Oliver Lieb - Inside Voices

Psychonavigation Records: 2014

Remarkably, astoundingly, and even bizarrely, this is the first full-length album Oliver Lieb has ever released under his own name. In a music career that’s spanned twenty-five years, the closest he ever got was the relatively unknown 1993 “O. Lieb” LP Constellation on Recycle Or Die – it was re-released under his full name, but digital-only, making it a retroactive example. Thus, Inside Voices remains the the first proper album gracing Lieb’s full name. Psychonavigation Records must have a lot of clout to have convinced him to do so.

This is also Lieb’s first proper album of new material since The Hive as L.S.G. (no, The Unreleased Album doesn’t count – it’s ‘unreleased’), though he’s put out plenty of singles under various aliases in the decade-plus since. As such, long-time fans (*cough*) were abuzz at what ol’ Oliver would cook up for this curious ambient label from Dublin.

Well, ambient obviously. The initial comparison will fall upon Into Deep, but Inside Voices is far more subdued and minimalist than that L.S.G. album. For one thing, beats are practically non-existent here, occasional bass pulses and shuffly clicks from deep space about all we hear on that end. What rhythmic lines that do emerge are carried by backing melodic synths – not exactly arps, but tracks like Surface Tension, Dreamfields and Self-Aware Universe feature slight hooks with building momentum behind them. Mostly though, we’re dealing with lengthy sweeping pads, spacious sounds drenched with echoes and reverb, and minor-key chord progressions when melody does take centre-stage.

For anyone well-versed in Lieb’s discography, Inside Voices will sound overly familiar. Though he isn’t outright recycling prior music, there is a sense he’s playing things safe here, using many trusty synths and melodic constructs heard before. No doubt, it’s a different approach to his tropes, focusing on the sonic space between his recognizable techniques, yet I can’t help feel some disappointment in not hearing much in the way of new sounds. It’s a fresh album, with a fresh start (new ‘alias’!), on a fresh label (that’s been around for over a decade), so why not offer us fresh synths or fresh soundscapes? I mean, the Solieb stuff may have been trendy as all Hell, but at least it was different, something new in Lieb’s discography.

Of course, this is just my quibble, extra expectation placed upon a producer that doesn’t have anything left to prove. Even if Inside Voices isn’t treading waters far from shores since wandered, ol’ Oliver’s sound remains uniquely his – you won’t find an ambient album full of spacey synths and trancey chord progressions quite like this one, since no one’s come close to Lieb’s style of song craft. For any long-time fan of the chap from Frankfurt, that’s more than enough reason to pick up Inside Voices, especially with new LPs from Lieb growing ever more few and far between. Hey, maybe this’ll spark his creativity some more, productions and releases soon outpacing his blistering early ‘90s heyday. Hail Psychonavigation Records if so!

The Orb - The Dream

Six Degrees: 2007

Now here’s a strange parallel: The Orb and The Simpsons. Both emerged at the same time (1989), had a critically and commercially heralded run for their first seven or eight years of existence, and then began a steady decline of importance as the current millennium took hold. Those who stuck around for new music/episodes insist things aren’t that bad, but even the hold-outs won’t deny the quality of product significantly dipped compared to the Early Years. There was even a minor, resurgent uptick in interest for both camps in the mid-‘00s, each finding a way to reignite discourse in their respective brands (The Simpsons Movie / The Orb releasing an album on trendy chill label Kompact). Of course, this has little to do with The Dream, but given the recent rash of Simpsons related topics flooding the internet, I couldn’t help but notice this while glancing back on The Orb’s discography.

The '00s were a weird time for the project fronted by Dr. Alex Paterson, drifting from label to label, seemingly aimless in their endeavors and growing ever more irrelevant as newer downbeat musics got all the press and plaudits. Perhaps growing forlorn for the good ol' days, the Doc' often reunited with his former Orb mates, or maybe his original posse would come a-callin' for some studio sessions. The Dream sees a return of Martin Glover (aka: Youth; aka: Killing Joke; aka: Dub Trees; aka: New World Orchestra; aka:...) for a full-length collaboration. Hey, that don't sound so bad, Youth quite instrumental in crafting The Orb's dubbier moments in the early days.

And yeah, The Dream delivers on those fronts, tracks like DDD (Dirty Disco Dub), Lost & Found, and High Noon tapping into all those tasty reggae-vibe jams that turned Perpetual Dawn into a classic (not to mention making ‘ambient dub’ a thing in the early ‘90s). But this is (was) the modern times, mang, and psy dub’s the fresh hotness where this sort of music’s concerned. Good thing Glover kept his ear to that ground, then, as The Dream has several takes on the genre Shpongle made popular. Gander at The Truth Is… (ethereal gospel!), Mother Nature (Middle-East riddims!), Katskills (trippy-dippy, hippies!), and Codes (rasta space-men!).

This being latter-era (re: non-Weston) Orb though, the productions aren’t ultra-dense sonic-soups, at times sounding shamelessly aiming for a little radio play (oh hi, A Beautiful Day). Also, the only thing that keeps The Dream from being a full-on Youth album is frequent use of quirky musical and dialog samples, often played through those Orb filters that’s practically a trademark of the project (heck, it wouldn’t surprise me if Doc’ Pat’ did trademark the technique) - par for the course where many Orb LPs are concerned.

Of course, the big question is how The Dream stacks against the classics. Take a gander at closer Orbisonia for your answer. Though not representative of The Dream as a whole, I challenge you to resist the feelings of warm Orb nostalgia on that one.

Ole Højer Hansen - The Dome

Olga Musik: 1990

It seems no matter your musical background (electronic, jazz, folk, Mongolian throat singing, hillbilly jug band), you can always find a welcome stay in ambient’s world. From classically-trained maestros to noise-experiment art-freaks to bedroom-amateur laptop wibblers, the entry point remains simple enough: have synths, so stack and pad them forever as the calming/terrifying drone weaves and ebbs to heart’s content. It’s no surprise, then, so much ambient is released on micro-labels and practically forgotten about overnight. Those that do create enduring pieces often have enough musical craft and clout to stick out from the pack, but even then they can go unnoticed without a little dedicated digging.

Ole Højer Hansen is one such talent I stumbled upon during an ambient excavation. He only has three albums to his name, this here The Dome being his final one. He then apparently disappeared into studios as a sound engineer and incidental music writer for TV and film – not a bad career trajectory, but still a shame when he could have done so much more.

Though his music was decidedly ambient, he also had some prog-rock background going in. Unfortunately, the ‘80s were a dire time to be a prog-rock musician, hence why many tried their hands at ambient compositions too. It gained a little interest for the first half of that decade, but by the second half, folks had generally grown disinterested in Eno’s musical creation (New Age, on the other hand…). That a guy like ol’ Ole would slip through the cracks is understandable in this context.

As Mr. Hansen is of the ‘old ambient school’, The Dome does have more musicianship than synth drone going for him. Subtitled into three parts of about 20-25 minutes each, you get jazzy keyboard improvisation and even mild rhythms throughout. Part 1 grows into a groovy little number, Part 2 is the purely meditative ethereal piece, and Part 3 evokes mystery and contemplation for the mind. It’s all very well produced, seldom (if at all) crosses the New Age divide, and all that said, I’m sure your eyes have glazed over reading this review.

I don’t know what else to say, The Dome hardly coming across as essential listening anytime soon. The only reason I did check it out was because of that cover (always with the cover art). Hansen strikes me as the sort of musician who’s incredibly competent at what he does, but is missing just that extra bit of creative spark that elevates others in this field of music. Perhaps that’s why he settled into a studio engineer career, but it’s not like he lacked potential for more. The Dome does provide moments of lovely synth work and captivating atmosphere – I’d wager Part 3 is worth the price of admission alone (whatever ‘price’ you may end paying). Unfortunately, one can say that for tons of lengthy ambient pieces, and when stacked against the genre’s long history, Hansen’s mired somewhere in the middle.

Chris Korda - Demons In My Head

Kevorkian Records: 1993

There's something wrong with Chris Korda's outlook on the world. No, not the cross-dressing thing – he's actually kind of good at it. No, not that whole Church Of Euthanasia thing either – I cannot deny there is some practical logic in this promotion of overpopulation prevention, tongue-in-cheek though this outlet may be. And no, his totally provocative approach to music making is hardly the stuff of oddness – performance art, t'is, and all that rot. No, what strikes me peculiar about Chris Korda is his relative reluctance at music making. Maybe he simply doesn't make time for it, or maybe he's an act some find too controversial to sign. Pft, as if. DJ Hell had enough gumption to give the Church Of Euthanasia an outlet during International Deejay Gigolo’s rise to fame, so Mr/s Korda couldn't be all that bad. Lord Discogs tells me he's been silent on the music front since the early '00s though, and if I can't trust the Lord That Knows All, where can I go to find out more? Oh yeah, that website.

Anyhow, Korda's debut LP Demons In My Head came out a number of years before the chap/gal got chummy with Hell, self-releasing it on the appropriately titled own-label Kevorkian Records. It's also a forty-five minute long, single-track album. Yay, noodly ambient drone, with industrial abrasiveness I bet.

Not at all, though there are sonically confrontational segments throughout. Truth be told, I was a bit hesitant going into this one, figuring this would end up being some Hellraiser-level dark ambient assaulting my sanity, but Demons In My Head seldom goes down those roads. Some thirty-five minutes in, a bit of reverse chanting coupled with a gargling deadite wail crops up, and that’s about as outright creepy as things get. So, something out of a Tool interlude, then?

Before we get there though, we have industrial clanking, hydraulics pumping, bleepy sci-fi dithering, children playing (ah, ol’ Chrissy was at the county fair at some point), reflective ambient tones, meditative New Age melodies, water running, water raining, water spilling, water pumping, water flushing, and water swirling in pools. Yeah, there’s a lot of water sound effects in Demons In My Head. Maybe Vodyanoi took up residence in Korda’s noggin. Oh, and he finishes off with your standard industrial noise assault. Haha, madness overtook him! Time to form a church with a bizarre concept.

What’s frustrating about this LP is it could have been indexed into individual tracks, as there are distinct sections and passages. True, listening to it in its entirety rather than selectable chunks forces you to take Korda’s narrative as a whole, and dark ambient always works best in this context. Still, if a story has a clear sequence of events as Demons In My Head does, why not clarify them with titled ‘chapters’? It only enriches the musical tale. Erm, when there’s actual music going on, that is. Ah well, at least there’s definite structure and flow here, more so than I was expecting.

Amon Tobin - Bricolage

Ninja Tune: 2007

So much music slips through my ever growing queue of “Must Hear Before I Go Six Feet Under” (I doubt Amazon will deliver to my bomb shelter following the apocalypse). Even with artists and labels I hold in the highest regard, there are unacceptable oversights and gaps on my part. Why has it taken me this long to finally spring for an Amon Tobin album? I like Ninja Tune. Like, really really like them – in a roundabout way, they were among the first 'underground electronic music labels' I dove into. Yet even with a number of their releases taking up space in my towers, one of their primary stars is noticeably absent. It’s like gathering Ultimae records while neglecting Carbon Based Lifeforms, or Hyperdub vinyl while bypassing Burial – you just don't do it, mang!

Right, it’s not like I’ve totally missed out on Tobin’s work, having heard a few of his Cujo works released when he was part of Shadow Records. And while Ninja Tune was quick to pluck him from that label, his sound left an undeniable impression on several up-and-comers featured in future Shadow releases, many finding inspiration in his fusion of jazz-jungle-hop. I’ve heard his work without even hearing his tracks!

Bricolage was his first album for the Ninja squad, and immediately found kindred souls among the likes of Herbaliser and Funki Porcini. All these guys, they loved the jazz vibes just as much as ol’ Adonai Santos de Araújo, and were always eager in finding ways of melding them with contemporary inner-city cool genres like trip-hop and jazzstep. Ol’ Amon though, he knew his production game needed something extra to stand out from the big guns. Bizarrely, he found it with IDM breakcore.

He doesn’t immediately reveal his intents either, the first few tracks finding the comfortable jazzy trip-hop vibe so many associate with Ninja Tune of the mid-to-late ‘90s (who do you think helped define it!). Yet there’s something more intricate going on with the drum programming - less reliant on using sampled breaks as the music’s backbone, and rather as genetic soup for reinterpretation. It’s Amon making future jazz out of classic jazz, and I can’t help but think of Squarepusher’s early work in this context. Not as frenetically experimental as Jenkinson’s material, mind you, but it’s there just the same.

Then Chomp Samba hits with all the feral nastiness of drill-n-bass’ intensity, and you realize you’re not in for the usual Ninja Tune romp. Tracks like One Small Step, Mission, and Bitter And Twisted keep the spazzy breaks going, all the while oozing a creeping menace with discordant cellos, trumpets, vibraphones, and saxaphones (among others). Dubby, trip-jazz-hop cuts like Defocus and The Nasty help keep Bricolage grounded with soul (not to mention some playful samba-stylee in One Day In My Garden), but we’re mostly dealing with aggressive music here, the sort one might expect on Warp rather than Coldcut’s print; a perfect LP for Ninja Tune’s musical growth, then. Welcome home, Amon.

Naughty By Nature - 19 Naughty III

ISBA Music Entertainment Inc.: 1993

Yo! This is Hip-Hop Sykonee, comin' in from another existence and taking over this shit. See, I'm the villain who could'a been, who should'a been, but wasn't because of a last-minute change of mind from the 'technoboy' here. Had I stuck with my original choice of First CD, this here Naughty By Nature sophomore album 19 Naughty III, my teenaged musical development would have been radically different, gorging myself on all these hip-hop talents. Yo, I might even be writing ill shit for RapReviews.com now, unlike the regular wack mofo you deal with on this back-water blog.

Sykonee Prime: Are you so sure of that? I had rap tunes on mixtapes. Hell, I bought the CB4 soundtrack the following year. Okay, it was to impress my peers, which was the impetuous in me initially choosing 19 Naughty III anyway. My enjoyment of ‘techno’ was naturally bred, with hardly any outside influences dictating what I should listen to for social acceptance.

HHS: That’s just it! Had you copped this first, you’d have played it just as heavily as your early CDs, if for no other reason than you didn’t have much choice of selection in your personal collection then. But check it, hommes, those repeated plays would have sucked you into hip-hop’s world, 19 Naughty III offering just enough a glimpse of the scene to check out more. Like, Hip-Hop Hooray. Damn, what a classic! Maybe not as cheeky as NbN’s breakout hit O.P.P. (yeah, you know me!), but if you were at any sort of club, you know this bomb would go off.

SP: I do recall waving my arms to the chorus at high-school dances. Still, it’s about the only song anyone remembers from this album.

HHS: Which makes the rest of 19 Naughty III perfect for the discerning underground head. Despite having crossover appeal, Naughty By Nature were never a Pop-Hop act, fully embracing the self-proclaimed ‘cruddy crew’ image they cultivated. They weren’t gangsta, but they could weave street tales (The Only Ones; Daddy Was A Street Corner) just as fine as any rap act. Or how about straight-up battle-rapping as a posse? Cuts like Take It To Ya Face, Knock Em Out Da Box, and Hot Potato have vicious lyrical throw-downs without degrading into ultra-violent parody. Plus we can’t forget d’em smooth-yet-dirty come-ones for the ladies (Written On Ya Kitten, Sleepin’ On Jersey, Cruddy Clique); none of that R&B bullshit here, Syk’G.

SP: The beats are dope too - tough Eastcoast flavour, and plenty block-party bounce going on for me to get my boogie-bop going walking to school with headphones on. Y’know, I’m kinda’ feelin’ what you’re preachin’. 19 Naughty III just might have been enough to steer me down hip-hop’s road after all.

HHS: Word. So, I get the blog now?

SP: Well, the next review’s of Amon Tobin’s debut.

HHS: Th’fuck?

SP: Nu-jazz spazziatic IDM, or something.

HHS: Err, yeah. Look, I gotta’ jam back to my reality. Damn, son, you got into some weird shit here.

A Month Off To Recharge

You may have noticed things slowing down a little around here, and it's not for a lack of time or material. Put simply, I'm creatively burnt out. I've been writing for this blog almost daily for the past two years, save an off week here or there as other concerns took up my attention. Not counting the 2010 stuff, I think I just recently passed the five-hundred mark too (yay!), though a fraction of original TranceCritic reviews are floating in there. Still, that's a whole lot of writing, more than I ever did for TranceCritic in five years of effort, and I feel like I've finally hit my wall. These past couple weeks I was getting by with copious amounts of caffeine, but that's a crutch, one I really need to cut back on. No, this is simply mental exhaustion, so I do what anyone that's worked too hard for too long does: take some time off.

And no, this isn't another "I give up on writing music!" rant. I'm still dedicated to reviewing every damn CD I own in alphabetical order, but a break is definitely needed from this. And what better time to do so than the dog days of Summer,where general traffic is low. Plus, letters "O" through "T" are some of my heaviest blocks of releases going forward, and a fresh, invigorated mind's better for that than slogging through while wired on Rock Stars.

There might be the odd update here for EDM World Weekly News, but if you're checking back in for new reviews, best wait until September for that. Or, I dunno, browse through the back reviews in the meanwhile. With over 500 of them, that's plenty of reading!

Tiësto - Nyana

Nettwerk America: 2003

Say what you want about Tiësto’s career trajectory – no, go ahead, its fun! - but for a brief while in the early '00s, it seemed the Dutch icon was poised at breaking into the mainstream with critical credibility intact. To do so though, a bit of reinvention was required, taking his first steps in distancing himself from the euro-trance that had defined much of his musical output. After all, single-CD sets were fine for anthem rinse-outs, but Tiësto are serious DJ now, so he needs two discs spotlighting his muse. And what better way to prove, beyond a shadow of a doubt, you are serious DJ than by playing serious techno bollocks, opening with the same track Hawtin began Sound Of The Third Season, no less!

He pulls it off. I'm serious! The opening stretch of Nyana is one of the best CD1 starts I've heard from Mr. Verwest, plus I can't help giggling at the thought of his traditional 'cracker fanbase utterly aghast at all the techno, perplexed over what happened their trance hero (oh, if only I had a time-machine to show them what was to come...). True, there's little here Adam Beyer would tremble over, but for a Dutch trance DJ taking a step into the unforgiving underground, Tiësto handles himself well. The rhythms are kept brisk with momentum on a steady climb, and getting Oliver Lieb (The Ambush's Acapulco) and L-Vee (Planisphere's Totem) as some of your peak tech-trance bangers for this section is mint!

Then he fucks it all up with Darren Tate and Jono Grant’s collaboration Let The Light Shine In, as cheeseball a chedder-trance track as cheese trance could cheese out in 2003. There’s no reason for such an abrupt change in tone either, other than Tiësto had a pile of vocal tunes to cram into this two-discer somewhere. What, the Indoor disc wasn’t good enough for Cor Fifneman’s Venus or Conjure One’s Tears From The Moon? Damning things further is Outdoor returning to the tech-trance business with Ton T.B.’s Electronic Malfunction regardless, rendering the middle portion of CD1 a pointless diversion. That said, I still like Tijs’ remix of Venus, despite serving no purpose in the context of this mix.

As for CD2, this one’s famous for having three huge, gigantic, massive, McProg anthems on it – Hell, these tracks practically helped kick-off that sub-genre! Of course, I’m talking about Andain’s Beautiful Things, Motorcycle’s As The Rush Comes (tunes that Gabriel & Dresden never topped), and Holden’s Nothing (93 Returning Mix). And with that said, do you even care about the rest of the CD? There’s a few nice tunes scattered between, and the final stretch of Balearic trance vibes is charming enough, but come on, we all know what folks remember most about Nyana to this day.

That’s right, the techno! It makes one wonder where Tiësto’s career could have gone had he dared remaining on that path instead. Cue Bizarro World scene of Mr. Verwest playing Bergheim and Circo Loco.

Squarepusher - Numbers Lucent (Original TC Review)

Warp Records: 2009

(2014 Update:
Since this was the first Squarepusher review submitted to TranceCritic - yeah, yeah, way late in the website's lifespan - I felt it necessary for a brief background summation for the reader base. Seems like redundant information now, but then it's not like I've got a ton of Jenkinson material on this blog either. Man, so many musical gaps, no matter how diligent I remain in buying albums...

This remains a fun throwback EP, and I kinda wish we'd hear a bit more like this from Squarepusher, just for the novelty of it all. Can't see it ever happening though. There's just so much other jazz-stuffs he'd rather be doing than making music for the 'up all night' crowds.)


IN BRIEF: Familiar.

Even in the ‘WTF they be smoking’ realm of IDM, Tom Jenkinson as Squarepusher established himself as one of the more challenging producers to be found. Yet, within those frenzied jazz-fusion drum beats and eclectic abstractions lay carefully considered songs that often rewarded the patient and attentive listener. Small wonder Warp jumped at the chance to sign Tom to a long-term deal, as he fit nicely in a roster that included such IDM wonks like Aphex Twin and Autechre. In the meanwhile since, he’s continued to reward dedicated followers with ever new takes on his sound, and either confounding or mesmerizing the casual passerby (as usual, there’s seldom middle ground with intelligent techno).

His latest avenue - Just A Souvenir - saw the pusher of squares diving into various aspects of underground rock music: garage, funk, psychedelic, prog, kraut – you’d think it was made by some jam band from the 70s if you didn’t know better. In any case, it was once again quite a departure from what folks figure to be Tom’s trademark sound. Perhaps in an effort to throw a bone to his pure electronic fanbase, we have this quickie follow-up EP, Numbers Lucent. Gone are all the guitars, and instead builds upon tracks like Star Time 2. Or, considering Star Time 1 is on here, perhaps this was what he was working on before his muse led him elsewhere. Whatever the case, beyond the ties between both Star Times and similar looking cover art, Numbers Lucent is a mostly different entity from Just A Souvenir.

So, if you’re down for some more Squarepusher funk-slap basslines, spritely keyboard melodies, and skittery jazz-fusion rhythms, the first four tracks here will certainly please. At the same time, though, it all feels a bit ‘been there, done that,’ especially so coming off a string of albums that saw Tom continuously moving in new directions. Cuts like Paradise Garage and Star Time 1 are by no means bad – in fact, they’re quite good; just over-familiar and safe. You get the impression he could have knocked these out at any time in his career. Mind, this feeling may be due to the old-school leanings these tracks take.

If the retro-rave vibes were only hinted at in the first four, Tom takes a full plunge in the final two. Yes, folks, Squarepusher has been bitten by early 90s nostalgia as well. Arterial Fantasy is straight-up old-school hardcore with a Jenkinson twist, and very cool in the process. Illegal Dustbin, on the other hand, goes for the gabber jugular, in a move that’s fun for the novelty factor (Squarepusher! Gabber! WTF!???), but little else.

And there isn’t much more to say about Numbers Lucent. It’s a tidy little EP that fans of Squarepusher will enjoy, and inviting for those who are curious about checking out the man’s work on the cheap. He may not be stretching here, but average Squarepusher remains better than average… a lot of others, really.

Written by Sykonee for TranceCritic.com, 2009. © All rights reserved.

DJ Abasi - Nüdisorder

Intimate Productions: 2006

Every city has local DJs who are minor legends thereabouts but relatively unknown abroad. Fame and fortune, they seek these things not, for they are purists of the scene: collecting records, opening for the touring superstars, and all around just vibey chaps to hang around. DJ Abasi's one of Vancouver's best examples, a guy who's been around since the early rave days of the city and everyone knows in some way. Though I could drop a ton of events, nicknames, parties, drinks, and anecdotes associated with him, the truth is only locals would understand much of it. Besides, I suspect he'd be incredibly embarrassed by any glowing exposé beyond what I've already provided, humbleness above all else his endearing virtue.

All of which probably doesn't matter the slightest to readers from elsewheres. I mean, ol' Farshad's not a Tyler Stadius or Jay Tripwire, other Vancouver home-growns with some level recognition in the wider world of clubbing. Of course, they're well known thanks to official releases marketed in shops all over the place (and Lord Discogs). Abasi, on the other hand, had barely put out anything beyond demos intended for small circulation. This Nüdisorder was primarily intended as promotion for Intimate Productions’ DJ talent, but this being his first definitive CD release showcasing his skills behind the decks, there was some interest and excitement (launch party! ‘Farshots’!) in seeing what he’d cook up in the studio.

DJ Abasi’s main appeal’s his fluency with several genres of electronic music. Hell, this mix alone is bookended by Pet Shop Boys (a brief bit of Absolutely Fabulous at the start, and Yesterday, When I Was Mad at the end), while Hardfloor acid house (Da Revival) worms its way somewhere in the middle. Mostly though, we’re treated to the revitalized sounds of electro, mash-ups, and disco punk that flourished in early ‘00s, all genres he states were having the biggest impact on his sets at the time. Nüdisorder’s tracklist reads like a who’s who of all the hot names – Soulwax, Tiefschwarz, Tiga, Playgroup, The Juan McLean, Vitalic, etc., etc. Fortunately, his tune selection offers plenty of quirky inclusions so this CD doesn’t come off as just another hit parade.

For instance, there’s classic ‘80s tunes like The Chase but covered by 2020Soundsystem, while New Order gets in with their super-oldie Everything’s Gone Green but by way of a Cicada remix; meanwhile, here’s a cool b-side from Kittin & Hacker called The Beach, having little to do with New Order’s original. One can’t have electroclash without a proper old-school cut though, so here’s Hashim’s Al-Naafiysh. Adn speaking of remixes, why not a little DFA action on Gorillaz’ Dare? Abasi’s lengthy mash-up mixing’s a little rough at points, but it only adds to the CD’s genre-freewheeling appeal.

While I doubt folks outside the 604-district will have much interest in Nüdisorder (much less find a copy), I spent a week blathering about my old burned mix CDs, so Abasi gets a review here too. No blame.