Groove Armada - Lovebox

Jive Electro: 2002

This may be Groove Armada's fourth album, but I always think it's their second. Once again, I blame my Canadian exposure to the band Andy Cato and Tom Findlay built. Their first album, Northern Star, was a non-entity in my hemisphere of the globe, such that we all figured Vertigo was their debut (only the Brits knew better anyway). And while Goodbye Country (Hello Nightclub) was the hotly anticipated follow-up to Vertigo, I can't say it made much of an impression in these here parts, for two reasons. One, the cover-art was kinda' drab, a homely thing that looked more like any dozen of chill-out compilations floating about at the time (reminds me of something off Late Night Tales), thus easily lost on store shelves. Two, the album had the unfortunate timing to be released on September 10, 2001. Uh, yeah, North American folks were gonna' be a tad more preoccupied than scoping out a new Groove Armada record.

Lovebox though, there was no missing that, what with it's big neon artwork against a stark black backdrop, released a year after most nations had regathered their wits. The quick turnaround into another LP caught many off guard, figuring the Armada lads would have wanted their Goodbye Country material to gestate a little longer. On the other hand, with I See You Baby and At The River still getting more airplay than anything in their current discography, it wouldn't surprise me if Misters Cato and Findlay were hit with a surge of inspiration to make music as far removed from those tunes as quickly as possible. Even they had to be tired of hearing about sandy dunes and salty air.

Aside from hot neon colours, you know what else was creeping into clubland around this time? Good ol' fashion 'rawk', the sort of drunken, rowdy business new wavers so often indulged in Back In The Day. Disco punk was peeking its head outside of New York City enclaves, and there was something irresistibly trashy about this new-fangled 'electro-house' biz'. Groove Armada must have noticed these underground developments, as Lovebox features some of the rockiest dance music I've heard from the year 2002 (very small sample size).

Like, there's no denying where their heads are at opening an album with a song called Purple Haze. It's a suitably heavy, thumping groover that doesn't sully the Hendrix song at all, while Groove Is On gets more on that funk action for your all-night festivities. And if those weren't enough to let your hair down, Madder is a fun head-banger tune. Then there's some obligatory house jams (Final Shakedown going a little garage, Easy going a little disco, Lovebox going a little deep, and But I Feel Good going a little ...reggae?), and some soulful downtempo cuts too. Oh, and Remember reminds us that, yes, if Groove Armada wanted to keep rehashing At The River forever after, they could easily do so with skill and finesse. They just, like, don't want to, that's all.

ACE TRACKS: August 2018

This past month, I finally had the opportunity to put something to test I've long wanted to: the practicality of my ACE TRACKS: Ultimate Master List!! playlist as a road trip experience. For the first time in my dozen years of going, I was gonna' drive myself to the Shambhala Music Festival, which meant sole control over the music selection! Right, that one bus sojourn could technically count too, and my many trips with Ishkur as the driver left me mostly in charge of music selection along the way (it helps that we both take perverse glee in torturing other passengers with italo disco sets), but this was a solo road trip for yours truly. As I've long claimed my Ultimate Master List!! should make for a useful aid in ultra-long road trips (9-10 hours, one-way), this was my chance to see if my hype lived up to provable facts.

I, uh, forgot to take one thing into consideration: the lack of cell coverage throughout most of British Columbia's mountain highways. By the time I'd gotten out of the Fraser Valley, all streaming came to an abrupt end, the only signal still attainable within the sporadic towns that dot the Crow's Nest Highway. I fortunately also packed with me an ample supply of CDs (just in case), but man, was I ever looking forward to hearing all those tunes on the road, even the dark ambient ones (nothing sets the mood of a province on fire better than dreary, ominous tones). Maybe next time I'll just download a couple of the monthly playlists instead, like this one for this past month of August 2018.


Full track list here.


MISSING ALBUMS:
Various - A Journey Into Ambient Groove
Porya Hatami & Darren McClure - In-Between Spaces

Percentage Of Hip-Hop: 3%
Percentage of Rock: 8%

Whenever I make one of these shortened playlists, they tend to turn out a rather jumbled listening experience. The lack of selection causes frequent genre clashes, especially so when I just go with an alphabetical arrangement. I was expecting the same with this month's playlist, what with music from quite the disparate range of music (UK garage, techno, house, punk, psy, synthwave, ambient). Yet somehow, this turned out a remarkably smooth play-through. Even the jumps into Green Day or Etnica weren't as jarring as I was expecting. Funny how that works out sometimes.

Weekend Players - Pursuit Of Happiness

Multiply Records: 2002

(A Patreon Request from Omskbird)

Andy Cato will forever be known as one-half of the commercial juggernaut that is Groove Armada, but the chap's had a far more fruitful musical career than that pairing with Tom Findlay. He released several house singles under several one-off aliases in the half-decade prior to Vertigo, plus found time for other collaborations with the likes of Mike Monday and Alex Whitecombe. They even flirted with trance on occasion, the group Qattara having some minor success during the genre's commercial heyday (a Paul van Dyk approved hit in Come With Me helped). And while Groove Armada pretty much set him up for life, that collaborative itch didn't end, finding time between that project and DJ gigs to work with other musicians.

One such pairing was with Rachel Foster, a vocalist with very few Discoggian credits to her name prior to meeting with Andy. For whatever reason, a Balearic house bug had bitten Andy, and Ms. Foster provided the suitable pipes needed for his single, 21st Century. Sensing a vibe distinct enough from his work with Tom Findlay, Andy and Rachel dubbed themselves Weekend Players, roped in Groove Armada bassist Jonathan White for the ride, and set about making an album of chill-out compilation fodder.

I'll admit I'd never heard of this project before, but then my Groove Armada interest was only the passing fancy most North Americans had in the wake of singles like I See You Baby and Superstylin'. Certainly not enough to browse into Andy Cato's various projects, though digging through his discography has definitely been enlightening. Pursuit Of Happiness did reasonably well though, tunes like Into The Sun and I'll Be There hitting high marks in that bastion of taste, the US Dance Charts - getting featured in various CSI shows probably helped.

That's all the particulars out of the way, so how's the music then? There's a lot of familiar Groove Armada markers, like 'that trumpet', or 'that light jazz vibe'. With more focus on Ms. Foster's vocals though, Pursuit Of Happiness comes off less cheeky than a lot of G.A.'s stuff – classier, music intended for the coffee shop that uses home-brewed beans rather a corporate farm. Trip-hop that's in its post-Millennium gentrified state (Best Days Of Our Lives, Jericho, Subway, the titular cut), or acid jazz that's kinda' lost as to exactly what it is anymore (Subway). Music for when you want to cruise along charming coastal towns thinking of sandy dunes and salty air, but want something other than that specific Groove Armada song (Higher Ground). Peppy house music giving you true-blue Balearic feels without spending ridiculous sums at tourist traps (Into The Sun, Play On, Through The Trees).

Overall, Pursuit Of Happiness is a charming record, and charted reasonably well for an Andy Cato side-project. In the end though, there's not much that different here than on any number of downtempo albums of the era, and perhaps Weekend Players realized it as well, disbanding a couple years after this record's release.

ACE TRACKS: July 2018

Another month, another review quota quite short of what I was able to crank out even a year ago. What's up with that, eh? Well, aside from having a mini-break for the Basscoast music festival, I figure two factors have hit me in such a way I never anticipated. For one, the fact is a lot of my current reviews are of material that is relatively fresh and new to my years. When I was mostly going through my older CDs, I already had many thoughts and criticisms built in by many years of replay – even the ones I didn't replay often still gave me talking points about why they ended up as duds in my music collection. That makes cranking out a review of it exceedingly easy, 75% of it practically already formed inside my brain matter. Aside from a few older items though, most of what I'm covering now doesn't have that long gestating benefit, creating something of a crunch on my cranium. Having an extra day to make sure my thoughts aren't some slapdash hot-take is practically required now, which unfortunately does reduce my output clip a little. So it goes.

The other reason there's a little lag these days is due to it being unbearably muggy this summer, my prime writing hours (usually early evening) all but null and void. Fortunately, that 2am time-slot seems to work out in a pinch, if I've overslept an evening nap. Best way to get past the gruelling setting-sun heat in this west-facing apartment of mine. Wasn't such an issue in summer's past, is what I'm saying.

Yeah yeah, bunch a' belly-aching here. Can I help it if I set myself up for a standard that I can't always maintain? In any event, here's the ACE TRACKS of July 2018.


Full track list here.

MISSING ALBUMS:
Mick Chillage - Harmonic Connections
Tipper - The Critical Path
Tomita - The Firebird
Porya Hatami & Lee Anthony Norris - Every Day Feels Like A New Drug

Percentage Of Hip-Hop: 0%
Percentage Of Rock: 8%
Most “WTF?” Track: that one Andrew Heath track? No, of course not, it's still the ever-lasting Oak Ridge Boys.

This seems short, even for a month like this one. It's got the usual stuff you probably expect out of these playlists as of late: a little ambient, a little techno, a little house, a lot of stuff that sounds like the '80s. Shame no Tomita made it in, though. That would have given this playlist some unexpected pep.

Various - 100% Energy

Quality Records: 1994

Another of my earliest CDs, and a very educational one at that. No, go ahead and laugh – it really is quite adorable what I learned from 100% Energy. It's something I would have learned rather quickly anyway, but there's always that first one, opening your eyes, ears, and brain to all that electronic dance music has to offer and is capable of. I am, of course, talking about The Remix.

Yeah, I'd come across remixes before. My exposure was so limited at that point, however, I just assumed rubs on tunes like Age Of Love, Obumbrata, and Dominator were the original versions, not variations. Even the few remixes of 2 Unlimited hits I'd heard didn't sound that different compared to the radio cuts, at least enough for me to think much of it (still, that 2 Little Boys go with Twilight Zone sure hit harder). When I picked up 100% Energy (was given as a Christmas gift? I can't remember...), I was already familiar with a chunk of tunes in the track list: Urban Cookie Collective's The Key, The Secret, BKS' I'm In Love With You, Bad Boys Blue's Go Go (Love Overload). There are several others too, but I hadn't counted on hearing versions of them completely different from what I'd heard elsewhere.

My main point of comparison was Radikal Techno – Too Radikal, where four tracks from that CD also ended up here. Both Mars Plastic's Find The Way and R.T.Z. Belgium's In The Name Of Love are shorter, which I didn't mind since both tunes are rather monotonous anyway. That Deadly Sins cut though, We Are Going On Down, why does it have an added bell melody? The main riff's different too, more aggressive sounding, and where did the roller-coaster samples go? If that threw me for a loop, then hearing the original version of TRF Rave Factory's Open Your Mind... well, opened my mind. Joey Beltram's remix on Radikal Techno was minimalist and almost trancey, whereas here it's about as ravey happy hardcore as you could get in 1993. Complete opposite ends of the dance spectrum, and I was so clueless it could be done at all! Oh, and the limp Let The Beat Control Your Body from 2 Unlimited is featured here in its more festive X-Out In Rio Remix form, another “wtf?” moment for yours truly.

Okay, enough anecdotal blathering. 100% Energy is about as typical a eurodance compilation from Quality Records as you'll ever find. Other names on here include Diva Connection, Apotheosis, Dance 2 Trance, Q-Tex, Cardenia, and Intermission. DJ Dero's mardi gras nod Batucada comes prior to the 2 Unlimited rub, and General Base's Poison hits all my eurodance endorphin triggers. The CD is also 'mixed', in that everything's got hard cross-fade slams, some tracks hilariously clashing with what came before. Since I don't have many of these tunes and mixes elsewhere, I've kept 100% Energy all these years, but it's honestly barely worth a used-shop pick-up a quarter century on.

ACE TRACKS: February 2018

Whoo, not only did I finally polish off that seemingly endless backlog, but knocked off another main letter too! Yeah, it was only 'X', but gander: five albums made up that little block, which is more than pathetic 'Q' ever had. The next three largest letters in my collection are 'Y', 'J', and 'Z'. Kind of surprised 'Y' doesn't have many albums, as you'd think more artists would title their works with a 'You'. They sure like that 'No', tho'.

But yes, that means, after sixty-four months and nearly 1,400 reviews, the end is in sight. Baring complete societal collapse, I should be able to finish within the month that which I set out to do so many years ago – to listen to every item in my music collection in alphabetical order. Only... I won't be finished, will I? There's a whole new backlog that's been forming even as I was going through the last one, with at least a couple month's worth of material to work from. Not to mention the clutch of albums that make up “#, A, B, & Ck” that I never wrote reviews for. Can't forget those!

So yeah, even though I should wrap 'Y' and 'Z' by spring, I'm not finished, not by a long shot. I'm also considering a couple additional ideas, but will touch upon those later. For now, here's the ACE TRACKS for the month of February 2018:


Full track list here.


MISSING ALBUMS:
Various - United DJs Of America, Vol. 3: Josh Wink – Philadelphia, PA
Various - Rewind: Taylor – Resonance
Various - United DJs Of America, Vol. 14: DJ Soul Slinger
Various - X-Mix-2: Laurent Garnier - Destination Planet Dream

Percentage Of Hip-Hop: 7%
Percentage Of Rock: 7%
Most “WTF?” Track: Always the everlasting Oak Ridge Boys.

Obviously none of the X-Mix or United DJs Of America series are on Spotify, but aside from some of the oldest editions, plenty of their tracks are. Of course, if you really want to hear those X-Mix albums, the full VHS rips are on YouTube as well, so no excuses!

Because of the huge spotlight on those CDs, techno and house dominate this playlist, with a couple token glances of trance, progressive, rock, rap, synth-pop, ambient, downtempo, and country. No dark ambient though, which has to be a first in, like, forever. A very '90s sounding playlist, all said, even from the more modern tunes included.

Various - United DJs Of America Presents: Murk Starring In Miami Vice

DMC: 1999

This series is being screwy again. No where on the cover or the inlay does it tell you this is Vol. 12 of United DJs Of America. I could understand if they'd be reluctant to include the number if it was Vol. 13, but for whatever reason, DMC/Mixer decided this was the point they were to break with tradition. No more numerical volumes. Glorious gimmick cover art of the DJs involved. Reduce their series logo to a footnote (well, for the UK version of this release). Dammit, they rented that Lamborghini and retro suits for the photo shoot, and they're gonna' make sure you see them in all their glory! Naturally, United DJs Of America went back to basics with Vol. 13, never doing such a gimmicked release again.

Anyone worth their house-salt knows who Murk is. Oscar Gaetan and Ralph Falcon have been staples of the American scene since the early '90s, establishing their own Murk Records to self-release vinyl under various aliases. When house music was struggling to figure out what to do next, the Murk Boys took the vibes of Chicago and added a deep, sexy Miami bump 'n' grind aesthetic to it, eventually leading to what's often referred to as 'tribal house'. All the big proponents of it – Danny Tenaglia, Steve Lawler, Roger Sanchez – always namedrop Murk as highly influential in the development of their rinsing style.

The one United DJs Of America trend Vol. 12: Miami Vice does maintain is being the the debut commercial DJ mix for the chosen jock(s). So to it is with Murk, although they were mostly known as record makers rather than record spinners. Still, I'm sure they hosted plenty of nights throughout South Florida (and New York), so they have some experience behind the decks.

And they don't do anything to dash expectations. The thick, heavy, sweaty, tribal rhythms hit you early, and remain steady, familiar names like Peace Division, Krome Avenue, Eddie Amador, and Kings Of Tomorrow all weapons in Murk's arsenal. Also, Pete Heller's huge anthem Big Love is on here, one of the earliest CDs to get a feature. This was ridiculously overplayed by the year 2000, but many years removed from it now, it all comes flooding back why everyone went apeshit over this – at least until Daft Punk's One More Time completely changed the game. Anyhow, if you like yourselves a Tenaglia set that isn't quite so silky smooth, you'll dig Murk's contribution to this series.

Obviously the cover art invites a guest review spot from Crockett and Tubbs of Miami Vice fame, but I know which individual y'all really want to hear from, the infamous Tony Montana (aka: Scarface). Have at you, mang'.

Tony: Ay, this [bleep] mix is [bleep] alright, right? Murk Boys, they [bleeep] all day long, and when they [bleeep] the [bleeep] club with [bleeeeep] records, them sexy [bleeep] chicas and [bleeep] with [bleeep]. They proof of [bleeeeeeeep] American dream, livin' [bleeep] and well.

Various - United DJs Of America, Vol. 11: Cevin Fisher - My First CD

DMC: 1999

This name tasks me. Taunts me. Flies in the face of all that I hold grammatically pure and true. Cevin is pronounced with a hard 'C', like 'Kevin', but my brain wants me to pronounce it with a soft 'C', like 'Seven'. Anytime I see a 'C' beside an 'e', I gotta' say it as an 's'. Brains are weird.

Folks new to the house game may know Mr. Fisher for his vocal contributions in recent singles, but he's been a New York City fixture for many, many years. He spent a good chunk of the '90s releasing his own singles under several one-off aliases, and built up a rep' as one of house music's emerging talents on the DJ circuit. By the turn of the millennium, he looked poised to stand shoulder to shoulder with Morales, Sanchez, Knuckles, and Vega, especially since they'd all done prior mixes for the United DJs Of America series. This would launch the next stage of Cevin's career!

He... didn't take off quite as expected. It wasn't a fall off or anything, but house music kept morphing throughout the '00s, and Cevin's vintage New York disco house kept him firmly entrenched in the clubbing underground. Thus he never broke out the way his contemporaries did, though it wouldn't surprise me if he prefers it that way.

And yes, 'dangerous disco' is the name of the game on United DJs Of America, Vol. 11 (his first CD!). The opening Beautiful Day from House Of 909 takes us off with chill, uplifting vibes, but Cevin doesn't waste time in getting us to that ultra-loopy house action, including his own anthem of House Music - Cevin don't mess around with fancy titles, yo'. From there, things go a little deeper (Those Norwegians' Soda), a little Latin (Agent Purple's Kings Of Spain), a little bumpin' (Wet Dreams' Sunrise), and back to disco (Studio 45's Freak It). And what New York house set is complete without the obligatory nine-minute gospel cut to take us out? Well, some, but Mr. Fisher's making sure all flavours of house are repped here, so raise those damn hands and sing the praises of your Lord Jesus!

Oh man, there's so many famous fictional people from New York City I could get to do a guest review spot. For some reason though, an investment banker by the name of Patrick Bateman wants in.

Patrick: I didn't understand house music, not at first, when black people in Chicago were dancing to it. Something about that environment didn't seem right, like a primitive version of the disco nights of Studio 54. New York City made house better, merging it with something called garage. I believe that's another disco genre. It gave house music more soul, not unlike an upbeat Whitney Houston song. House music is now played in many clubs around the city, including The Tunnel. Hardbodies there like dancing to it.

(Uh, you've hit the word-cap, Patrick, and didn't talk about the CD at all.)

The first Cevin Fisher track I heard was It's Gonna Be Alright, a collaboration with Jus Us as No Pain, in 1993. The single came out on Hardtrax Records in 1993, and had five different versions on it. The first two mixes, titled No More Pain Mix and Gonna Be Alright Mix, have little variation between them. Cliff's Deep Flute Mix has some jazz flute notes being played. Rio Beats adds some Latin influences to the track. The Vox adds long delay and echo effects to Cevin's vocals. This was the only single Cevin Fisher released as No Pain.

It was after this single that Cevin Fisher started releasing music under this name. His first record was called Oye Ese Pito!!! on the label Gettin Lifted. His next single was an eponymous record, released on Groovilicious in 1996. This had the tracks Do You Wanna Fly, Take You To The Skies, Pump It, and Pump The Beats. Cevin released many more singles that same year, including I Want Music on Subversive, Raise Your Hands on Sound Of Minisry, and Check This Out and The Most Wanted EP on Maxi Records. In 1998, he paired with Robert Owens, a popular house music singer, and Satoshi Tomiie, a progressive house producer, for the single Darkness, released on S3. By far though, his most popular track was (You Got Me) Burnin' Up, released on Tommy Boy Silver. It's success lies with a sampling of Love Sensation by Loleatta Holloway, a disco hit from 1980, released on Gold Mind Records. In capturing Loleatta Holloway's impassioned belting voice, Cevin Fisher recaptures the hedonistic feeling of late '70 disco for a modern era. Another club anthem Cevin released in 1998 was The Freaks Come Out.

(what are you doing? I said your word cap was tapped out)

Cevin Fisher used a slightly different alias for The Freaks Come Out, called Cevin Fisher's Big Freak. This would be the only record he'd use the alias for. The track uses a sample from Whodini's Freaks Come Out At Night, released on Jive in 1984. Another key feature is the belting refrain of a 'disco diva' singing "Oh baby, oh!" Also in the track are horns that sound like a mardi gras celebration. In combining all these elements, Cevin Fisher captures the melting pot of New York City's varied clubbing cultures both past and present. Many popular DJs have now featured it their mixes and radio shows. This includes Pete Tong's Essential Selection - Summer 1998, on FFRR; Boy George's set in the tag-team release with Judge Jules of The Annual IV, on Ministry Of Sound; DJ Dan's mix CD Beats 4 Freaks on Moonshine Music; Tall Paul's set in Cream Anthems, released by Virgin EMI; Carl Cox's Non Stop 98/01, released on FFRR; The Klubbheads, in their set for the three CD release Kontor - Top Of The Clubs Volume 2, released on Polytel; Flavio Vecchi's set on New York Bar Compilation Volume 1, released on Dream Beat; Allister Whitehead's set in Fantazia - British Anthems 2000, released on Fantazia; Robert De La... Gauthier's Club Foundation, released on ID&T; Richard Evans & Johnathon Robbins' set from In The Mix Ibiza, released on Circa Records LTD.; Mas Ricardo in OXA House Vol. 2, released on TBA; DJ Erick-E's set on Work 9, released on Work Records; Alan Thompson's set in Trade: Summer Holiday, released on Jive.

(oh my god, doesn't this guy ever shut up?)

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.

Various - Pure Energy Volume 5

SPG Music LTD.: 1998

The Pure Energy series was one of the more successful runs of dance pop compilations in Canada, lasting a solid decade before folding after the ninth volume. Considering the Toronto label that promoted them, SPG Music, flooded the market with numerous such CDs, it's remarkable it stood out from the crowd at all. However, unlike long-forgotten series like Euromix, Warehouse Grooves, or Dance To The Underground, Pure Energy had one, key factor working for it: name recognition. For this series had all the big names of euro house and dance pop on its tracklists (plus a bunch of no-name locals), making them the must-have CDs in your shops should the other CDs that had all the big names of euro house and dance pop not be available. I rib, but I won't front either, my (sister's) copy of Pure Energy 2 an early favourite of yours truly. Mr. Vain, More And More, The Rhythm Of The Night, Shoop, Give It Up, Can We Get Enough?, Love Sees No Colour (Version 2)... hot damn, what a tracklist!

Fast forward a few years, and the scene has radically changed, new names and new sounds replacing the tropes of old. Except Culture Beat, they're on this volume again. And Shaggy too, who's got a feature credit on Maxi Priest's That Girl (ooh, yeah, That Girl, now you recall, That damn Girl). Yeah, for some reason, Pure Energy 5 isn't hot up to speed in its selections, some songs nearly three years old by the point this came out. That ain't no way to catch the iron while it's hot, boys, but whatever, it's the actual hits folks want that's important, so what's this CD got?

Spice Girls, Blackstreet featuring Pay-Day Dre, Aqua, Jocelyn Enriquez, “Not-Will-Smith” Space Factor. If I need to tell you which tunes, you sure don't remember 1997 well, do you. Oh, fine. Wannabe, No Diggity, Roses Are Red, A Little Bit Of Ecstasy, Men In Black. Ah, now the ol' memory membranes are firing, I bet.

Listening to Pure Energy 5 is pretty much a nostalgia trip to that year, so many songs generating, “Oh yeah, that one!” reactions when I played it back. Ultra Naté's Free, First Base's Love Is Paradise, Carrilio's Samba de Janeiro (such fiesta!), Amber's This Is Your Night, Tania Evans' Prisoner Of Love (La-Da-Di), Herbie's Right Type Of Mood... even Alexia's Uh La La La!, regrettably. It's honestly astounding how many songs here I'd completely forgotten about, but do recall them being major hits back when. Like, that Maxi Priest jam gave Shaggy his greatest mainstream exposure to that point (1996, for the record), but nowadays, all the radio stations ever play is Angel or It Wasn't Me, That Girl reduced to “Nineties Artifact” status. Poor Maxi Priest.

One last point of amusement before the wrap. The flip of the CD has a giant “DJ Approved” stamp, which is hilarious since this is a continuous mix compilation, rendering them effectively useless for actual DJing purposes.

ACE TRACKS: November 2017

So there's this YouTube reviewer I stumbled upon sometime in the summer, who I feel deserves what little extra attention my minuscule rub might provide, but I must admit I've been leery about doing so. I can't give him a glowing recommendation because I'm not entirely a fan of his format. That's not really a dig at him in particular though, as he utilizes a music reviewing format that many YouTubers do, including that Fantano dude who's apparently the biggest music YouTube reviewer around. Well, self-described “busiest” anyway.

Straight up, I don't like “individual looks at camera and talks about an album” vids. I get that it's easiest to film and edit, but I'm often bored and disengaged by it, even if the content within is interesting. I've watched, like, only two of Mark Grondin's reviews, but still frequently check out the transcripts at his Spectrum Pulse blog. I think it's because I'm spoiled by music reviewers from the Channel Awesome contingent (Todd In The Shadows, Rap Critic, Luke Spencer's Rocked), who splice in supporting images and video footage of the material they're covering. Or the round-table discussions of Dead End Hip-Hop, where ideas and opinions are bounced around among knowledgeable heads – probably the format I'd go with, if I ever got into video reviews. Point is, if you're utilizing video to do reviews, then utilize it. Otherwise, what I'm getting is little more than what can be achieved in the written form, and at least there I can enjoy it with my preferred internal monologue.

That all said, the reason I've kept tabs on this one particular dude is because he's doing something I haven't seen anyone else do: he's reviewing electronic music new and old, popular and obscure. Gee, that sounds familiar, don't it? Maybe not to such a ludicrous extreme as I've been doing, but I've got more than a decade on him, plus don't have to worry about things like filming and editing (much). I also don't necessarily agree with all his opinions, maybe only 40% of the time - that could just be a generational thing though. Still, the fact he's even attempting to cover such a wide range of electronic music is impressive enough. This past season he's tackled DJ Shadow, LCD Soundsystem, Sounds From The Ground, Carbon Based Lifeforms, Four Tet, ODESZA, Rezz, Paul van Dyk, Shpongle, Dynatron, Galantis, Bicep, Disclosure, Avicii, plus a retrospective of The Chemical Brothers' entire discography. Who else has indulged in such diversity? Not Resident Advisor, that's for sure!

Again though, I feel he still needs to modify his format into something better for me to give it a high recommendation. I think I've kept tabs on him just to see if he gets there, and I have seen gradual improvement. If you're not too hype on the channel though, I wouldn't be surprised. Oh, the name of it? The Wonky Angle. Yes, he's an Orbital fan, which gives him a very specific leg up on me in that regard: ~775% more Orbital coverage!

Gosh, that was a large tangent. Here's this past November's ACE TRACKS playlist:




MISSING ALBUMS:
Liquid Zen - Liquid Zen
Namlook • Montanà - Labyrinth 4
Namlook • Montanà - Labyrinth 5
Various - Home
Various - Beach House 04.02
Aythar - The God Particle

Percentage Of Hip-Hop: 5%
Percentage Of Rock: 0%
Most “WTF?” Track: Still anything Oak Ridge Boys related (no, really, is this leading to anything?)

I know I'm making progress in this massive alphabetical backlog of mine – 23 reviews in November dictate as such – but man, it sure feels like a drag. I started the month in the “G”s, and have only just finished off the “M”s. I look at the little CD rack that houses my “To Review” pile, and it's somehow still full! Like, it was full when I began this backlog at the start of October, and it just keeps refilling, no matter how far along I get. How does this happen!? And don't get me started on the new backlog forming behind the current one – had to overflow into my PS1 games rack to accommodate it.

Overall, this playlist is fairly standard where this blog's concerned. The usual ambient, ambient techno, dark ambient, house, techno, and trance, with sprinklings of genre outliers for fun. Will probably be similar next month too.

ACE TRACKS: July 2017

Hey look, another month where I broke the 'twenty reviews' mark. That sure don't happen as often anymore, does it. I'm surprised I hit that mark at all, though perhaps I was eager to get at a few of the items in the queue, CDs with plenty o' talking points swirling at the floodgates of my... whatever it is that sends words from my brain to the fingers typing it all out. Is it an ether that does it? Like, some mystical fifth element that makes my words manifest in such a way that they penetrate your eyeholes, imprinting themselves in your memory membranes. No, really, think about that for a moment – it's practically magic that we can do that, man! At least, until we evolve antennae, where bio-chemical communications will render this clumsy electronic method moot.

Actually, another reason for getting more writing done is I've had less distractions this past month, the most significant of which is brushing off the ol' Hot Shots Golf 3 game again. Man, is that ever a time-warp of pop culture interests, what with playable characters such as the Aussie animal ranger, the Chinese martial artist, the mobsters, the John Daly clone, and all those Matrix clones. 2002 was weird. No music from that year in this playlist of ACE TRACKS, though.



MISSING ALBUMS:
Various - Waveform Transmissions (Volume One)
Various - Wave Forum
Various - The Wandering II Compilation
Refracted - Through The Spirit Realm
Various - Techno Explosion
Jiri.Ceiver - Head.Phon

Percentage Of Hip-Hop: 13%
Percentage Of Rock: 5%
Most “WTF?” Track: You cannot deny hearing Mo-Do will turn your head unlike any other tune here.

Moar! reviews means bigger playlists, and Moar! diversity! Well, not a whole lot – ain't no '70s stuff on here. Still, added a couple more '80s albums to the archives, which is always nice because I seriously lack material released that decade. It's those 'greatest hits' packages, see;always gumming up the accuracy of Year Tags.

Gorillaz - Humanz (Proper Review)

Parlaphone: 2017

I wonder what comes first when Albarn and Hewlett reconvene for another Gorillaz saga: the music, or the concept. Like, I imagine ol' Damon would have a few demos kicking around, and ol' Jamie would have a few sketches laying about, but what's the process coming up with all the intriguing backstory for their multi-media creation. I mentioned in the Kayfabe Review of Humanz that Russel Hobbs, the Gorillaz drummer with a myriad of urban American influences and North Korean incarceration, was a dominating force in how the album turned out, but was that just the story Albarn and Hewlett concocted after the fact, or did they adapt the music to serve the narrative?

Another example: there's not much of 2-D/Albarn's singing voice on Humanz. That's because the Gorillaz cartoon front-man was lost on a Mexican beach, subsisting on rotting whale meat and coarse sand (it gets everywhere). Luckily, he eventually found his way back to the studio to offer his vocal talents, but in his absence, guest vocalists Murdoc and Russel rounded up (re: Albarn connected with) took over most of the singing duties. Was 2-D's story planned this way, or made up on the fly when Damon realized his voice was taking more of a backseat on Humanz. It's a fascinating conundrum, the Gorillaz process.

Much has been said about the musical drift from 'mutant pop' of older Gorillaz albums, instead going for more of a funk, house, and soul fusion. Can't deny it was a little off-putting for yours truly, having repeatedly consumed their previous works rather voraciously in anticipation of this one. Then again, when I first heard Plastic Beach, I was initially put off by it as well, sounding very little like Demon Days. And even Demon Days I put off for years, figuring it couldn't possibly match the dubby, erratic fun of the debut album. Yet I've replayed all those albums multiple times now, as I'm sure I will with Humanz. Albarn never gives us the same thing twice with Gorillaz, and while that can be frustrating for those hoping for retreads of Clint Eastwood or DARE or On Melancholy Hill, they clearly aren't paying attention to the project's expectation-dashing intentions.

Fortunately, as I already have an affinity for house beats, and can dig the funk and soul if its got that Motown or Chicago vibe going, I warmed to Humanz quite quickly. Saturnz Barz is just as catchy as any of the band's previous dub-fusion tracks of years past, it's nice hearing Jamie Principle in the slinky electro of Sex Murder Party, and who can resist the uplifting swing of Peven Everett's vocals in house jam Strobelite? Plus ending the album with pure jubilation collaboration of We Got The Power (Jarre! Jehnny! A Gallagher!!), whoo! Ending it with such a musical cliff-hanger does leave one expecting though, but fortunately there's a 2CD version with bonus tracks that carry the party on a little longer. Of course I sprung for it!

Gorillaz - Humanz (Kayfabe Review)

Parlaphone: 2017

This is a band that always flies too close the sun with each release, co-existing just long enough to make great music, then utterly flame out as tensions, strife, demons (figurative and literal), distractions, and ego get in the way. True, it's almost always the fault of Murdoc Niccals, but then again there wouldn't be Gorillaz without his unholy deals vision – I mean, have you ever seen 2-D, Russel, or Noodles put out a proper solo album of their own? They may hate and resent his guts, but they cannot deny Murdoc provides them opportunities too.

But in this case, it seemed that Plastic Beach truly was destined to be their final work. Details are 'sketchy' over what happened at Point Nemo (because, haha, they're literally sketched in the Rhinestone Eyes video, hahaha!), but we finally do know where everyone disappeared to after the Boogieman's assault on the trash island, each involved on their own personal journeys of introspection, self-reflection, emancipation, and incarceration. This last one is most important, for we probably wouldn't have this Gorillaz album without it.

Murdoc could outrun pirates, gun-runners, and devils no problem, but one entity he could never escape is the record label, specifically EMI. They somehow tracked him down after his escape from Point Nemo, throwing him into a dungeon underneath Abbey Road studio, offering freedom on the condition he get back to making another contractually obligated Gorillaz album. That left him a pickle though, as all his former bandmates were missing elsewhere. Fortunately, resourceful sod that he is, Murdoc kidnapped aggressively invited a number of musicians to help make the album until he could find the other Gorillaz members (cyborg option outlawed in the UK?).

By chance, one of these musicians was guitarist Jeff Wootton, whom was letting a returning Russel crash on his couch. Seems Mr. Hobs had quite the experience after swimming all the way to Point Nemo, being mistaken not only for a whale, but also a North Korean kaiju, such that the isolationist nation captured him and put him on display. The experience helped him lose almost all the his mutated weight however, and upon being released and returning to London, heard word Murdoc was in the process of crafting another Gorillaz record. Mr. Hobs immediately joined him in studio to write and record for the album.

Humanz is thus filled with a fair bit of American-inspired funk, house, and soul. For sure there's other elements at work too, but for the most part it seems Russel's influence gave us the final result. About time, as he hasn't had much chance to share his muse throughout the Gorillaz discography since the first record. His time spent in a dictatorial country also apparently gave him a unique perspective in what sort of theme to approach the album with. For instance, what if Western society was also overrun by power-hungry lunatics at the highest levels of government, all the while allowing our culture to crumble around us. No way that could happen here though! Haha, ha.

ACE TRACKS: June 2017

So June was a busier month than anticipated, mostly having little to do with things bloggy related. For one, it finally came time to get a new computer, one completely built on my own. Okay, with an assist from a friend who's more knowledgeable about these things than I. And all the actual physical building was done at a computer tech shop. But for the first time ever, I went into that shop and told 'em the specs I would need to get as modernized as possible, just so I wouldn't have to worry about this stuff for as long as possible. Prior to this, I'd either get used hand-me-downs, request some basic box from a repair shop, or win laptops in raffles (for reals!). And what precipitated my need for a new piece of hardware with all the trimmings? Um... I was still running Vista, and after that whole Ransomware scare, realized I couldn't upgrade that OS due to Microsoft's abandonment of it. Yeah, I'm one of those 'why bother upgrading if you don't have to?' sorts. Not with my headphone gear tho'!

And what else? Oh, another small trip. Getting a bout of sunstroke (playing b-ball in the open sun isn't a good idea, who knew!). Enjoying the NBA Finals (haha, suck it, Cavs). Finding my [Hot Shots] golf game again. Fixing a coding glitch that affected a significant chunk of my cover images (one... by... one...) Buying a Bluetooth wireless speaker for use at work, which is boss for taking into whatever area I'm working in that day, but has also proven quite the hog on my streaming data, but that's alright 'cause I already pay a max plan that I seldom got full use of anyway. You know, the usual malarkey. Hey, enough of that, here's ACE TRACKS for this past month.




MISSING ALBUMS:
Sense - A View From A Vulnerable Place
Ceephax - Volume Two

Percentage Of Hip-Hop: 0% (not even from Gorillaz!)
Percentage Of Rock: 14%
Most 'WTF?' Track: Either Pantera or Stuart McLean, depending whether hard metal or spoken word gives you more of a musical whiplash in this playlist.

Do you like Gorillaz? Sure you do! But do you like Gorillaz b-sides? Well, you better, 'cause this playlist is full of 'em. Plus the usual assortment of ambient new-and-old, with a little smattering of house, techno, trance, and wherever you want to lump 808 State's style this particular day.

And yeah, another letter down – told you 'V' wasn't much to get fussed over. 'W' should be just around the corner (next month), and after the requisite backlog following that letter, it's on to the final stretch. Why, I might even get it all finished this year! How much is my building backlog right now anyway? Oh... oh dear GOD!! *is buried beneath Bandcamp bulk deals*

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.

Gorillaz - D-Sides

Parlaphone: 2007

So Gorillaz have been back in the spotlight these past six months, and absolutely I'll be getting around to their latest album. Maybe I'll even kayfabe it too, 'cause that's always fun, buying into the mythos Damon Albarn and Jamie Hewlett have crafted for their virtual band. We should be so blessed as to have a rag-tag assortment of miscreants, misanthropes, and misunderstood musicians shining a perverse spotlight on contemporary pop music. Okay, we already do have that, but no band features a member making deals with literal demons (and record executives), while another spends her non-music time slaying other demons. I wonder if the demon world has an underground scene dedicated to sampling the forbidden fruit of Gorillaz tunes.

Anyhow, as with every new album from this band, there's a multi-media blitz crossing all mediums promoting it, including new videos. And when you watch one Gorillaz video, you can't help but start watching all of them, then getting wrapped up in the lore all over again, taking in the short cartoons, the audio books, the puppet shows, and all that. It's just a shame there's but the three albums to satisfy the music craving though, a scant sampling compared to all the surrounding paraphernalia associated with the Gorillaz brand. And I've already got them, so what else is left? Oh yeah, the b-side collections. I totally missed out on those, didn't I?

Well, no longer, and gosh dag'it, why did I skip out on these in the first place? I suppose I wasn't quite so enamoured with Gorillaz at the time, and didn't think a double-disc of b-sides, alternate takes, and remixes of the Demon Days sessions was terribly enticing. Dammit though, that album just seems to get better every time I play it back again, so there's bound to be a few dope tunes that just didn't quite make the thematic cut. Yeah, a few.

If you felt Demon Days lacked the first album's wild eclecticism, D-Sides offers it in spades, twee hip-hop (Hongkongaton) rubbing shoulders with electro-punk freak-outs (Murdoc Is God, We Are Happy Landfill, The Swagga), electro-reggae (Spitting Out The Demons, Bill Murray), dream-pop (68 State, Hong Kong), and bizarro synth-funk (People, Rockit). Then there are the tunes that completely defy definition, (Stop The Dams, Highway (Under Construction)), so don't even try. Just sit back and chill-vibe on these wonderful slices of weirdo-pop, son.

CD2 holds all the remixes, and is a veritable who's-who of trendy indie dance-punk sorts of the mid-'00s. Hot Chip is here! Soulwax is here! DFA is definitely here, with their twelve-minute rub of Dare, which spends it's entire second-third building and building and building, only for a very long, minimal outro that undoubtedly had DJs all a'twitter. As these are remixes of the main Demon Days singles, the selection isn't terribly dynamic, tracks like Kids With Guns and Dare getting three apiece between the nine cuts. Fortunately, I quite like Dare, in all its incarnations. Play on, daughter.

Groove Armada - Vertigo

Jive Electro: 1999/2000

I already mentioned Vertigo is the only Groove Armada album you’ll likely have, even if you’re not a Groove Armada fan, back when I reviewed The Remixes. That’s only true of American interests though, the duo enjoying plenty of sales numbers for follow-up LPs Goodbye Country (Hello Nightclub) and Lovebox. And despite a half-decade gap, Soundboy Rock did reasonably well in the UK, but it was clear their fame abroad was diminishing. A new wave rebranding for 2010’s Black Light generated a little sustained buzz, and perhaps they could have kept that going if trends weren’t so darn fickle in the world of club music. Instead, they’ve recently opted for that safest of fallbacks all producers succumb to, deeeeeeep house. Ah well, at least there’s precedent in their discography for it.

Vertigo always strikes me as the sort of album that shouldn’t have had much of a hope at gaining Platinum sales status, yet was destined for it regardless. The big singles off here were so ubiquitous in turn-of-the-century advertising, Groove Armada couldn’t help but generate bank from it, though I only heard Fatboy Slim’s rub of I See You Baby on this side of the pond. Still, the summery feel-good vibes of If Everybody Looked The Same and chilled bliss of At The River (mmm, sandy dunes and salty air) make for swell soundtracks accompanying visuals of beautiful people driving beautiful cars in beautiful locales. Instead, we got Moby.

The rest of Vertigo though, how does that hold up? Like, this is mostly an acid jazz record, right? It’s got those funky, groovy rhythms that isn’t quite house music (Chicago, Pre 63, Serve Chilled), ample amounts of jazzy instruments played as laid-back loops or in studio (orchestral swells in Whatever, Whenever, trumpet in Dusk You And Me, turntable scratches and Balearic guitar action in A Private Interlude), and hard-stomp soul (Your Song). There’s also some straight-up house action with In My Bones, plus the original I See You Baby cut, even if it is kind of a plodder. And for a closer, Groove Armada dabble in an eight-minute long trip-hop excursion titled Inside My Mind (Blue Skies) …at least, if you got the UK version of Vertigo. Fatboy Slim’s rub of I See You Baby was so popular though, it got tagged onto the end of American copies, which suits me fine. Ends the album on quite the peppy note, it does.

But these are all loose demarcations. At this point in their career, Groove Armada’s appeal lay in their blending of familiar genres into tasty morsels that played nicely on the radio. Whatever edgy, underground influences Misters Cato and Findlay held, they’re smoothed right the fuck out here - small wonder their recent, straight-forward attempts at new wave and d-e-e-e-ep house haven’t caught on in the same way. Still, if all you’re after is some light dabbling in chilled-out funk and soul while lounging on your patio, then you probably already have Vertigo in your folders anyway.

ACE TRACKS: April 2017

So I was planning on a move this past month, but things didn’t quite pan out as initially planned, so I’m staying put for the short-term future at least. Before I came to this conclusion though, I had to give my notice of leaving, which was straight forward enough, and the management company that handles my building were quick in getting my flat up on local rental sites and even showings within the first weekend. Whoa, better actually tidy the apartment up a bit!

Of course, it didn’t matter, since I realized my move wasn’t happening fairly quickly, so no need to worry about people poking about my living space while out at work (you never know who might knick that Pete Namlook tribute box set). I still managed to get a glimpse of what my pad was going for on the websites though, and my jaw nearly dropped, the price 35% above my current rent! Dayum, I knew they were gonna’ renovate with floorboards and all, but that’s quite the ridiculous hike for what I currently have. Vancouver affordability continues to be bonkers.

One benefit of postponing a move, however, is all that money you’d been saving in anticipation? Well, now you’re flush with it, anxious to spend a little extra dough. And since I didn’t really have plans to vacation anywhere at this point (because move), I went and splurged on MOAR CDs! Felt some necessary classics from back in the day were missing for too long, plus indulged in a few of those annoying ‘limited run’ labels while I had the chance. Also, I felt it's about time I tackle another round of “[DJ Mix Series] On A Budget.” Which one will it be? You’ll have to wait until I get past the ‘V’s to find out. Don’t worry, that letter’s a relative speed-bump compared to everything else. Anyhow, here are the ACE TRACKS for the month of April, 2017.




Full track list here.

MISSING ALBUMS:
The Future Sound Of London - Environment Six & 6.5
S.E.T.I. - The Guide Lockstars of Astro Myrmex

Percentage Of Hip-Hop: 18%
Percentage Of Rock: 0%
Most “WTF?” Track: Gost - Reign In Hell (for ending so abruptly after a kick-ass start – sorry, the superior Dance With The Dead Remix isn’t on Spotify)

So there’s a lot of Czarface in this playlist. In fact, at current, all the Czarface, save maybe the odd tune floating about the internet ether that never made the cut on their albums. These things happen when you buy up an artist’s entire discography, though I can’t remember the last time I ever did that. ‘Tis difficult to do, especially if said artist has a long history. Was handy having Czarface being such a new project.

Aside from that, it’s all pretty standard stuff from one of my backlog treks. Ambient stuff, new Ultimae stuff, a smattering of ancient stuff, and a pinch of current stuff. A surprising lack of Cryo Chamber in this bundle though. Have I just not got much recent from the dark ambient label? Did Lustmord’s presence send them all scurry back to the shadows? Ah, no, there’s still another ‘half’ of this backlog to get through. Guess what’s hanging out down there!

ACE TRACKS: February 2017

So that was a fun little break. Sure needed some downtime from all that writing. A time for reflection, a time for rest. A time to sow, and a time to harvest. A time to stand, and a time to kill time… wait, aren’t these titles to Star Trek novels? Anyhow, it wasn’t all slouching and slothin’ it up, keeping rather busy doing other things that will undoubtedly outshine whatever I accomplish with this blog. Who knows what it will lead to in the future – great things, amazing things, silly things… many things, for sure? That doesn’t mean I’m abandoning this particular project, nosiree, but I don’t feel quite as much pressing need to plow through so many CDs per month, my free time just as valuable in other pet projects. These next few months will be interesting, to say the least. Anyhow, here’s the ACE TRACKS that came about from a February that, somehow, saw two snowfalls in the city of Vancouver. We haven’t had that in over half a decade!


Full track list here.


MISSING ALBUMS:
Various - United State Of Ambience
Various - United State Of Ambience II
Various - United State Of Ambience III
Various - United DJs Of America Volume 17: Scott Hardkiss
Various - UK Space Techno, Vol. I
Various - UK Space Techno, Vol. II
Lingua Lustra - Uhadi

Percentage of Hip-Hop: 7%
Percentage Of Rock: 0%
Most “WTF?” Track: Skylab - Next (no, really, is it pitched-down thunder, or moving stone?)

Yeah, no surprise all those twenty-year old compilations wouldn’t be on Spotify. A few tracks are floating about, but it seems a lot of them are forever lost if you rely on streaming services for your vintage, obscure techno and chill-out cuts. Funny how so many new cats on the scene won’t get to hear this stuff, unless by random chance from a YouTube upload or torrent haul. By the same token though, will they ever get to hear all the new stuff when so much of it is continuously released and lost in the endless bay of beige bilge? At least old compilations tidily consolidated the stuff in manageable chunks, y’know.

By the by, I’ve slowly been replacing those old Amazon audio links with either Spotify or Bandcamp ones instead. As there’s so many in the backlog though (just… so many), this isn’t a dedicated side-project, simply something I do if I ever click on an older review for whatever reason.