Sandoz - Digital Lifeforms: Redux (Original TC Review)

The Grey Area: Cat. # KIRK 07 CD
Released 2004

Track List:
Disc 1: Digital Lifeforms
1. Armed Response (7:43)
2. Chocolate Machine (7:34)
3. Digital Lifeforms (8:05)
4. Human Spirit (7:00)
5. Drum Meditation (7:01)
6. Limbo (8:47)
7. Zombie Astral (8:27)
8. Beam (6:47)
9. Steel Tabarnacle (7:52)
10. White Darkness (9:10)

Disc 2: Redux
1. Communicate (With The Future) (7:03)
2. Ocean Reflection (8:53)
3. Tribal Warfare (7:43)
4. White Tab/Steel Darkness (Tetrodotoxin Mix) (9:27)
5. Erzulie (7:27)
6. Human Spirit (Original Dub And Roll Mix) (6:59)
7. Zombi Savane (7:02)
8. Medium Cool (10:15)
9. Shanpwel (6:04)
10. Mirror (3:37)


(2010 Update:
I think I underrated this album at the time. Yeah, I enjoyed it when I first picked it up about a month before I wrote this review, but Digital Lifeforms has gone on to be one of my most heavily replayed CDs ever since. For all its dated attributes, I cannot deny the fact the music here is just so damned good. I hope this clunky review won't turn away other potential listeners.)


IN BRIEF: Malians and machinery melded.

It seems one thing you can count on in electronic music lately is re-issues. With so many rare, underground releases fetching high prices on eBay, you can be rest assured some producers and labels feel they’re missing a potential gravy train. Mind, it isn’t always their fault if they didn’t initially realize this. Many releases hardly make an impact during their first year or two. It’s usually through gradual exposure and word-of-mouth praise something garners ‘cult classic’ status. The scarcity of such releases only adds to its mystique and, before you know it, you’re paying a hundred bucks online for the chance to own an original copy.

Because of these inflated prices, it’s quite nice to see such ‘cult classics’ getting re-issues, often with added bonuses like B-Sides, rare remixes, and other assorted gobbledygook. Of course, I wouldn’t doubt collectors who own the originals moan and groan about this (mainly because if slightly de-values their own investment, despite whatever other excuse they tell you) but it is a great way for newer fans to catch up on old releases at a reasonable price.

Digital Lifeforms is easily one such release. Originally produced by Richard Kirk as a means to explore other musical avenues after a decade of industrial with Cabaret Voltaire, the album garnered many plaudits for its more ‘intelligent’ take on techno (remember, this was at a time when acts like The Prodigy and 2 Unlimited were tearing up the charts). While by no means the only individual to approach techno with a ‘not-just-party-music’ ethos, Kirk’s work as Sandoz certainly made a mark with his unique tribal fusion. Unfortunately, it was released on the UK indie ‘audiovisual’ label Touch, whom has a tendency to produce limited copies of their releases due to their artistic endeavors (their approach is similar to printing only a few paintings for an art gallery). As such, the album was doomed to obscurity by all but the most dedicated collector... until now (well, early 2004, to be specific).

The history out of the way, exactly what does this ‘cult classic’ sound like, and does it hold up in this day in age? Before I answer that, I should ask you, the reader, three questions:

1. Can you dig rhythms that sound like they come straight from Roland drum machines?
2. Do you like repetitive loops to some degree?
3. Does your taste in music allow for somewhat under-produced sound?

If you answered ‘no’ to any of these, and figure there will never be a ‘yes’ to them for all of your musical life, then you may as well hit that Back button in your web browser and forget Digital Lifeforms; this album is not for you; try something from Anjunabeats instead. I wouldn’t go so far as to say the sounds of Sandoz are dated (especially when gritty underproduction seems to actually be the current trend in EDM lately), but Kirk’s industrial roots are still present, as he seems to hold no qualms about dirtying some of his patches if it meshes with his ideas.

Opener Armed Response is as good an example of his production technique as any. His percussion is kind of grimy, his string samples blatant, and his bassline muddy. Strangely enough, it all works in Kirk’s own way. There is an undeniable tribal energy to be had, even if it is somewhat mellow. Granted, this track could hold more appeal were it cleaned up, but then it wouldn’t be Sandoz, now would it?

If you found Armed Response too abrasive for your liking, the good news is the rest of the tracks are tidier in arrangement, if not always in production. Chocolate Machine starts with looping samples of woodwinds before the machinery settles in. The rhythm is very crisp, sounding like some sort of factory; however, various samples and pleasant melodies give this track an organic quality that tends to lack in much techno. Every element has plenty of breathing room, letting the resonance drift from beat to beat without getting drowned out in effects. It may sound sparse but Chocolate Machine is still a nice little track.

Title track Digital Lifeforms has an effective yin/yang thing going for it, mixing it up with cute little melodies and ominous string pads. Admittedly, some of the sounds used could have come straight from a SNES game. Heck, I can even identify some of the more bubbly bass sounds as pre-sets form my father’s old Roland synths. Given how far sound production had come even by ‘92, you’d think this track shouldn’t have stood a chance. Yet, there’s something oddly entrancing about the sparseness in Kirk’s style. Chalk it up to the catchy melodies, however simple they may be.

Human Spirit sees Kirk starting to indulge in the more tribal aspects of the Sandoz project. Over a looping chant, sweeping sinewaves and simple echoing hooks snake around 4/4 rhythms. This track’s sparse repetitiveness is quite trancey, and probably would have appeared on some very early trance compilations had more known of it. Well, okay, this was probably closer to ambient techno than classic trance, but the two weren’t that far removed when you boil down to it. Oh, and what’s with that old funk sample tagged on at the end? I don’t know which I find more amusing: the fact it actually works, or that the ‘damn’ bit is bleeped out! Heh, crafty, that Kirk.

Diving into some groovy dubbed-out soundscapes is Drum Meditation. It’s a pretty lethargic track, casually bobbing along as oddball sounds pop in and out over synthetic and organic percussion. Yeah, there’s not much to it, but it's decent chill fodder in any event.

Building upon the template laid out in Human Spirit is Limbo, a track which structurally does the same thing but more vigorously. The sweeping synths are clearer, the rhythm far more energetic and punchy, and the tribal chants catchier. Of additional note is the bassline: while many of the Sandoz basslines have been deep, grumbly beasts, the one in Limbo is a serious groover. No more apparent is this than some two-thirds into the track; when it drops after a rhythmic build, you won’t be able to help but bob your head in time.

Using some tribal percussion to set the pace, Zombie Astral is even more brisk than Limbo. However, it’s far more interested in subtlety, as the only element beyond percussion that does more than loop is a bubbly bassline played at a very low frequency. The synth pads and horn riffs surrounding it are nice little add-ons but don’t draw much attention to themselves.

We’re now reaching the dubbed-out outro section of Digital Lifeforms, and the final three tracks are quite nice at what they do. Beam sounds like an ambient dub version of Limbo (indeed, the same tribal chants are used); Steel Tabarnacle’s paranoid soundscapes are griping, and has a bassline with wonderful resonance; and White Darkness, while probably the most disjointed track on this, has some interesting movements between tribal percussion, chants, and dubby melodies. These tracks are a great way to finish out the album, drawing you into a hypnotic trance as the slight sounds and warm pads envelop your ears. You probably won’t even notice that dated percussion anymore, even if it was a turn-off in the earlier portions of the disc.

The main attraction out of the way, I suppose you’re wondering what’s up with the second disc now. To sum it up, most of these bonus tracks don’t measure up to the first disc, which isn’t too surprising. They are, after all, tracks that for various reasons never made the cut. A couple of them have appeared elsewhere but mostly are all unreleased.

While Kirk has arranged the bonus tracks to form some sort of flow, the ideas tend to be disparate form track to track. Listening to it, I get the impression he had a lot of avenues to explore his own techno when Voltaire was winding down. In the process, he refined it into his own style, of which became the basis for Digital Lifeforms. And, despite the tracks not sounding quite as definitive as the first disc, there are definitely some intriguing moments to be had for even the casual Sandoz fan. Here’s a summary:

Communicate (With The Future) - Bit of a chipper slice of ambient techno, with digitized voices speaking the title; reminds me of Bobby Bird’s work of the same era.

Ocean Reflection - Loopy; spacey. Decent example of old school trance, though could just as easily be considered techno with repeating pads.

Tribal Warfare - Bassline sounds like it’s been lifted by many modern ‘electro’ house producers. Decent tribal techno workout with bleepy hooks.

White Tab/Steel Darkness (Tetrodotoxin Mix) - White Darkness spread over extra echo effects and slightly funkier rhythms.

Erzulie - This bares the closest resemblance to the Digital Lifeforms material, which makes sense as it was a B-Side to one of the singles. Warm pads, bumpin’ tribal grooves, horn hooks, but still a notch below the griping qualities of disc one.

Human Spirit (Original Dub And Roll Mix) - Could also be called the House Mix, as the rhythms get funkier, the funk sample gets looped quite often, and, um, that’s about it. Pretty fun.

Zombi Savane - Kirk has a try at some acid house, with a warbley bassline, tongue-in-cheek samples (“Get higher, baby”), and somewhat gritty hooks. Aside from some flutes though, nothing distinctively Sandozian.

Medium Cool - The first Sandoz track, and boy does it show. It’s basically most of the elements found in Drum Meditation looped to eternity, with various, unremarkable percussion fills to spice it up. The least interesting bonus to be had.

Shanpwel - The most interesting bonus to be had! Funky tribal breaks with chants overtop and quirky drum programming so it doesn’t just sound like loops. Heck, I’d say this is even better than some of the material on disc one, although it hardly fits the same theme.

Mirror - Noodly ambient track with ‘dark’ sounds setting the tone. It’s a shorty so at least it doesn’t drag.

Whew. What a long-winded review, eh? I suppose it can’t be helped. Digital Lifeforms is, after all, a highly recommended album by old school techno, IDM, and even dub fans. To try and wishy-wash around the details wouldn’t do this release justice (even if I did get a little brief in descriptions towards the end of it, heh).

Given the scarcity of the original Digital Lifeforms, this Redux edition is definitely worth your attention if you’ve been curious of the Sandoz project -you get all sorts of unique sounds which were new territory for its time. Amusingly enough, with the whole electro and minimal trend going on lately, this release has the benefit of still sounding relevant well over a decade since it first cropped up. Isn’t retro a grand thing?

Score: 8/10

ACE TRACKS:
Limbo
Steel Tabarnacle
Shanpwel

Written by Sykonee. Originally published 2006 for TranceCritic.com © All rights reserved.

5 Song Weekly Mini-Review #6

Maybe I should have mentioned I was taking a little vacation last week, huh. Well, it was still unconfirmed just how long I’d have off, but now that I’m back, let’s see what random songs cropped up for this Mini-Review.


1. Guru - When You’re Near
From the album Jazzmatazz: Volume 1.

Timely, this. Backing vocals are by N'Dea Davenport, with music doing the acid jazz thing well before acid jazz really caught on with Ninja Tune. It’s really more of an evolution of thoughtful hip-hop that was quite popular in the early 90s (the fabled Golden Age for many): in this case, Guru took the idea of sampling jazz records one step further, creating his own jazz beats and including several session musicians. This tune’s more stripped down than much of what appeared on the album, but classy just the same.


2. P.M. Dawn - Reality Used To Be A Friend Of Mine
From the album Of The Heart, Of The Soul And Of The Cross: The Utopian Experience.

Whoa, another Golden Age song? P.M. Dawn seems to have gone down as something of a joke lately regarding hip-hop white people like, which has some merit - the group’s always been one of the cleaner acts of the genre with their spiritual themes. This one’s about relationships or something’r other; very pleasant mood and groovy beat. Check it out if you like your rap, erm, hook friendly and unaggressive.


3. Banco de Gaia - Glove Puppet (Dreadzone Remix)
From the album 10 Years: Remixed.

I was wondering how long it’d take for Marks to make his way here. Aside from Neil Young, I have more BdG albums than any other artist. Heh, funny that it’d be a remix that finally does make it here though. It’s probably one of the better remixes of a Banco tune, with Dreadzone doing some kind of shuffling salsa to complement Folkner’s plaintive vocals. God, but does she ever sound tragic here. I love it!


4. Nordreform Sound System - Schlabberdance
From the DJ Mix Cosmic Trance 02 by DJ Heyoka.

There isn’t much to say here, as less than four minutes of the track was used in this mix. The shortlived duo was comprised of Ben Wierzoch and Sven Dohse (according to Discogs anyway). Dedicated psy heads undoubtedly know Ben from his Planet B.E.N. project, which has been around forever. As with a lot of mid-90s psy, this is really hard to describe, especially with so little amount here. There’s a weird, wet noise that’s quite cool though.


DJ Brace - Shades Of Red
From the compilation Northern Faction 3.

Meh. This sounds like it’s trying to do the IDM-hop thing, and coming off very stilted in the process. The beats are just too programmed to be interesting. I can imagine him sitting at the studio and meticulously pointing and clicking every little fill and hi-hat, making sure it’s all perfectly quantized. I’m probably wrong on that, mind, but that’s what this sounds like to me. No blame.


Well, that was an odd assortment of songs, and really short at that. I almost thought we’d get that “all hip-hop” Mini-Review finally. Maybe some other time. Until next week then, where the randomness of chance will bring us yet another unexpected bunch of tunes (except probably Young; it’s an odd week).


Written by Sykonee, 2010. © All rights reserved.

5-Song Weekly Mini-Review #5

Loddi doddi, party’s rockin’. Or something. Maybe I’ll be rockin’ more soon, as I’m pretty much done with working graveyards, going onto evening shifts instead. So, instead of having to leave a party just as it’s getting warmed up, I’ll be able to arrive at the party just as it begins to wind down! In the meantime, here’s five more random songs to talk about.


1. Dogon - Fat Old Sun
From the album The Sirius Expeditions.

Obscure experimental duo comprising of Paul Godwin and Miguel Noya. They released a few albums back it he 90s that few heard before seemingly disappearing. This is one of their chilled-out tunes, covering Pink Floyd's song of the same name and turning it into the sort of thing you might expect from and Air or Röyksopp. Though it’s alright, those big synth pulses and spritely plucks seem at odds; still, it's nostalgic and melancholy, which suites the theme fine. I can imagine this being a perfect soundtrack to lazing under a tree in the summer time, especially the end - nothing but gentle ambience.


2. 808 State - Cubik
From the album 808:88:98.

Yah! Knocking y’all out of that pleasantry, here’s Eight-Oh F’n State’s big techno hit. Let’s kick out the jams with that guitar squeal, siren blasts, and big ugly synth hook. Everyone should know this, even if it’s the lesser Ferry Corsten cover (dude, what’d you do with the FUNK!?). What else is there to say?


3. Neil Young - Don’t Let It Bring You Down
From the album Live At Massey Hall 1971.

Hah! Called it last week, didn’t I? You know what is weird though? Every Young song that’s popped up has been a live version. And from the same period no less. This one then? Another typical folksy acoustic ditty, with some memorable lyrics such as “Cold wind ripping / down the allay at dawn / And the morning paper flies / Dead man lying / by the side of the road / With the daylight in his eyes.” The recording from which was taken is possibly one of the finest concerts Young put on in his early years, so it’s a great primer if you’re curious about his music.


4. Sven Väth - Ritual Of Life
From the album Accident In Paradise.

Goa! Well, not really, but Väth was inspired by the place and wound up writing this track along with Ralf Hildenbeutel way back. Like most old-school trance, it works the slow rhythmic build as spacey synths and ethnic samples weave about the background. Come to think of it, a lot of current techno does the same. I s’pose what separates this is the pseudo-spiritual vibes, but what can you expect from goa trance?


5. Original Rockers - Sexy Selector
From the compilation Ambient Dub Volume 1 - The Big Chill.

These guys would go on to bigger things as Rockers Hi-Fi, but from here an entire sub-genre of music was launched. Sure, ambient and reggae-dub had occasionally crossed paths over the years, yet it was Beyond’s series of compilations that solidified the music as something worth exploring further (mostly in the chill rooms). Here, laid-back beats groove as mellow tones and dubby effects bubble about. Kruder and Dorfmeister were definitely paying attention.


Well, that was a nice, rounded bunch - could even make a tidy mix-tape out of it. Perhaps I’ll do something like that one day, maybe as a special anniversary edition. How’s the 47th week sound?


Written by Sykonee, 2010. © All rights reserved.

Miami Dub Machine - Be Free With Your Love (Original TC Review)

UMK: Cat. # 0694 PUMM 

Released September 19, 2005 

Track List: A1. Be Free With Your Love (Deepgroove’s Big Love Mix) (7:07) 

A2. Be Free With Your Love (Cube Guys Miami Mix) (6:00) 

B1. Be Free With Your Love (Deepgroove’s Big Dirty Dub) (8:14)

(2010 Update: Yeah, I totally missed the pun on this one. It's not like Mylo's mash-up with Miami Sound Machine hadn't been around either. *shrug* A momentary lapse in brain power. The tune's still pretty good, and even got a subsequent remix by Fonzerilli that was mildly popular. The Deepgroove dub's still my favorite though.)

IN BRIEF: Not dub, but still fun. 

It’s safe to say any music fan has certain weaknesses for specific styles. You become so attached to a genre that if a release has its name on it, you instantly want to check it out. I’ve known folks who’re fans of, say, house, and will snatch up anything with the word ‘house’ in the title, irregardless of the content.

I’m no different. For a while, trance was the pet genre I adored but as more and more releases were filled with music I felt was less and less trance, I gave it up. Filling in its place was a form of music I’d grown quite fond of by that point: dub. Of course, such an ambiguous name can mean many things, anywhere from layered bass-heavy reggae to mere instrumental mixes. It can be a frustrating endeavor sifting through it all; for every Dub Trees (cool psychedelic ambience) I come across, there’s an Asian Dub Foundation (poor-man’s Rage Against The Machine) that finds its way into my racks. You’d think I’d learn to be more discriminating over time but, admittedly, half the fun in collecting music is the trial-and-error process; that sense of anticipation whether you’ve stumbled upon something incredible and new. So, I will continue to eagerly check out anything with the word ‘dub’ in it, logic be damned (it’s good to be human!). 

Which finally, in the third paragraph of this review, leads me to this release by Miami Dub Machine. Having already provided you with my reasoning for wanting to check this out, perhaps I should tell you straight-up whether it met with my expectations of what I want out of a release with the word ‘dub’ somewhere in it. The short answer is no. For the long answer, keep reading. 

Miami Dub Machine is an alternate name for Italian trio Cube Guys, relative newcomers to the scene who’ve done a few remixes- er, covers of 80s songs. This one is the same, as Be Free With Your Love was originally done by synth-poppers Spandau Ballet. In this case, they lift the catchy chorus and guitars of the original wholesale and surround it with their own beats and effects. 

The elements of their own device are actually quite nifty. A hollow bassline (I refuse to call it ‘electro’) bobbles around as glitchy electronic noises grate and grind throughout. Sounds like an IDM noise-fest when I type it but, amazingly, it actually sounds quite funky, as the sounds on display weave and work with the musical template and morph through various effects to remain fresh throughout. Additionally, the original’s verse is now treated as a bit of somber spoken-dialogue, which adds immensely to the more synthetic nature of the Cube Guys’ treatment. 

The additional remix here is done by Deepgroove, a DJing duo whom seem to be garnering some praise lately thanks to their live shows. By removing the spoken-dialogue bit and amping up the bassline so it’s a fiercer bleepy bit of funky freshness, their remix is dancefloor dynamite! They also add some sweeping pads during minor breakdowns, creating an ethereal vibe to the proceedings as the original chorus sings along. Deepgroove’s take on Be Free With Your Love is definitely a keeper to groove a clubbing crowd. And, if you feel the Spandau Ballet bits are inhibiting what their remix is fully capable of, they provide a ‘dub’ version, which is basically the same thing but without the sampled chorus and driven by chunkier rhythms. 

So, while Miami Dub Machine may not have been what I was expecting, I still enjoyed Be Free With Your Love for entirely different reasons. It’s not going to score super-high marks, just due to the fact this is still more of a cover than an original piece of work, but both the Cube Guys and Deepgroove manage to throw their own dynamic wrinkle into this release. Definitely worth a look-see. 

Score: 7/10 

Written by Sykonee. Originally published 2006 for TranceCritic.com. © All rights reserved.

5-Song Weekly Mini-Review #4

Oops. I'm off by a day. Well, I wanted to spend a bit of time writing an actual regular review this week, so that's my excuse for not making my arbitrary deadline. That said, let's see what this week's collection of random songs gives us.


1. King Kooba - Static Society
From the compilation Northern Faction 3.

These guys have been around, like, forever. Well, at least fifteen years anyway. Mostly on the Kruder & Dorfmeister tip, their funky soul approach to breakbeats had them appearing on all sorts of nu-jazz and atmospheric d’n’b comps before finding a home with OM records. This particular track is about as laid back as you’re likely to find in this genre, but remains very funky, soulful, ect., ect. If you like a few chill synthy washes with your street shuffle groove, check it out.


2. Mouse On Mars - Future Dub
From the soundtrack Deepwater Black: Inclonation Vol. 1.

This track again? Man, have I been hearing it a bunch lately, first when I did a Random Review of that soundtrack, and then when I used it for a mixtape. Hey, it’s a cool tune and all - it did get Ace Track honors - just a bit overplayed on my ears at the moment. If you still haven’t checked it out, Future Dub is also quite laid back, casually taking in dubby, bubbly psychedelia over a shuffling downbeat.


3. LDC - Die Schwarze Zone (Razormaid Mix)
From the compilation Radikal Techno.

What the…? Is this mini-review going to only consist of tracks I’ve covered before? Well, at least in this case it wasn’t also another Ace Track winner. Still, this is pretty good. That grumbling bassline never gets old, and fans of classic German trance will love all the ominous touches throughout. Alright, so I still haven’t a clue what the lyrics are on about, but there’s an extended instrumental of this called Wir Schicken Dich Ins All, which is pretty freakin’ cool if you ask me.


4. Reverse Pulse - Flexible
From a personal compilation.

Meaning, a track I downloaded back in the AudioGalaxy days and burned to CD. Hey, at least this means it’s not from another CD I’ve reviewed. There honestly isn’t much to say about this track though. Back in the mid-90s, Cleopatra started churning out A Tribute To… albums, rounding up several in-house trance producers to do covers of famous electronic acts: Kraftwerk, Tangerine Dream, and so on. This is from the Depeche Mode tribute, but Reverse Pulse don’t do much with Felixible, simply opting for a standard mid-90s German trance rub and distorting the lyrics some. As for why I even downloaded this, it’s an amusing story, but I’ve run out of space.


5. Flowjob - Change Everything
From the album Zentertainment.

Back again with the material I’ve already covered, it seems. *shrug* I honestly can’t explain it. For a Flowjob tune, this is alright. As usual, their backing synths are future-friendly and Tokyo-cool, the tone is chipper, and the rhythms are ridiculously groovy. They’ve done better, of course, but as a gateway track, it works perfectly fine.


So no hip-hop like I predicted either. I'm just going to stop making predictions on randoms altogether. Well, maybe I'll predict another Neil Young song will crop up next week. The pattern thus far seems to be every odd week.


Written by Sykonee, 2010. © All rights reserved.

Various - Balance 016: Agoria

EQ Recordings: Cat.# EQGCD029
Released March 2010

Track List:
Disc 1: Aller Retour
01. Gregg Kowalsky - Ashes From Evermore
02. Alva Noto - Monophaser 2 / DJ Koze - Lords of Panama
03. Mark Pritchard - ?
04. Manvoy de Saint Sadrill - Soeheniona
05. ToscaM - Joe Si Ha
06. Emiliana Torrini - Gun
07. Agoria - Parasite 2
08. Arandel - inD#5
09. Messina - Columpnam
10. 19.454.18.5.25.5.18 - When I Think Of
11. Pom Pom - 10
12. Agoria - Altre Voci
13. Glimpse - Train in Austria Part 2
14. The Field - Over the Ice (Live mix)
15. Olibusta - La Pazz
16. Cubenx - Mis Dias Y Tus Noches
17. Felix Laband - Whisitling in Tongues (Todd Terje remix)
18. Jozif - Back 2 My Roots (Jozif's 5 o'clock Fabric Shadow edit)
19. Bibio - Jealous of Roses
20. LCD Soundystem - 45:33 (Trus'me remix)
21. Boozoo Bajou featuring Rumer - Same Sun (Prins Thomas Diskomiks) / Oxia - Less Time
22. Hatikvah - Synchronicty (Block Barley & Engin Ozturk Holmby Hills Remix)
23. Rio en Medio - The Last Child's Tear
24. Tipper - Just as the Sun Went Down
25. Gregg Kowalsky - Ashes from Evermore / Alva Noto - Monophaser

Disc 2: Rising Sine
01. Sylvain Chauveau - Hurlements En Faveur De Serge T.
02. Aphrodite's Child - Loud Loud Loud
03. Taron Trekka - Shirol / Suedmilch - We Were
04. The Same - Szarpiesz Minerwa
05. Ogris Debris - G-Thong (You and Me remix)
06. Francesco Tristano - Knee for Thought
07. Different Gear - One Thing More (Dub mix)
08. Michael Forzza - Abstractor 2.0
09. Chris Carrier and Jef K - Morning
10. DVS1 - Running
11. Drama Society & Vladislav Delay - Almodrama
12. Agoria - Libellules
13. Avril - French Kiss
14. Gadi Mizrahi - I Know
15. Jonny Greenwood - Tehellet
16. Avril - French Kiss
17. Mark Broom - Twenty Nine (Broom 09 mix)
18. Einmusik - Atlantis
19. Perc & Passarella Death Squad - Temperature's Rising
20. Aufgang - Sonar (Spitzer remix)
21. Shit Robot - Simple Things (Work it Out) (Serge Santiago remix)
22. Efdemin - Acid bells (Martyn remix)
23. 3 Chairs - No Drum Machine part 2
24. Kid A - Lonely
25. Sylvain Chauveau - Hurlements En Faveur De Serge T.


IN BRIEF: The series continues to mash things up.

I’m not certain when it started (Fortier’s 3-disc offering is my pick, although I’m sure many others would say Holden’s was the jump-point), but the Balance series has become synonymous with DJing Artistic Indulgence. For a while, that mostly entailed thematic sets rather than standard dubplate rinsing, the sort of sets undoubtedly inspired by Sasha and Digweed’s offerings from the 90s. Then Joris Voorn decided to take things one step further, using tracks as bits of samples to create a larger whole. It was an ambitious project and earned the man a ton of critical praise for the effort, even if the actual musical product was only - *gasp* - good. Now, subsequent Balance sets have followed his example, bringing crap-loads of disparate tunes into tracklists, growing ever more eclectic and quirky as we go. To be fair, this has more to do with the types of DJs now being featured. Whether it’s been EQ Recordings trying to recapture Voorn’s buzz or it was their intention to take the series down this road, I’m not sure. Whatever the case, we should expect to see more ‘kitchen-sink’ sets in the future.

Anyhow, getting to the task at hand: Agoria. Born Sébastien Devaud, the guy deejayed and released various singles throughout the 00s before getting a major break with At The Controls, a DJ mix series that grew in prominence at the same time as Balance did (again, thanks to James Holden), but folded shortly after Agoria’s offering. Uh oh… might this be an evil omen? Ah, heh, not likely, since it was due to the end of Resist that saw At The Controls’ demise. Still, early buzz on this release did have some red flags flaring up. After all, just how many of these ultra-eclectic sets can we sit through before someone overreaches?

These are two very odd CDs. Monsieur Devaud seems to have no qualm about mismatching genres and free-wheeling mixes. Unlike Voorn’s clinically perfect stitching, there are many rough transitions, quirky key mashings, and flow derailments, providing a very loose tone to the music. I actually rather prefer this approach, as the feeling of an intimate human touch becomes more prevalent, faults and all. And honestly, the faults seem to melt away once you give these CDs a couple listens. It’s quite like a mixtape, where such roughness makes sense once you realize the context of the song selection.

That said, the first CD really is a bit of a mess. Oh, it starts out fine, taking in some laidback vibes for a nice, chill start; however, if the vocal mash-up of Soeheniona with Tosca’s Joe Si Ha is off-putting for you, you may as well skip the rest, as there are rougher ones down the road. Before that though, we get a nice build-up of ominous minimal-tech, peaking out with an inspired mix of his own operatic Altre Voci, Glimpse’s Train To Austria, and The Field’s Over The Ice. And man, you gotta’ love the fact he uses a live recording of the latter, giving the peak just that extra bit of energy as you hear the crowd cheering.

Unfortunately, all forward momentum dies here, as Agoria opts to ease us back down to chill territory to end the CD out. All well and good, and he capably manages this for a few tracks. Things get wonky though, as he begins pitching tunes down so it sounds like we’re trudging through molasses. It sucks all energy out of the set, and we’re forced to amble through a collection of classy funk and soul songs that fail to mesh into an enjoyable flow.

The funny thing is the peak of this ‘home’ disc is more exciting than the peak of the ‘clubby’ CD2. After getting my trainspotter senses tingling with opener Loud Loud Loud by Aphrodite’s Child (the first verse was used in one of my favorite hip-hop tunes, and I never knew where it was from …until now!), Agoria takes us on yet another ominous minimal-tech build. Though it lags in a few places - because minimal-tech always lags when played for too long - there are enough creepy effects and melodic moments to keep your attention. During the big peak, however, it gets messy. The backbone is Avril’s take on the classic French Kiss, which is quite good, but thrown in there is the breathy vocal of I Know, which unfortunately comes saddled with a mismatched bassline; and then we have a breakdown detour for an eerie cello solo (Tehellet). Agoria tries to hold this breakdown for far too long, expecting us to sit through it as it somehow works in his mind while the audience can only uncomfortably cheer him on, hoping he’ll sort things out eventually. Instead, what was intended to be a riveting climax comes off forced and wincingly tedious.

After that, it’s back to the dark minimal-tech beats and trancey, blissed vibes. Sweet, and easily wipes away those cringe-inducing feelings from the peak of the CD. There’s perhaps a few obvious tunes here (Acid Bells, Twenty Nine), but also cool obscurities (Sonar) to keep things fresh. The fact the end of this CD plays out like a traditional DJ set probably also helps keep things on an even keel after the rocky middle-section.

Though there are problems to be had with Balance 16, I still give this a strong recommendation. Forced moments notwithstanding, I just prefer the rougher sound on display here, not to mention the wide range of music on hand. Agoria may not have matched any of the series’ highlights, but it’s still a set that’ll hold your attention.


Score: 7/10

ACE TRACKS:
Rather pointless highlighting tracks in sets like these.


Written by Sykonee, 2010. © All rights reserved.

Stephanie B - Sweetest Taboo (Original TC Review)

Sound Division: Cat. # SD0152 

Released April 2006 

Track List: 

A1: Sweetest Taboo (StoneBridge Future Retro Mix) 

(8:04)

B1: Sweetest Taboo ( Neil Nuff Club Vocal Mix) 

B2: Sweetest Taboo (Robbie Rivera’s Juicylectro Mix) 

(2010 Update: So this apparently was just a one-off, as 'Stephanie B' was never heard from again, and this track never had much impact past the year it was released (although it did appear on a 5 Years Of Armada compilation, oddly enough). This review is perhaps a bit more significant for your's truly, as it inspired a rather spirited discussion over what is/isn't electro with some of the readers of TC. All because I refused to call Rivera's shit mix 'electro'. I think I technically won that arguement, mainly because the accuser apparently had never heard proper electro in the first place. It wasn't enough to claim victory over the long war, sadly.) 

IN BRIEF: Sweet as Sade. 

Sweetest Taboo was originally performed by 80s R&B/jazz outfit Sade, whom often made dreamy ballads that grew very popular with adult contemporary crowds. Fast forward twenty years later, and the chill-out single has been tapped to be covered by a new gal on the block, Stephanie B, for all your current clubbing needs. While this particular copy of Sweetest Taboo was released on Italian label Sound Division, the original is from Swedish producer Sten Hallström’s - aka StoneBridge - own Stoney Boy Music, a sub-label of Armada Music (founded by some guy named Armin van Buuren -perhaps you’ve heard of him?). With practically no info around as to who Stephanie B is even on the almighty Google, my best guess is she’s a vocal piece for Sten to make this radio-friendly, glossy house cover. 

I’ll get this out of the way right off the bat, as I’m sure it’s the foremost question already in our readers’ heads. Stephanie B does a competent job in filling in Sade Adu’s soulful prowess. Although not straying in any significant way to give it her own unique spin, neither does Steph attempt to outdo the original, which is probably a smart idea considering Sade was a very smooth singer. Where Sweetest Taboo will ultimately fail or succeed then, is in how good the new house versions are treated. 

Sten’s own Future Retro Mix is aptly titled. The production on it is quite shiny, with plenty of little dubby effects sprinkled about. It’s the main synth hook that distinguishes this mix though. Nice and smooth, they glitter while complementing Steph’s singing. However, the actual melody they play has a tendency to conjure up the more decadent disco days or yore, giving the mix a more retro feel than the sounds on display would normally indicate. Fortunately, it doesn’t get too bogged down in nostalgic feelings, allowing the mix to still remain firmly in the present. It’s a very nice bit of house music for the more soulful, classy minded. 

Neil Nuff’s club mix is a much different beast. Opting for the funk rather than the soul, he lays the beats on thicker and adds a juicy bit of acidy bass. Along the way, he adds some distorted guitar licks for some punch, but wisely keeps them as merely an additional layer of bassy sound rather than a main feature. However, Steph’s lyrics aren’t given much to do here as Nuff seems more interested in the music doing the work. It’s decent enough dancefloor fodder, though probably works better in a warm-up environment than peak-time hours. 

Finally, there’s the Juicylectro Mix from Robbie Rivera, an individual who’s been around the house scene for over a decade now. It comes with great disappoint that his mix of Sweetest Taboo is a lackluster affair into tech-house territory. He moves all of Steph’s vocals to the beginning (after your complementary intro beats, natch), having them play in a minor breakdown with a single synth note and filtered beats playing in the background. Once he brings the rhythm back, the beats just bob along with no passion. Complicating matters is the additional hooks he makes use of: they are anything but ‘hooky’, and suck the life out of the mix. There’s no funk, no soul, no nothing. Just useless bleeps droning along to boring rhythm. By the time things finally get interesting again, the song’s basically over as we’re already on our complementary outro beats. Such a waste of a mix. 

Still, the other two are fine enough for the house-heads; Sten’s own mix may be strong enough to give Stephanie B some shelf-life for the near future. Sade’s Sweetest Taboo may not have needed a house cover but it’s done nicely enough here to satisfy the current generation of clubbers. 

Score: 6/10 

Written by Sykonee. Originally published 2006 for TranceCritic.com. © All rights reserved.

5 Song Weekly Mini-Review #3

So I know I’ve intended for this to be a weekly thing, but it seems I keep getting pushed back a day, turning these into ‘8-day’ Mini-reviews. I’ve got to right this ship somehow, so, with luck, the next Mini-Review will be in only five days from now. Er, provided I don’t get too distracted by NHL and NBA playoffs in the meantime. That said, let’s see what this week’s group of Randoms brings us!


1. Neil Young - On The Way Home (Live At The Riverboat 1969)
From the box set Archives, Vol. 1.

Oh yes, Young again. Hey, I’ve got a lot of his music, so odds are he’ll be cropping up a fair bit in these. As for this particular tune, it’s quite typical of the singer-songwriter folksy stuff he was doing after the split-up of Buffalo Springfield - in fact, this was one of the last songs written for the group. Being that it's early in his solo career, Young got to perform a number of small, intimate venues while on tour. That vibe certainly comes through in this recording. I’m sure he’d love to go back to that sort of show at some point but it ain’t gonna happen these days.


2. LFO - LFO (Leeds Warehouse Mix)
From the compilation Tracks From The Best Dance Albums Of All Time.

Yeah, the name of the compilation’s kind of corny, but you couldn’t fault the track list (given away for free with one of Muzik Magazine’s issues). This really is a classic in many ways: bleep techno pioneer, bass-bin demolisher, Warp Records flag planter, Speak’n’Spell trendsetter …and on it goes. If you haven’t heard this yet, get on it, damn you. This is MF’n techno history, man!


3. Nirvana - Pennyroyal Tea
From the album In Utero.

I personally never got into the grunge movement - too busy getting into ‘techno’ at the time, y’see - but several peers were, so I was hearing tons of Nirvana and Pearl Jam whether I wanted to or not. Fortunately, Nirvana was good enough that I’d enjoy most of their songs whenever they came within earshot, and quite liked this album for its general rawness of feeling. Pennyroyal Tea is about the sort of grunge tune you’d expect to hear around the time: quiet part, loud part, etc. You can’t go wrong with some Cobain scraggly singin’ though.


4. Jonas Steur featuring Jennifer Rene - Fall To Pieces
From the DJ Mix Intuition Sessions Volume 1: South Africa by Menno de Jong.

Vocal trance, with Jennifer Rene. And as usual, she seems to breathily mumble the words about losing love or some other damn thing. Yet, this is actually quite a pleasant tune. Steur keeps things melodically simple and to the point, and Rene does sound nice complimenting the gentle touches in the track, like pianos and subtle synthy washes. This was actually a minor hit, appearing on a few high-profile mixes, and has held up quite well when compared to the bilge that gets passed off as vocal trance lately.


5. The Beatles - Michelle
From the album Rubber Soul.

W’ah…? Another rock song? Well, not really, but the third from a name folks associate with rock music. Hey, I swear I do have more EDM than rock in my music collection, but I can’t predict how these Randoms go. Anyhow, the song at hand. Um, what else can I say about it that hasn’t been said before? It’s the freakin’ Beatles, man! If you don’t know this song, it’s probably because it’s one of their lesser known ballads, mostly known for a few French lyrics. That’s all I have to say about it.


So, three songs from three icons of rock music, one classic techno cut, and a vocal trance tune. Heh, it reminds me of one of those “which of these things doesn’t belong” skits from Sesame Street. Not that Steur turned in a poor effort or something - it’s a very nice track, for vocal trance. I can’t help but wonder if my Randomizer had a bit of a rock bias this week though. Wouldn’t surprise me if next week I end up with a hip-hop bias, further confounding readers who come here looking for electronic music. But that’s what makes this fun, eh?


Written by Sykonee, 2010. © All rights reserved.

Vector Lovers - Vector Lovers (Original TC Review)

Soma Quality Recordings: Cat. # SOMA CD037
Released 2004

Track List:
1. Girl + Robot (5:13)
2. Tokyo Glitterati (4:18)
3. Telecom Meltdown (4:32)
4. Electrobotik Disco (4:51)
5. Funk & Droid (5:10)
6. Electrosuite (7:46)
7. Yamonte Sundown (6:16)
8. Futures In Plastic (5:02)
9. Kissed You by The Fountain (2:34)
10. Lake Nocturne (3:31)
11. Metrolux Forever (4:39)
12. Solitare (4:17)


(2010 Update:
It was with this album that I firmly planted my "what is and isn't electro" flag, going on a many year, mostly futile, crusade to save the sanctity of the good name electro. Begrudgingly, I've since accepted electro has now come to encompass drunk-stomp fart abrasiveness, but if you want to hear some electro with class, check out these tunes. I still do.)


IN BRIEF: Robotic romance.

Vector Lovers is Martin Wheeler, a self-professed lover of things robotic and anime. You may remember his music on such compilations as Balance 007 - Chris Fortier or Soma Compilation 2005, and, um, very little else it would seem. Give it some time though, because Wheeler’s debut is potentially a slow burner (yes, he’s released another album since this one, but let’s just focus on the debut for now).

I suppose the thing that may have initially held Vector Lovers back is the fact it is electro. This normally wouldn’t be a problem but when anything with a dated, fuzzy, or analogue synth is branded electro these days, it’s not surprising someone would off-handedly mutter, “Oh, it’s just another ‘electro’ release.”

In this case though, Vector Lovers is 100% true-blue electro. This is robot music as Kraftwerk, um, crafted. Music for robots to disco dance to. Music for machines to tour neo-Tokyo to. Music for cute anime girls in mecha-suits to make love to. Well, maybe not quite that far, although given some of the cartoons that come out of Japan it wouldn’t surprise me.

Still, Wheeler fully intended manga-esque images to crop up while listening to Vector Lovers, as is evidenced by the anime artwork he drew himself for this album. Let’s see how it turns out here.

Girl + Robot is aptly titled, as it sounds like a robot serenading a girl. No, seriously! With underlying electro beats and backing synths, a robotic noise seemingly sings. Midway through, a lovely little melody on bells emerges, creating a touching atmosphere as the robot continues to sing. If Kraftwerk had ever collaborated with Kitaro, they’d probably produce something that sounds like this.

Keeping with the theme of ‘machines in love’ is Tokyo Glitterati. A delicate melody over sparse electro rhythms sets the tone of this track, allowing wintery pads to conjure up melancholy emotions as they play. The elements are fairly simple, and Glitterati is quite short for the themes it sets, but this is still a wonderfully touching song, once more proving you don’t need to over-produce electronic music to evoke emotions.

If the opening two tracks are where the robots met and fell in love, then this next segment is where they go out on the town. Telecom Meltdown brings the pace up a bit, settling into laid-back techno. Quite the minimal track, the simple subdued synth stabs and jazzy electro organs makes me feel as though I’m casually cruising through a Tokyo district filled with flashing neon lights, passing humans and androids bustling about on the sidewalks.

Elektrobotik Disco sounds much like how the title reads. The funk-fuel is injected but we’re still cruising along to zap stabs, synth sweeps, and robo-talk. I can’t understand what the robotic voices are saying, and I suspect that’s kind of the point. As techno always intended, Wheeler is creating music for droids, or at least the futuristic possibility of it. Luckily, us puny flesh creatures get to enjoy it in the here and now.

The vibes get more hectic as we move onto Funk & Droid. Perhaps the title is self-explanatory, but let me provide a little detail. It starts out as you might expect with house rhythms and squelchy hooks sounding like some sort of chunky R2-Unit. Some two minutes in though, this track will leap out at you with added beat rolls and subdued sweeping synths. From there, the squelchy hooks really let loose, bringing Funk & Droid to wicked heights. Can the funk get any better?

Hell yeah it can. Electrosuite takes elements we’ve heard from the last couple tracks, cranks the funk further, and throws in a robotic voice saying “Electrobotik disco beat; Always keep the electro sweet” in time to the rhythm. Wheeler even mixes the words up to keep things fresh. And those squelchy synths! My God are they ever funky! This is electro house done fucking proper, my friends. It’s utterly irresistible; you’ll be moving your body no matter how unfunky you be. Electrosuite is what Daft Punk’s latest would have sounded like if they’d given a damn. You’d be forgiven if you’ve forgotten there’s more to Vector Lovers than just super funky electro house.

In case you did forget, Wheeler brings us back to some of the themes established at the start with Yamonte Sundown. Similar in its yin/yang approach as Girl + Robot, it starts out with moody, dark sounds and simple breakbeats as robotic voices utter unintelligible things again (Electrosuite’s the only track on this album you’ll be able to understand the robo-talk). Halfway through, a nice bleepy melody joins the foreboding song, eventually taking over the track entirely as the former elements withdraw. Yamonte Sundown isn’t nearly as dynamic as some of the tracks that came before, but is still an engaging listen nonetheless.

As if to prove he isn’t just a two-trick pony (hey, that’s still more than most producers), Futures In Plastic has Wheeler flexing the electro muscle to the limit. This track is more in vein of the newer forms of electro acts like Drexciya and Jedi Knights are known for, and it fortunately remains distinctive enough to remain a part of the Vector Lovers theme. The beats sound pretty erratic, yet groovey enough to not get lost. Along with bubbly synths and spacey pads, Futures is quite fun to listen to as it never settles into standard loops.

Kissed You By The Fountain is a bit of charming electro with an innocent cuteness in the melody. It certainly plays to the whole anime feel more than the robotic feel, although there are enough quirky machine noises in the background to remind us they are still about. It’s not long though, so let’s move onto the next track.

With Lake Nocturne, Wheeler stumbles. Hey, it was a good run while it lasted but it’s rare to come across an album of all killer, even from producers that show some incredible talent in their chosen field. I can hear what he was shooting for with this track, a sort of melancholy, introspective piece with a synthetic flute-ish instrument carrying the bulk of the melody. Unfortunately, his use of rhythmic sounds are annoyingly garish, and there’s just not enough substance in the background elements to save this. At least it’s a shorter track, so we can quickly get back into something more engaging.

We’re on the chilled-out outro segment of this album now, as we move into the ambient techno domain that made Boards Of Canada such darlings of the musical elite. Metrolux Forever has some nice melodies to go along with the synthetic sounds but Solitare outshines it with the simple Ballerina-Box-like melody over sparse metronome clicks and warm backing pads. A very lovely little tune, Solitare is a perfect closer to this eclectic album.

As I understand it, Wheeler initially had Vector Lovers available only as a CDr through a custom website before Soma picked this up for wider distribution. I’m glad they did. For a label known more for its gritty tech house and techno, this is a bit of a quirky release to add to their catalogue. Still, Soma has been known to take chances in the past (who do you think released the first Daft Punk single?) and it pays off here.

This album is definitely worth checking out for everyone who enjoys electro, as the music is pulled off with stunning finesse for a debut album. Wheeler does funky electro house without a hitch but it's the wonderfully touching melodies in tracks such as Tokyo Glitterati and Solitare that manage to elevate this above many electro acts - proper and poseur - with his own unique style. Whereas most electro tends to be like Ghost In The Shell, Vector Lovers is more like Armitage: robots may one day live side by side with humans, but it will be as affectionate comrades rather than with the technology overwhelming our souls. In Wheeler’s mind, the future is an inviting place.


Score: 8/10

ACE TRACKS:
Tokyo Glitterati
Electrosuite
Futures In Plastic


Written by Sykonee. Originally published 2006 for TranceCritic.com. © All rights reserved.

DJ 3000 - Galactic Caravan

Motech: Cat. # UGCDMT 004 

Released March 2010 

 Track List: 

1. Flamuri I Popullit (4:45) 

2. Meridian (5:45) 

3. Heritage featuring Esteban Adame (5:55) 

4. Coat Of Arms (4:55) 

5. Darjeeling Sun (5:03) 

6. Yrwehear (5:54) 

7. Emotional Sequence (5:34) 

8. Meloudic Landscapes (6:10)

 9. Seven Tribes Of Hoti (4:23) 

10. Penny For Your Thoughts (4:11) 

11. Midnight Express featuring Esteban Adame (5:02) 

12. Her Smile (5:02)

13. Memory Almost Full (5:26) 

14. Day Dreaming (2:43) 

IN BRIEF: Makes me get my strut on. 

House music. Just good ol’ fashioned house music. A smooth groove, a catchy hook, and turning a stiff nose away from gimmicks of the day. No drunk-dumb stomp, white noise wash, fart-squirt bass, skank-ass screech, navel-lint glitch, or anything else like that. Just good ol’ fashioned house music. 

Alright, so perhaps that’s embellishing things a bit. Truthfully Frank Juncaj is lumped into the tech-house branch of things, but he’s something of a traditionalist in this field. His sound has that timeless quality to it the best tech-house does, of always being on the fringe of futuristic funk without getting bogged down in the scenery. It’s the backing soundtrack to many a late-night drive through neo-Tokyo in search of a 24-hour noodle shop after a hearty round of the clubs. He shares a sonic palette with the likes of Timewriter, Tripwire, and other similarly named tech-house producers starting with “T” (are there any others?). 

And he’s good at what he does, even if he doesn’t get the same kind of recognition other Detroit natives do. Going by the name DJ 3000, he’s released numerous records on his own Motech label (a sub-label of Submerge, which is mostly famous for a couple Drexciya albums), and made a tidy career out of producing classy, (proper) electro-tinged tech-house over the past decade. Now with his third full-length album, the cool-groove vibes carry on as usual, with nary a misstep along the way. 

Of course, an album of good tech-house can be dull if it’s only tech-house, thus Juncaj has spiced his album up with a few, er, spices of the Middle East. It’s about the closest to a currently-trendy jump he’s made, taking ‘ethno’ influences for a few tracks, most notably opener Flamuri I Popullit and follow-up Meridian; the former gives us an instantly catchy hook, while the latter mostly features chants complementing hypnotic rhythms. For an album titled Galactic Caravan, they make sense thematically, and it’s odd that Juncaj pretty much drops it for the rest of the album (track titles notwithstanding). 

By the time we do get another track of this sort - yet another catchy hook courtesy of Midnight Express - I’ve practically forgotten there was an attempt at a theme in the first place. Such is the strength of the rest of the tech-house tunes though. Wisely, Juncaj also spaces his album out with a few diversions of the Detroit sound along the way: a bit of techno-stomp in Darjeeling Sun; the obligatory, classy mid-album downtempo cut with Yrwehear, a touch of deep groove with Her Smile, swagger funk in Penny For Your Thoughts, and even what appears to be a live recording for closer Day Dreaming. 

Yep, Galactic Caravan is an all-round solid album. So why just a ‘mere’ 7/10 then? Oh, you know: nothing really fresh here, it’s still mostly just tech-house, etc. Obviously, fans of this genre are going to love the album, and even casual connoisseurs will enjoy it (*cough*). Yet dance music’s discography is filled with options for this genre, and though Juncaj brings undeniable quality, so do several others. Galactic Caravan is a fine pick-up if you are in need of a little more groove in your life, just not an immediately necessary one. 

Score: 7/10 

ACE TRACKS: 

Heritage 

Emotional Sequence 

Midnight Express 

Written by Sykonee, 2010, for Electronic Music Critic. © All rights reserved.