlooked the super sci-fi cover art, Mr. Carr does a Detroit techno thing with an ear to the great above and beyond. Distant Systems maintains that tone, a tidy four-tracker that goes down easy-peasy as a space-based pie (popular diner option near Jupiter 2). Artifice 2 has a simple electro rhythm going for it, with little bloopy pings, haunting pads, and rich sweeping synths in the lead. Terrahawk gets a tad funkier in its electro, coupling with gentle trance pads and bleepy-acid leads. 3 3 8 9 reuses the same pads (kinda' reminds me of the ones used by A Positive Life), but opts for the techno groove instead – essentially a 'deep' version of Terrahawk. If you need an even deeper cut though, East Is East has you covered, a simple slice of chill Detroit goodness, good for the afterhours.

Of course, Derek's ear for techno bleeds retro, so if you don't have much use for tunes that sound plucked from the glory years of Artificial Intelligence, Distant Systems may not be your bag. Can't imagine many such folk existing though - maybe those religiously weaned on the minimal monotony of the '00s, and nothing else.

The Prodigy - The Dirtchamber Sessions Volume One

XL Recordings: 1999

DJ mixes were proving rather bankable at the end of the '90s, some shifting equal numbers of units as LPs from established artists. Well shit, son, a few of those established artists were DJs before they made it big with their original productions. Wouldn't hurt to put out a mix or two while between albums, keep the brand out there, maybe drop a little music knowledge on unsuspecting crossover fans in the process. Actually, I don't think that worked. While working at a music shop when such mixes came out, every time a curious costumer only familiar with the radio hits would sample one, they couldn't figure out why there were so many songs all mashed together - they didn't even sound like the radio hits in the first place. (every. time.)

For those more boned up on rave culture, DJ culture, and trainspotting culture though, such mixes were fun items to indulge in. A chance to revisit history, hear the origins of famous samples, discover the influences of a current crop of stars, and be reminded that big acts like The Chemical Brothers and The Prodigy had more in their arsenal than a knack for a catchy hook and a beefy beat.

The Dirtchamber Sessions was Liam Howlett's stab at a commercial DJ mix, and is as much a study in everything that created his unique brand of brash, bold dance music. Having come up through the sample-heavy era of DJing, laying out a dozen tunes in a computer-perfect sequence just wouldn't do for him either. There are forty-nine tracks listed in the credits, some barely twenty second snippets, all ranging from classic rave, vintage rap, bratty punk, and Madchester rock. Plus a Barry White tune lodged between Beastie Boys and Public Enemy, because why not?

There's also Bomb The Bass, Jane's Addiction, Frankie Bones, Sex Pistols, Meat Beat Manifesto, Herbie Hancock, James Brown, Ultramagnetic MCs (gotta' get in those Kool Keith verses), Digital Underground, Primal Scream, Renegade Soundwave, LL Cool J, T La Rock, KRS One, and loads more I'm not familiar with. Plus don't forget newer cats like Fatboy Slim, Propellerheads, and London Funk Allstars. The one that threw me for a loop though, was The KLF's What Time Is Love? - at that point I only knew them for their anthem house hits off The White Room. Of course the anti-establishment manifesto of Cauty and Drummond would be something Howlett would relate to, but all I thought was, “wow, never thought I'd hear such a commercial tune in a mix like this.”

As the above attests to, the tracklist is hectic and eclectic, with tons of mash-ups and quick mixes keeping the pace going. The Dirtchamber Sessions is also surprisingly short, not even forty-three minutes long. No sense blowing one's load in a Volume 1 I guess, but we never got a Volume 2. Might be interesting to hear a 'post-Millennium' follow-up, though I can't imagine it containing as dope of tracks as found here.

Vector Lovers - Capsule For One

Soma Quality Recordings: 2005

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

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

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

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

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

Space Dimension Controller - Welcome To Mikrosector-50

R & S Records: 2013

While this album technically isn't Jack Hamill's debut as Space Dimension Controller, it sure feels so. His actual debut LP was a digital-only item released four years prior on Acroplane Recordings, Unidentified Flying Oscillator. I don't recall much buzz surrounding it though, most folks instead intrigued by a debut single released that same year, The Love Quadrant. R & S Records especially liked the cut of that record's space-funk jib, so ol' Jack hooked them up with a few lengthy EPs, earning him critical plaudits with Very Important music journals in the process. Naturally an album was expected following that buzz, but Welcome To Mikrosector-50 wasn't like anything folks anticipated. For Mr. Hamill sought nothing less than to take the Space Dimension Controller concept into the realm of a fully-fleshed narrative, concrete plot and all. Oh my, who even does that in techno anymore?

The year is 2357 A.D., helpfully parlayed by the opening chill track 2357 A.D. Jack Hamill moonlights throughout this story as Mr. 8040, introduced in the following track of Mr. 8040's Introduction, a proper throwback electro-funk jam complete with hippity-hop rapping. Then there's a brief ad-skit shilling for the marvellous Mikrosector-50 habitat, followed by the free-wheeling space-funk jam (you're gonna' read 'funk jam' a lot in this review) of To Mikrosector-50, with a little more info dropped by Mr. 8040 regarding who is and what he do. Following that, there's another brief skit, where our hero consults a computer regarding the whereabouts of his lover/wife/beneficial-friend. It's about here that you realize you're not dealing with a regular ol' clutch of tracks, but an unfolding story with music acting more as a soundtrack to Mr. 8040's journey to find the love he lost.

His trip takes him through various sections of the Mikrosector. A chill guitar-funk jam of Your Love Feels Like It's Fading. A rather synthwavey tune of Lonely Flight To Erodu-10. A failed club pick-up in the house-funk jam of Can't Have My Love (with heavenly vocals from 'Kat Kirk'). A seedy excursion into an underground acid-techno [funk] jam of Rising (Detroit called, it wants its retro-future back). A shameless hooker score in Quadraskank Interlude (about as down and funky low as you'd expect). And even a narrative excuse to return to the first SDC tune in Love Quadrant.

Yet it's all for naught, his search proving fruitless. Having exhausted any hopes of finding peace in this future, Mr. 8040 leaves to the bouncy Detroit techno of Back Through Time With A Mission Of Groove. It's a tidy wrap-up to the album's tale, save a cheeky stinger hinting that perhaps there may be more in store for the Space Dimension Controller in all our futures.

If you're the sort who wants new tunes with nothing attached, the various skits throughout Welcome To Mikrosector-50 will likely frustrate. Me though, I'm all about that album narrative score. If anything, I'd love to see this translated into movie format. Or at least a graphic novel a la Perturbator.

LFO - Frequencies

Warp Records: 1991/2011

There were other records floating about of similar ilk, but few at the time made such a definitive stamp on UK techno as LFO's debut LP did. Not only did it help establish the Brits' take on Detroit's sound as something distinct, unique, and 'bleepy', all the while providing a subtle link to the raving antics of Belgians, but it also put the fledgling Warp Records on the map. Between this, Nightmares On Wax, and Tricky Disco, Warp was quickly established as a print worth reckoning with, a wholly independent label that clearly had its ear to the pulse of techno that wasn't just mindless boshing bollocks. An almost 'intelligent' take on dance music, you might say, though not too pretentious about it – LFO will still demolish your bassbins if you're not careful with the gain levels.

What helped Frequencies stand out from the pack is just how much of a melting pot of influences it is. True, there wasn't much to draw from at this point of electronic music's history, but Mark Bell and Gez Varley don't mince words in the opening Intro, first asking what is house music (“Technotronic? KLF? Or something you live in?”) before name-dropping a who's who of Chicago pioneers. Then they rattle off “pioneers of the hypnotic groove”, listing off Eno, Kraftwerk, and... Depeche Mode? Yellow Magic Orchestra?? Tangerine Dream??? Well, I can't say I've ever heard those chaps name-dropped in the vintage deep house/techno, pitched-down voice before. And wait, what's LFO going on about house music? Aren't they 'bleep techno' pioneers or something?

True d'at, with plenty of examples littered throughout Frequencies. The eponymous lead single is the classic cut of course, and still carries a potent punch when those low-ends drop, all the while bleepy noises and sinister Detroit strings ooze warehouse menace. The follow-up single We Are Back takes things a step further, coming off like a grimy, future-shock reboot of the Belgian hit Quadrophonia, to say nothing of the bass-crushing minimalism of Mentok 1. Groovy Distortion and Tan Ta Ra eases up on the sub-whoofer assault some, edging closer to the Model 500 mould so much 'bleep techno' was emulating in the first place. Elsewhere, LFO get their electro vibe on, tracks like Simon From Syndey, El Ef Oh!, and Think A Moment showing where that Kraftwerk nod comes into play (sure, a little YMO too).

And yes, there's house music on here. Only... it's not house. Nurture, Freeze, Mentok, You Have To Understand, and Love Is The Message have that undeniable house groove going, but buried behind so much bleepy, bare-bones production, they come off strangely techno too. Not that genre-mashing was uncommon in the early '90s – much scene splintering occurred shortly after from such wilful warping of established conventions, young though they were. Few attempted emulating LFO's take on house-techno hybrids though, if anything because it was just so raw and unpolished, difficult to replicate without going full-retro. No wonder Frequencies remains a timeless album.

ACE TRACKS: May 2017

You know what coincided nicely with me listening to all that jazz, man? Finally finishing up a series that has quite the love affair with jazz music itself, not to mention a whole lot of other Americana: Cowboy Bebop. I’d catch snippets here and there over the past two decades since it came out, but never sat down with a proper DVD set and binge-watch the whole thing. And to be honest, I still haven’t! Sure, I borrowed the series from a friend, but that was last autumn, and only this past May have I concluded my session.

Because I know these twenty-six episodes is all there is to the series (plus a movie), I wanted to savor each and every one, stretch the experience out as though watching it like a regular TV show. And by g’ar, I pulled it off too! For sure I was continuously tempted to hop to the next episode, the next disc, just to see What Happens Next, but my resilience and fortitude paid off, Cowboy Bebop now having settled into my memory membranes like a fine wine rather than a cheap beer. Of course, now that I’m going through the show again with the alternate audio track (what, doesn’t every anime fan do that?), I’m burning through the show again in no time. Whee!

Oh, how was Cowboy Bebop? Yeah, it’s a dope show, but I’ve spent plenty ‘nuff time rambling on about it here, so let’s get to ACE TRACKS of May 2017.


Full track list here.


MISSING ALBUMS:
Stormloop - Into The Void
Mystica Tribe - Island Oasis
Mick Chillage - (M)odes
MO-DU - MOD01
ASC - No Stars Without Darkness
Fjäder - Shades Of Light
Vernon - Soundstream

Percentage Of Hip-Hop: 0%
Percentage Of Rock: 5%
(Percentage Of Jazz!: 15%)
Most “WTF?” Track: Either one of the creepier dark ambient offerings, or an impressive jazz solo.

Yay, a ‘big’ playlist again! Sure does help that I’m on a good reviewing clip once more. Not sure why I’ve got a little mojo back compared to earlier in the year. Maybe I was excited to review four CDs of jazz? Not quite, though getting through some of these ‘V’ albums has definitely been fun. For such a small letter in my library – we’re already more than half-way through it! – some of my all-time favorite albums lurk in this bundle. It won’t be long before wrapping this one up, then another modest backtrack, then onto the last of the ‘big’ letters in this project, ‘W’. Fans of water-themed music rejoice!

Vector Lovers - Vector Lovers (2017 Update)

Soma Quality Recordings: 2004

(Click here to read my original TranceCritic review.)

I remain woefully neglectful of those two Vector Lovers albums between this and iPhonica. I simply don’t know if I’d like them though. I mean, I’ve heard some of the singles Martin Wheeler put out around that time, and they’re all tech-hausy, or deep-techy, or dub-hausy. Fine if you’re a DJ looking for some rinse-out material, but I enjoyed Vector Lovers for the touching electro melodies and groovy robot funk, so I haven’t been in a hurry to- Eh? They’re not like that? How can I corroborate this info? Oh yeah, Spotify. Guess I should do some ‘music journalist research’ on this then. Hold on.

*a couple illuminating hours later*

Um, oh wow. Huh. I had no idea. Just goes to show you can’t judge an album by its associated singles, eh? Still, despite my primary reservations, I’d likely have dropped some cash for those albums if I spotted them on the cheap. A decade on, and they still haven’t come down from full price, some of them fetching upwards in the hundreds of dollars now, which is mind-bogglingly bonkers. On the other hand, these are decade-old CDs now, released on a label that probably didn’t have a huge production run of them in the first place. For sure Soma Recordings has clout in the world of techno – they got this particular album into the Vancouver shop I stumbled upon in the year 2006 after all – but even they must run out of copies eventu- Eh? They still have copies for sale on their online store? Um, oh wow. Huh. I had no idea. Say, that British Pound isn’t doing so well right now either, is it?

Since my original TranceCritic review of Vector Lovers is already plenty and exhaustingly detailed, here’s some additional items of interest I gleaned in my Spotify trawl of Mr. Wheeler’s music. First off, the 2011 Electrospective didn’t just gather up a ‘best of’ collection of Vector Lovers, but also offered them up as ‘remastered’ versions too, essentially beefing them up musically, practically turning them into remixes. For the most part these are handled with enough class as to not render the originals moot, but Spotify does, replacing the original tracks with the remastered versions on the albums too. That… just might make the CD copies rare collectibles now, the only place one can hear the originals. Incidentally, five tracks from Vector Lovers made the cut on Electrospective.

Another track that did was an A2-side to the Electrobotik Disco single, Shinjuku Girl. It’s a nice little downtempo electro number in that easily identifiable Vector Lovers stylee, but I must draw attention to another cut off that EP, Electrobotik Disco Part II. Holy cow, if you thought the album version, or even Electrosuite, was ace dancefloor material, this tune takes all that robot future-funk, then feeds it through a galloping techno beat that’d have all the ‘electro’ guys of the mid-‘00s quivering with hearts in their eyes. How have I missed this for over a decade!?

Laurent Garnier - Unreasonable Behavior

F Communications: 2000

The only Laurent Garnier album you’re supposed to have, even if you’re not a Laurent Garnier fan. For this is the one that has that one track everyone knows him by, the hit everyone expects to hear rinsed out, the anthem jocks repeatedly return to so many years after the fact. Still, it kinda’ sucks that Acid Eiffel is relegated to a bonus live disc, and rather shortened at that, but hey, all that tasty, escalating, trance-inducing 303 action, finally available in a proper LP release, and not some wacky compilation of early works. Eh, what do you mean that’s not the one track everyone knows him by? Well, they should, by god, g’ar, and gum.

Right, fine, it’s The Man With The Red Face, the techno track that reintroduced the saxophone solo to a new generation of punters. That may not seem terribly impressive at first glance, but keep in mind the instrument hadn’t seen much action in the dance industry for some time, perhaps Red Snapper’s 1995 Hot Flush it’s last big moment in the spotlight. And while you’d still find it cropping up in jazzy, downtempo circles, its utility as a showpiece in clubland was simply done and dusted, the few instances almost unanimously forgettable. Not only did Mr. Garnier resurrected it, but did so in such a memorable way that it’s been remixed and ‘covered’ many times since. Yeah, I can’t deny it’s a catchy, fun tune when dropped at peak-time – still prefer that 303 workout from Acid Eiffel though.

One classic anthem does not a great album make, though. Nay, what sets Unreasonable Behavior apart from all the other Laurent LPs is its consistency from front-to-back. This is a straight-up techno album, exploring all facets of the genre as it was by the turn of the century, with few of the stylistic indulgences Mr. Garnier allowed himself as the years went on. You get jazzy electro care of City Sphere and Cycles d’Oppositions, futuristic chill cuts like Forgotten Cuts, Communications From The Lab and Downfall, head-down 4am bangin’ shit like The Sound Of The Big Babou and Dangerous Drive, plus your requisite nods to Detroit in tunes like Greed and the supremely deep tune Last Tribute From The 20th Century. Damn, that one wouldn’t sound out of place on a Turbo compilation of the same year.

Of course, much of this is par for the course when it comes to Garnier. Having spent nearly a decade honing his craft though, Unreasonable Behavior goes down as polished and smooth as any collection of techno can. There’s none of the clunky execution some of his earliest material suffered from, nor any of the wayward experimentalism that’d come later. It’s finding ol’ Laurent at the sweet middle-ground of his career, plying all the professional tricks of his trade while maintaining intuitive techno songcraft. Heck, if any track does comes off rote, it’s The Man With The Red Face, just because it is such an obvious anthem.

Symmetry - Themes For An Imaginary Film

Italians Do It Better: 2012

What might this little item be, sitting so coolly in the CD shelves? Looks like an anonymous act going by the name of Symmetry, using vintage red SSD LCD font, offering up music for a motion picture that only exists in the imagination of the musician creating said pieces. And we have a hot dashboard for a hot car, cruising a hot dusk leading into a hot night. If that don’t get my retro synth senses tingling, then I haven’t been paying attention to this hot, little synthwave genre developing over the past few years. Not that this album has much to do with that particular scene, Themes For An Imaginary Film having a far more nuanced story behind it than your typical synthwaver inspired by Jan Hammer and John Carpenter. Come, pour yourself a mug of rum-n-nog, gather round the digital hearth, fire up a Yule Log YouTube, as I tell the tale of Themes For An Imaginary Film.

Themes For An Imaginary Film comes care of Johnny Jewel, he of the Italians Do It Better label, a print that made its name peddling retro disco and synth-pop for a modern era. He’s also helmed a number of groups within said label, including Glass Candy, Chromatics, and Desire, building quite the rep’ as one of Los Angeles’ foremost tastemakers. No small feat given the cutthroat nature of Tinseltown’s entertainment industry, but it was enough to get him a foot in the door of Hollywood’s music scene, landing his output a few licensing deals along the way. Johnny Jewel though, he aspired for more – nothing less than scoring a complete film would satisfy his drive.

Say, what’s this, a movie called Drive is in need of a soundtrack with a synth-poppy retro sound? Johnny Jewel can do that absolutely! Oh, wait, they already got a composer, industry man Cliff Martinez - they only want a couple songs from you instead (one Desire, one Chromatics). Aw, but ol’ Johnny already made a bunch of tunes for potential use in your indie movie about cool-bad guys doing cool-bad things with cool-bad cars, a double-LP’s worth in fact! Well, save it for your own use then, maybe release it separately under a new guise like Equipoise or Synergism.

At 2CDs in length, I’d say Themes For An Imaginary Film is a lot to chew on, except many of these thirty-six tracks come off like half-formed background pieces. A few hold their own as individual works of moody electro (City Of Dreams, Blood Sport), cinematic synth-pop (Jackie’s Eyes, Streets Of Fire) and reflective ambience (Hall Of Mirrors, Ghost Town). For the most part though, these are pure score fodder, interstitial music bridging moments between dialog. Still, with a little refinement and culling, I can definitely hear how these could have been used as an alternate soundtrack to Drive.

As for Johnny Jewel, he’d finally get his scoring break with the crime drama series Those Who Kill, and last year’s flim Lost River. Perseverance!

Kozo - Planned Penetration

Waveform Records: 2000

This has been an album that’s long intrigued me based on cover alone. Something about the saturated blues inexplicably tugs at a strange reservoir of nostalgic endorphins I did not know existed. Packed in a family Sedan at some point in the ‘70s, casually cruising a California suburb (or Okanagan road) in search of a place to rest in that brief period in dawn’s early blue-shifted light. I have no actual memory of such an event, not even an implied dream, yet the artwork on Kozo’s debut sparks such imagery within my brainpan just the same.

And that’s not all! Studying the cover a shade longer, a different form of brain matter sparkling starts flooding, that of musical expectation. Forget the lonely suburb street with the humdrum motel – take a gander at those power lines! Coupled with the color pallette, and I’m thinking all sorts of weird, experimental, glitch techno, or fuzzy Boards Of Canada weirdness. Now obviously, this being a release on Waveform Records, such could never be the case, but it intrigued me nonetheless. Who exactly is Kozo? What music might actually be contained behind that curious cover art? Do I really want to take a gamble on a CD from Waveform’s more ‘adventurous’ period, when there’s so much tried, tested, and true grooves found elsewhere within their catalog?

That, above all else, was the reason I held out on Planned Penetration for so long, unsure of what sort of leftfield vibes I might get with this album. But I’m slowly catching up with getting Waveform’s entire discography, so it was inevitable that Kozo would find its way into my collection (Liquid Zen next, finally?). And lo’, it was true there was something quite unexpected within his debut album, though I was not prepared for what awaited me within. For you see, Kozo Ikeno is a trumpeter extraordinaire, and boy does he let his skill shine on through.

Straight up, I am utterly clueless regarding the full scale of trumpet musicianship. I know of the jazz greats (Armstrong, Gillespie, Davis, Baker), but by no means have taken in much of their work. Thus, whether Kozo’s skill on the trumpet is comparatively ace or bunk, I simply don’t know. What I can tell you, is he alternates between open and muted playing (sometimes playing off each other), mostly with a distant, hall effect in place, and in a woozy way that at times sounds weirdly flat and dissonant. He also provides his own electro and acid jazz beats in support, very minimalist stuff with a few glitch stutters thrown in for good measure. At times it sounds pretty cool and otherworldly, like I’m lost in a drugged-up dream haze of a road trip gone awry.

Mostly though, I feel I’m missing something only true students of classic jazz would understand (and have I ever been skipping that class). Once I got used to what I was hearing, Planned Penetration did grow on me, but talk about your dashed expectations.

Space Dimension Controller - Orange Melamine

Ninja Tune: 2016

I thought I’d have talked about Space Dimension Controller well before now, his Welcome To Mikrosector-50 a most pleasant surprise of an album when it came out in 2013. Then again, I thought I’d have nearly completed this massive listening project too, well passed the ‘W’s, and maybe even considering taking on the first few letters again for this blog’s completionist sake. Then again-again, I should have known more music would have come into my collector’s gravitational pull, sucked into my domain like so much cosmic detritus. My desire to consume everything and all knows no bounds, more insatiable than an unholy merger of Galactus and Unicron (Galacticron?). Good God, imagine if I could actually afford all that I wished to buy? I’d probably still be somewhere around the ‘G’s! (so much fabric, so much Global Underground)

Jack Hamill, the young man controlling all this space dimension, has kept a sporadic rate of output since first emerging with the moniker in 2009. R & S Records gave him his first major break in promoting his early singles and proper debut album, but he’s floated among a few other prints in the meanwhile too: Kinnego Records, Royal Oak, and now Ninja Tune. Whoa, talk of unexpected developments – what would the Ninja crew have in mind with a producer primarily focused on electro and loving nods to Detroitism?

Releasing the Space Dimension Controller archives, it seems. Orange Melamine unearths material from Jack Hamill’s teen years, back when he was still figuring things out about where he’d take his wayward muse in love with retro sounds. Seems the UK underground was just as much on his mind, as this album’s filled with jittery, post-dubstep beatcraft, a style Ninja Tune has shown plenty of interest in (at least, much more than R & S). In fact, Orange Melamine has a fair bit in common with all those influenced by Burial’s romanticism of clubbing days gone by, crackling hazy recollection of music from a fondly remembered Before Time. Rather than getting all misty-eared over UK garage and grime, however, Mr. Hamill has his muse set on retro-future sci-fi, as heard through the archaic crusty technologies of the 20th Century. For real, when I first heard The Bad People’s opening warbling distorted arps, I thought my headphone wire had a faulty connection!

Orange Melamine is a conflicting listen, one ear firmly in pulpy futurism, another in nostalgic fuzz, loosely held together with scratchy beats like so much sonic duct tape. Even the track titles flit between such sentiments - Adventures In Slime And Space, Multipass, Melting Velcro Shoes, Leader-1 (wait, the Go-Bots character?). Other times Mr. Hamill dabbles in simpler influences, like freak-out acid rave (Los Locos, Velvet Gentleman), pure electro funk (Gullfire), or Boards Of Canada trip-hop (Volvo Estate). It’s also all rather under-written compared to later works from Space Dimension Controller, but that’s unsurprising consider Jack’s age when making these. Definitely worth a playthrough though, if only for a different take on retro-future sounds.

Dopplereffekt - Linear Accelerator

International Deejays Gigolo: 2003

Dopplereffekt is Gerald Donald (and a rotating partner), a darn important person in the world of techno. Mostly for his contributions to Drexciya and Underground Resistance, though this project is held near the same reverent breath from Detroit electro disciples. Heck, some could even point to this act as a precursor to electroclash, the minimalist, sleazy Pornoactress from the 1996 single Infophysix oozing all sorts of detached, deadpan cool. DJ Hell must have thought so, signing Mr. Donald to his International Deejay Gigolo print. Instead of more Dopplereffekt material though, there was Virtual Geisha as Japanese Telecom, a kitschy electro album at the height of electroclash’s kitschy dominance. Then there’s Der Zyklus’ II, which contained some classics of the electro revival in its own right (d’at Discogs Market price, tho’!).

For all intents though, it seemed Mr. Donald was done with Dopplereffekt after making his debut on Hell’s label with the 1999 retrospective Gesamtkunstwerk. But maybe there was enough demand from the Gigolo faithful to hear more under that particular guise, hence the eventual LP we have here. That, or ol’ Gerald was contractually obligated to provide a proper album of new material as Dopplereffekt before moving on. I mean, it’s mighty suspicious this is his last release with Gigolo. It would go a long way into explaining why Linear Accelerator is a rather challenging record.

For sure earlier Dopplereffekt had a hard sci-fi element to it, a fascination with lab experiments and high-end technology. Linear Accelerator takes that to the extreme though, with track titles like Myon-Neutrino, Higgs-Mechanism, and Niobium Resonators. And the music? It’s a long wait for anything resembling a tune on this album. The opening track Photo Injector is over twenty-one minutes of clanking machinery, miniscule bloops, and all sorts of musique concrete abstraction. Niobium Resonators follows, nearly fifteen minutes of clicks, pops, and blast-processing noise. Third cut Graviton runs an additional fourteen minutes, has a muffled, garbled synth running through it, while clicks, pops, and static do the experimental glitch thing that was increasingly in vogue around this time with artsty techno sorts. In case you haven’t kept tally, that’s a whopping forty-nine minutes of this album spent experimenting with electronic sounds. Linear Accelerator has a runtime of seventy minutes, mind you.

The final three tracks do offer some melodic yin to the difficult yang of the first three. Myon-Neutrino has a groovy acid bassline with a haunting sci-fi hook, Z-Boson goes more spritely in its choice of synths, while Higgs-Mechanism offers the closest thing to an electro cut out of anything on here, though significantly muted compared to Donald’s other works.

Obviously Linear Accelerator isn’t an album for the faint of heart - only those who thrill at the intense potential of electronic experimentation need apply. I’m just confounded at how such an abstract release found its way onto Gigolo. Either DJ Hell was aiming for a trendy Mille Plateaux rub, or Donald was having a pisstake with the whole electro revivalist thing.

Laurent Garnier - La Home Box

F Communications: 2015

It’s been a long time since Laurent Garnier’s released a new album, and we’re technically still waiting on that too. La Home Box is more a gathering of various singles he produced throughout 2014, with a few additional unreleased items rounding things out to LP length. This has given it a ‘compilation’ label from most, but listen, son, that shit wouldn’t fly back in the day. Hell, when Monsieur Garnier first made his mark in the world of techno music, a dance album was just a bunch of prior singles lumped in with a few unreleased items. That makes La Home Box a retro album! Ain’t nothing old-school about the deluxe box set version though. Four slabs of wax, each a different color, with extra tracks not included with the CD (ten minute long Drifting In Midwaters, ten minute long Confused, additional remixes of a few tunes), all bundled within a pizza box. Hot damn, that’s going to bat for the Black Crack collectors out there. Makes getting the lone piddling CD kinda’ lame, but what need have I for all that vinyl? Besides, I get two versions of The Rise & Fall Of The Donkey Dog, so “haha!” on you, vinyl enthusiasts. Wait, the CD’s also included in that quantum singularity box set? Well, fu

Whether you’re thrilled or disappointed that La Home Box isn’t a new album-proper from Mr. Garnier will likely depend on what you expect out of his music. Say what you want about his adventures into genres unexplored, but you cannot deny he has big French balls indulging his musical kleptomania, turning away those who just want more techno weapons in their arsenal. They like Man With The Red Face, but going full jazz? Not so much.

Such folks should then be pleased with La Home Box, as it’s a no-nonsense affair of various dancefloor tools, artistic indulgences be damned. I mean, what else could it be, given this is a ‘compilation’ of scattered singles, where leftfield genre dalliances just aren’t done (save the occasional B2-side). Instead we stick to the thumping heads-down techno (Psyche-Delia, I’m Going Home, M.I.L.F.), the Afro-beat techno (Boom (Chakalok) (Traumer African Remix)), the “techno with some house elements but not quite tech-house” techno (Enchanté, Bang (The Underground Doesn’t Stop)), and the “this is not techno, it’s deep house, you goof” techno (And The Party Goes On). Interestingly, though hardly surprising, the CD exclusive cuts find Mr. Garnier bucking the techno in favor of something different. The Rise & Fall Of The Donkey Dog has something of an electro-rock build going for it, while the Husbands Remix does the French chill-pop thing you’d expect of AIR and the like. Oh, and Revenge Of The Lol Cat sounds like Garnier having a pisstake with epic G-funk boogie. LOL indeed.

So overall a satisfying collection of tunes from ol’ Laurent – his craftsmanship around an escalating techno groove remains as sharp as ever. Wouldn’t mind a real album for his next outing though.