Sven Väth - Contact

Ultra Records: 2000

Sven Väth is Sven Väth, a very important person in the world of techno, though that wasn't always the case. For the early part of his career, he was a very important person in the world of trance, running the influential Harthouse label. Right around the time trance was blowing up, he abandoned it, pursuing a fashionable German infatuation with techno instead. Also changing was his fashion sense itself, foregoing a harlequin-rave style and diving headfirst into doofy eurotrash, literally. He dunked his bleached hair into industrial-strength superwet-gel, and became synonymous with the look until a geeky Canadian named Richie co-opted it for himself, forcing Sven to adopt yet another persona, the grizzled Papa Sven we know today.

That’s jumping ahead. For Contact, he have to focus on the doofy eurotrash era. This was when Sven established his Cocoon parties in Ibiza, along with his new label Cocoon Recordings. It took a bit for it to properly take off, as the brand of techno Väth was pushing was seen as too hard and underground for mainstream acceptance. You’d think, in an effort to promote this particular brand of German techno, he’d release an album filled with such bangers. Oh, silly you.

Väth had shown eclecticism before, but there was a sense he had a specific vision in mind on his previous albums. Mind, he did have Ralf Hildenbeutel as co-producer on them, which quite likely helped guide a wayward muse. Contact instead brings in different co-producers, who were well known, true, but leads to a disjointed album.

Most prominent is Alter Ego, helping out on nearly half the tracks. On the other half is Anthony Rother, who was something of a rising star in the electro-proper revival going on at the time. Two more or handled by Johannes Heil, and two Sven went solo on (the goofy electro Apricot, and the beatless ambient-techno throwback Privado). Quite a collection of talent, and each tune they work on has its own unique charm. Unfortunately, there’s no cohesion among them. The Rother tracks mostly maintain an electro vibe (Pathfinder and Once More especially so), but are totally out of place when paired up with the minimal techno Alter Ego offers. Smuggler, which only Roman Flügel contributed to, is a fine techno workout, then clashes bizarrely with the Heil-hemmed hard breaks of Contact.

If this is sounding more like a compilation than an album, it’s because that’s what it’s like listening to this CD - a sampler of various techno sub-genres. To be fair, techno itself was going through something of an upheaval in 2000, fresher European sounds finding their way into playlists. Perhaps Sven was hedging his bets, experimenting to find what worked best for him. Or maybe he didn’t care, and rushed this out to meet label quota demands (he was signed to Virgin) while diverting most of his attention to DJing. Whatever the case, Contact is an odd listen with good moments, but not one enjoyed in a single sitting.

Kraftwerk - Computer World

Elektra: 1981

Computer World was the last album of Kraftwerk’s Fabulous Five (or second to last of the Sensational Six if you include Electric Café). What else is left to say about it? How about, of those seminal mid-career albums Kraftwerk put out, this is my least favorite.

Of course I still enjoy it, but compared to the albums that came before, it’s a muted joy, a nodding appreciation rather than giddy fulfillment. Problem is by the time I got around to hearing it in full, I’d heard it so bloody much that its potential luster had worn away long ago.

I’m not even talking about the actual songs themselves. Without a doubt, Computer World is the most influential Kraftwerk album within EDM’s sphere. These songs have been sampled, interpolated, pilfered, recontextualized, ripped-off, and paid tribute to so often, it’d be neigh impossible to make a reliable list of where they’ve cropped up. Trans-Europe Express may have been an inspiring catalyst for the Soul Sonic Force, but Numbers and Home Computer pretty much formed the backbone of electro (and by extension, freestyle and bass music). Also, much of the synth-pop world had caught up to the group’s sonic tricks by this point so all those weird, wonderful robotic sounds they produced weren’t as cutting-edge as before. Though few could match their attention to rhythmic detail and knack for charming melody, Kraftwerk no longer stood alone as the 80s took form.

This may be why Computer World always feels short to me. As Kraftwerk’s computer futurism would go on to be thoroughly explored in the ensuing decade by other artists, what’s offered here comes off as little more than a glimpse. It's unfortunate, considering their other albums provided far more compelling ‘journeys.’

Three types of songs are featured: the Theme, the Pop, and the Robotic. The latter is explored in the two I’ve already mentioned, plus closer It’s More Fun To Compute. Given their straight-forward rhythms and weird sound effects, it’s easy to see why they were so heavily sampled. Still, even in their original context, they’re solid tunes, plus anytime Kraftwerk breaks out the voice boxes is a win. Less effective are the two Pop ditties, Pocket Calculator and Computer Love, both too cute for my taste though the latter does feature pleasant synth melodies. Finally, the overriding Theme of this album stems from titular opener Computer World, which has a reprise midway through, and something of a return in the closer. As Kraftwerk list off government watch dogs, you get the sense the intent of this album is to convey a world where Big Brother’s always watching. Why yes, 1984 was just around the corner, why do you ask?

It’d be highly remiss of me to not recommend this album, but anyone breaking out from their early electronic music exploration should know Kraftwerk is essential listening. Just don’t be surprised if, like me, you’ll find an overwhelming sense of familiarity with Computer World.

Kerri Chandler - Computer Games EP (Original TC Review)

Deeply Rooted House: 2007

(2012 Update:
Kerri Chandler still remains one of those house producers everyone comes around to once the latest trend-house fad passes, which is cool. As for why this has come up in my list rather than the album proper, um, well, funny thing that.

See, I initially had Computer Games as a download, but lost it when the former laptop I had it stored frizzled on me. Oddly enough, I managed to retain the EP from which I wrote this review for, plus the track Locked Out, of which I've included as part of the ACE TRACKS, because dammit, that retro-cool cruisin' vibe's just so delicious! I've been meaning to get a hard-copy proper of the album, but it don't come cheap anymore. *sigh*)


IN BRIEF: Vintage, not dated.

It’s a good time to be a deep house producer again. Although veteran names like Kerri Chandler have long held respect within the clubbing community, recent years have seen growing interest in their output from a broader listening base. Might it be that, after so long having to endure rowdy nu-electro and navel-gazing minimal-tech, house fans have been clamoring for something with more soul? Or perhaps everyone really is just getting old.

Whatever the reason, the sub-genre’s uptick in popularity has given producers an opportunity to try their hand at concept albums, and in Chandler’s case we have the two-disc Computer Games as a result. That’s not what this particular review is about though.

Instead, let us focus on the EP of the same name that was released a little over a year ago. Why? To be frank, much of the strongest material was initially produced on this vinyl, and seeing as how the full-length album is filled with little inconsequential skits that aren’t worth getting into, we may as well just turn our attentions here anyway. Besides, I rather prefer the cover to this one, heh.

Chandler is, if nothing else, a true traditionalist. The music contained here is about as vintage a sound as you’re likely to find within the realms of house. Even with synthy elements like sci-fi zaps and sine-wave pads scattered about, the roots of the genre are ever present. You won’t find anything innovative or groundbreaking in Computer Games, but Chandler isn’t out to reshape the nature of house music - he’s here to provide you with some funky grooves and soulful licks.

And sure enough, he delivers on those grounds. The Invaders builds bleeps along some fine beats; Last Man Standing ups the funk quotient to some degree; Vector Graphics goes deep and spacey on us; and Moon Bounce, as per its name, bounces along to shuffling rhythms as Chandler improvises some jazzy melodies alongside. All said, an enjoyably agreeable assortment of house music.

Still, if you don’t mind having to sift through a bunch of little skits, the 2CD release of Computer Games is probably the one for you. Although most of the best cuts are found on this EP, it’s also unfortunately lacking a couple more that are quite good too (Locked Out, Fortran, Pong, to suggest a few). While this single is a tasty sampler of the project, it’s unfortunately not quite the full package.

Frankie Bones - Computer Controlled 2: Live In California (Original TC Review)

Brooklyn Music Ltd.: 1999

(2012 Update:
Mr. Bones doesn't seem as active online anymore, at least not on web forums. To be fair though, music forums in general have seen better times. Seems most online music discussion has migrated to YouTube, Facebook, and Twitter ...not that I'd call what occurs there 'discussion'. As for this review, it's alright though I can't help but cringe at anything that's 1000+ words now. One of those Randoms I'd do every month, which gave me the opportunity to talk about Frankie's legacy. Yay for that. Funny seeing my musings on how to score this, considering I don't do scores anymore.)


IN BRIEF: Brooklyn’s techno son tries something different.

Unless you are new to both electronic music and the internet, there's no reason you shouldn’t heard of Frankie Bones by now. As one of the founding fathers of America’s rave scene - and the unintentional originator of the acronym P.L.U.R., incidentally - his place in techno history is already secure. However, when the world wide web grew in prominence, he not only made ample use of web forums and networking sites to help promote himself, but also became one of the very few big names who actually interacted with folks online. Whereas many of his peers will answer a couple token questions or give thanks for an endless stream of ‘awesome choon!’ comments, Bones has no trouble mixing it up with regular guys in debates ranging in topics from the state of the scene to favorite drinks, and shows no fear if his opinions spark heated arguments. It’s as though he’s determined not to be placed on a Superstar DJ pedestal, in spite of the fact he easily could through his accomplishments alone.

And this is why he garners so much respect even though his brash Brooklyn attitude should have burned many bridges ages ago. Bones strongly adheres to the DIY mentality of raves, and does everything he can to maintain credibility, even to the point of sticking with spinning vinyl despite every other DJ switching to CDs or laptops. Granted, it could be argued he sees the scene with rose-tinted glasses, a certain romanticism that belies some of the frank truths out there, but considering it’s worked for him twenty years on, there’s little reason for Bones to need to change his ways.

Of course, he isn’t one to rest on his laurels either. Bones does look for ways to innovate in his own way. Late in the 90s, he found one.

The idea behind Computer Controlled revolves around Bones taking a bunch of his own tracks, playing the vinyls out at a party, and recording the proceedings as a live DJ set. On paper, it sounds simple enough and not much of a big deal. Then I thought about it for a moment, and realized this is something rare after all. Yes, DJs play their own tracks, but an entire set of them? And nor is it to be confused with a live PA set or a sequenced studio mix; this is Bones laying down the dub plates on the fly and presenting it to us as is, warts and all.

Still, this isn’t something Frankie and Frankie alone could do. Honestly, any number of DJ/producers could attempt such a set, and even do with Abelton Live these days (although there is something to be said in doing it with vinyls rather than on a laptop, raising the question of where traditional DJing ends and live PA begins with such technology). Very few do though, for the simple reason not many can even produce enough tracks to make it work. Even Mr. Tijs Verwest - an individual who has long expressed his desire to play a set of just his material - has never actually gone through with it. Perhaps over a long career, after accumulating a large enough discography, such a set would be easy enough, but even there Bones challenged himself.

Instead of relying on past releases, nearly all of the tracks on here were produced during a year’s time leading up to the chance Bones felt he’d have to make this set. As a result, many of these cuts are simple techno bangers, with little attention paid to nuances or creativity. The beats pound, a simple hook is established, and oftentimes a nonsensical looping vocal will enter the fray as well. While it doesn’t sound dated in the slightest, there isn’t anything here coming close to a hit, much less a classic. If techno of this nature holds no appeal, you might as well stay clear. Funnily enough, even Frankie realizes the musical limitations he put on himself. In typical Bones fashion, he calls out the music critics who’d ding him for such reasons in his liner notes, writing “Anyone could make a mixed CD using other people’s records, let’s see them play a full set of their own shit and make it work. If the critics give 1/10 for the music at least give me 10/10 for the continuing pursuit to push DJ culture further...” (He also gives his rating on how critics review music, 7/10 being the verdict) Bones may have been understandably pessimistic about the critics reactions to Computer Controlled, but it isn’t warranted. Yes, the music may be overly simple but the fact remains this set does work.

Frankie often opens his CDs with sounds of a party, as though you are arriving just in time for his set, and this one is no different. It’s a nifty trick to establish the mood of the disc, effectively placing you right there amongst the ravers. And Bones gets working in short time, laying the bangers down with gusto. It’s raw DJing, with rough transitions adding charm rather than hindering. And the tracks are effective party tools, a lot of fun and energetic. A few times they are darker (like Ready For The Darkness), other times they are anthems (like On The East Coast), and sometimes just transitional (like …oh, who cares about transition tracks). It may not be the greatest techno set you’ll ever hear but it’s certainly enjoyable, obviously more-so when you’re active rather than lounging around.

Although Bones’ liner notes are adamant I should grade Computer Controlled based on its DJ innovation, the consumer is still going to be more interested in how it actually sounds. As a DJ set, it’s good. As a producer’s album, it’s satisfactory. So that places this release in the 7/10 ballpark. Coincidentally enough, that’s the same grade he figured he’d get anyways. Perhaps Bones would enjoy a side career being a music critic, eh?

Originally Written by Sykonee for TranceCritic.com, 2007. © All rights reserved.

Asian Dub Foundation - Community Music

London Records 90 Ltd.: 2000

Within two songs, I realized I'd made a mistake. Maybe I should have listened to it first but there weren't any warning signs. With a name like Asian Dub Foundation, I had already conceived sonic images of thick reggae beats, Far East harmonies, and maybe the odd sitar or tabla. Eastern Dub Tactik hadn't led me astray (in fact exceeded my expectations), and Banco de Gaia himself tapped the group to remix one of his tunes. Yes, with such blinding faith as my guide, I purchased this out of a used shop. What could go wrong?

Let's focus on the basics first: the music itself. While I was correct there'd be reggae beats, I did not expect ragga jungle beats. And you know what? I'd be fine with that. I loves me some ragga; however, it's a rhythmic style that doesn't blend well with others. There's a reason why DJs who spin it seldom venture out of that genre unless into other forms of drum 'n' bass. This being a group that does draw influence from Asia, we get ample sitars and chants, but metal and big beat are thrown in as well (yes, a couple of years after 'electronica' was all but dead). There's a remarkable amount of melting going on in this pot; unfortunately, every component ends up in disparate clumps rather than a tasty mix. It amounts to glimpses of what makes all these unique forms of music work elsewhere but nothing specific to enjoy here.

Then there's the lyrical content. Hoo boy...

Anyone remember that guy with the dreadlocks and Che shirt? Who went to the community college and became over-educated in global issues? He may have had the best weed hook-ups but man, sometimes it wasn't worth it when he'd start rambling about New World Orders and the like. That's who this album's gonna appeal to the most. Nearly all the ragga raps deal in such topics, and how we gotta band together to fight the system and blah blah blah Rage Against The Machine did it better etc.

Look, I have no problem when music has messages and raises conscious awareness. What I do have a problem with is when the artist is lecturing me about it, practically guilt-tripping me into becoming active in protests or whatever. I don't appreciate accusing fingers pointing at me, especially when the whole reason I'm listening to music in the first place is for a bit of escapism out of the day. This does not mean I turn a blind eye to the world's problems, but music isn't my preferred avenue to learn about it. Sitting back with headphones does not solve them. Dancing does not solve them. Getting out on the streets and becoming active in fundraisers and politics ...well, it's a start, and far more productive than listening to Asian Dub Foundation ranting about it.

That all said, I bet Asian Dub Foundation kick ass live!

Sync24 - Comfortable Void

Ultimae Records: 2012

Yes, I can finally talk about something new! How ironic, then, that it’s a collection of music that’s rather old-school in design. Or maybe not, as there’s a lot of ‘retro-revival’ going on in electronic music now, like a deliberate counter to combat the recent influx of starry-eyed festival ravers gorging themselves on the latest brostep horror. But that’s a musing for another time.

Comfortable Void is interesting in how it contrasts with the music Sync24 shares a record label with. Ultimae remains one of the best-kept secrets for connoisseurs of downtempo and chill. Though names like Solar Fields and Asura are frequently dropped when talk of ‘best chill-out musics’ occurs on web forums dedicated to the psychedelic aspects of culture, you seldom see them or any label mates crop up in major publications - whether this isn’t a problem or a travesty probably depends on how ‘underground’ you like to keep music. For those who’ve discovered Ultimae though, they’ve been rewarded time and time again with “panoramic music.”

This album, however, doesn’t completely fall under that umbrella, nor Ultimae’s recent dabbling into the glitchier side of downtempo either. At its most basic, this is an ambient techno album as made in the 90s; most of the sounds - burbles of acid, subtle looping synth melodies, detached dialog - could have appeared on any number of Namlook records. Even the arrangements are old-school, sparse so things are just where they need to be but not minimal for minimal’s sake. Glitch effects are few, which is a welcome change of pace when so many producers seem adamant in filling their tracks with pointless fluff. About the only thing that makes this album obviously a product of the here-and-now is the Ultimae Mixdown™, which has always been light years ahead of the curve in making music sound gloriously expansive.

It’s that expansive mixdown that makes Comfortable Void an apt title. It’s a very spacey album, at times almost desolate, yet inviting all the same. The first half has a darker tone, with droning pads, thick bass, and lethargic beats comprising its backbone - Dance Of The Droids the obvious (and welcome) light-hearted exception as spritely bells, um, dance to a bouncy beat. Midway, Sequor gives us gentle ambient that wouldn’t sound out of place on an Eno record, after which the album picks up quite a bit. Something Something provides a wonderful building melody that’s on par with any of Ultimae’s all-stars, while Oomph and Wake does the ‘slow trance’ thing that the label’s practically made another of their many trademarks. And a barren bit of ambient drone to close out? Yeah, what’s with these Scandinavians being so good at that?

Oh yes, I definitely have detailed Comfortable Void in its entirety. Well, as much as I can in limited word count, but every composition deserves recognition. It’s an album whose only flaw might be its old-school leanings, but for fuddy-duddies like me, that just makes it all the more captivating.

Roger Sanchez - Come With Me (Original TC Review)

Ultra Records: 2006

(2012 Update:
Wow, is this ever a dated review, but then anything over half a decade old now probably will be. This came out just before the Swedish House explosion properly took off, so Sanchez' brand of NY garage-house still had success. Within a year though, he was tapping electro house remixers for follow-up singles, then his own output dried up. Guess he couldn't keep up with house music's changing tastes. Still, this remains a fun album, girlie as all hell though it may be. There's a degree of class to be had here that often lacks in SHM's material, and I'd sooner strike up a conversation with a lady that vibes on this music instead of anything Steve Angello puts out.)


IN BRIEF: Music for the missus.

The last couple times New York-based DJ Roger Sanchez came to my humble little Canadian city, the results have been chaotic ...at least in terms of ticket sales. It seems, due to the high demand of Sanchez’ presence, the nights either get oversold, super-scalped, or draw a much bigger crowd our typical Granville Strip clubs can handle (The Commodore exempt of course), causing premature shutdowns or clusterfuck line-ups. You would think such mismanaged organizing would swear folks off from seeing another Sanchez show, and save themselves the stress of dealing with it again. I’m willing to bet, though, it will happen on this next visit, and all those who swore “never again” will go through it again. Seeing Roger live has become the equivalent of super-fancy shooters for his Vancouver fans: quite costly, very tasty, and no matter how much you suffer from them, you’ll still indulge again when given the chance.

Wait, that’s not entirely accurate. One other factor, one very important factor, contributes to Sanchez being the draw he is: da laydeez; lots and lots of young, flirtatious womenfolk. Roger’s reputation for great club nights in New York is world renown, and many gals abroad would love to have a taste of his slick city style. He’s become an ambassador of sorts of the Big Apple’s mysticism: going to a Sanchez night is akin to going to a fancy Manhattan club, and many urban girlie girls jump at the chance to live out a Sex In The City-esque night, even if only in spirit. Naturally, where the women go, the men follow.

With Sanchez’ second album - Come With Me - I get the suspicion Roger’s clued into where his biggest audience lies. While he’s always had a club-friendly appeal, it’s usually been balanced with house music tapped from the source: a funk thing, a soul thing, a spiritual thing, a yada yada etc. This album does away with most of that, aiming straight for the glitzy expensive clubs, and those who attend such venues -specifically, da laydeez.

Pop quiz: what kind of music does your typical clubbing minx enjoy the most? Easy answer: pick up any Hed Kandi release, or Ultra House Hits, or A Trip In House, or.. Well, you get the point. Basically, house music with fun vocal hooks and groovy rhythms; although not too complicated so she’ll embarrassingly stumble while drunkenly dancing. From beginning to end, Roger delivers those sorts of tracks on Come With Me, in a variety of flavors.

Lyrically, most stick to predictable themes. If a gal is singing, it’s about failed relationships, break-ups, or being flirty on a dancefloor. If Sanchez is singing (sometimes with a featured guest), it’s with smooth, sexy come-ons. Yeah, not much for the guys to dig here.

Musically, Sanchez brings a nice, if safe, assortment of style. Amongst the sort of clubby disco you’d expect from vocal heavy house, there’s also soul and Latin influences to be found, especially in the second half; plus, a Bhangra inspired track with Take A Chance. While none of it breaks new ground, it is all finely produced, and perfectly effective for the targeted environment.

Of course, appealing to the fairer sex is all fine and good, but is there anything on this the male-folk can listen to without feeling like his nuts have been chopped off? (Er... not that men can’t relate to themes of broken hearts and past relationships; it’s just usually done in a different tone when targeted towards them)

Well, opener track Turn On The Music aims to be a rabble-rousing party starter for anyone in the club, and while the hook has some catchiness at points, the whole of it unfortunately sounds flat given its intentions. Sanchez’ spoken-word recounts of bad luck in Again works well for both sexes, although it does come across more for the gals. And the blissy, Ibizan-tinged Soledad is fine either way, simply produced for chill-out situations.

That’s about it though. While the guys can still groove to these and enjoy them on a purely aesthetic level, I honestly can’t see many playing this at home unless they are entertaining their female friends in a pre-clubbing drink session. There’s very little here a house-head laying back, noggin noddin’ with Sennheiser headphones, will get out of Come With Me, as the song-writing aims for a very specific demographic: one that isn’t too interested in clever beats or innovative hooks. This’ll probably disappoint long-time Sanchez fans, as they’ve come to expect more from him than pure pop accessibility.

A sell-out? Perhaps, but as far as cross-over house music is concerned, Come With Me succeeds in its goals. Sanchez has delivered music that is certain to appeal to the ladies with sexy flair and simple fun wrapped in a slick presentation. Can’t fault it for that.

Globular - Colours Of The Brainform

Gliese 581C: 2010

Globular is Morison Bennett, a supposed rising star in the psy dub area of things according to his Last.fm bio (oh, Last.fm, I’d be so lost without you). He’s recently come out with a debut full-length album titled A Self-Fulfilling Prophecy, but since that would fall under ‘S’ (Windows Media Player, from which I get my list order, ignores articles if they’re first), I won’t be talking about that for some time (if at all). Instead, let’s talk about his first EP, Colours Of The Brainform.

It sounds like Twisted Records psy dub. Meaning, the Shpongle and Ott influences are extremely apparent. And yes, I came to this conclusion before I even looked at Globular’s Last.fm bio, which directly states they’re influences for Mr. Bennett. So, if you enjoy those two, you’ll enjoy this EP as well.

To be honest, there’s not much more I can say. It’s a chore detailing the intricacies of a typical psy dub track, yet broad strokes feels like cheating. I can say that The Continuum Press is filled with dubby sonic treats, word beats, and ethnic harmonies, or I can say that it sounds like something Ott would make. Which is more helpful? Even the cascading flamenco-guitars in Synesthesiasia, while a nifty, unique sound compared to the other tracks here, still comes off like typical Twisted Records, with several effects having been raided from Mr. Posford’s storehouse.

Perhaps Globular’s grown since this debut, but there’s little here to differentiate him from Twisted Records’ all-stars. This is a win-loss, as far as I’m concerned. Win, because the music on this EP is good, and there’s worse things than to be compared to some of the best in the business. Loss, because Globular’s music unfortunately lacks an identity of its own, and therefore Colours Of The Brainform fails to make a mark beyond being an expertly executed copy-cat.

I know I’m coming off more condescending than I really want to, but I aim to be honest, and sometimes honesty hurts. Hey, I like this EP, and will more than likely check out that full length eventually. There is potential here, should Globular be bold enough to venture beyond the Twisted Records template. Here on Colours Of The Brainform though, he plays things straight (well, about as straight as anyone can with psy dub) and while that’s fine for what it is, it’s not enough to step out from the huge shadow Shpongle and Ott create within this particular niche of psychedelic music.

The Higher Intelligence Agency - Colourform (Original TC Review)

Waveform Records:1994

(2012 Update:
I wrote this over five years ago now. At the time, I figured Mr. Bird's brand of dubby electro-ambient was all we'd ever hear from that particular sound. Lo and behold, there's been a minor resurgence of it in recent years, the most notable I've noticed being ASC's occasional dabblings. Mind, none of these producers quite capture The H.I.A.'s quirkiness, but at least there's some attempt to keep the sound alive. More please!)


IN BRIEF: A different sort of downtempo.

Once, long long ago (well, maybe just one ‘long’, but it sounds more dramatic this way, eh?), ambient music with a house or techno rhythm underneath was all the fashionable rage. Compilations filled the EDM market with a mature take on dance music, offering a soundtrack for when the raving ‘mah’sive’ needed to unwind. Many producers were given the green light to show off their creative mellow side without alienating their core audience. In short, it was a good time to be a fan of downtempo.

But that was in the past, and a good chunk of what was considered groundbreaking concept music hasn’t stood the test of time too well. Looking back, it sometimes comes off rather self-indulgent and directionless. However, there are those who’s work sounded so alien to everything else, even their noodly excursions can grip your imagination.

Bobby Bird’s ambient project The Higher Intelligence Agency was formed around the Oscillate Sound System, a collective of music producers and promoters with an affinity for those downtempo techno sounds of the early 90s. The H.I.A.’s profile grew in prominence as word of these events spread, and Bird's tracks were even held in the same regard as Aphex Twin, The Orb, and The Future Sound Of London. Unfortunately, a lack of promotion after the initial ‘ambient dub’ surge relegated him to the underground. And although he’s cropped up in collaborations with similar space ambient names like Pete Namlook and Biosphere, finding new material with the H.I.A. tag has grown increasingly difficult. And now it seems getting his old material is tough as well.

The album you are reading a review on is H.I.A.’s debut, and appears to be out of print now. Being no longer available from its initial label Beyond isn’t surprising though, as it’s been defunct for some time now (although its legacy certainly persists to this day). However, it is quite surprising to see Colourform no longer available on Waveform Records, its American distributor. In fact, it’s the only release that’s ever been deleted from their catalogue, probably due to some sort of legal complication holding it up in limbo. Although this wasn't a terribly rare album at the time, its age has caused a slight inflation of its price through eBay. The question, then, is whether fans of ambient techno should spring those extra few bucks for this release should they be in the market for it.

Frankly, that can depend entirely on how serious you take this kind of music. Although Bird does ambient music as well as anyone, he also has a tendency to allow a quirky sense of humor into his works.

Probably most apparent of this is the breakout track Ketamine Entity. Throughout the entire track is a silly 808 bassline that bobbles about; it does drop in a few some wonderfully thunderous booms as well, but still lends the track to a goofy tone. Throw in tongue-in-cheek spoken dialogue (“This is from the Higher Intelligence; We have concealed the vital evidence; Of the reasons for your existence") and chirpy bleeps and bloops in the background, and you have an ‘anthem’ that’ll make you giggle. That’s probably the most extreme example though. Other tracks like Delta and Speedlearn, while lighthearted, aren’t quite as thick on the stoner humor.

There are those who take their ambient music very seriously though, and have no interest in such tomfoolery. Fortunately for such folks, most of the tracks on Colourform tend to stick to ambient’s strength: easy-going, unassuming, and quite calming. The middle section of the album dwells on such themes, where flowing pads, subtle melodies, and hypnotizing loops glide on gentle rhythms. Of course, this all sounds like any kind of typical ambient, so what makes The H.I.A. noteworthy? Aside from the odd vocal sample, all of Bird’s arrangements rely on the most synthetic of sounds. Most chill music, especially these days, attempts to keep an organic texture in their atmosphere; it keeps us feeling human in our moments of downtime. Bird thought differently though, figuring even the most cold-hearted sounds of technology could bring us the same feelings. And tracks like Influx, Conoid Tone, and Orange make a strong argument in his favor.

A couple of other tracks round out this album with something a little more uptempo, and while they bring interesting variations on the H.I.A. sound, you can tell such tracks really weren’t Bird’s strength. Opener Spectral sounds just like that, an opener putting most of his eggs into the same basket: it has all the trademark synthetic texturing that you’ll come to expect on Colourform, but with a tighter arrangement than the wandering tracks you’ll encounter later in the album. Meanwhile, Re-Echo is Bird’s go at more traditional techno. It’s quite good for what it is, with nifty trancey sounds and bubbling acid; however, it’s not really that different from what you’d hear from any number of similar acts of the era: H.I.A.’s uniqueness is noticeably absent here.

That overall uniqueness, though, is what makes Colourform the intriguing album that it is. There really isn’t much out there that sounds like H.I.A., and despite some of the patchiness on here, this is still a recommended release. One can hope we’ll eventually see a re-issue, but even at slightly inflated eBay prices, fans of ambient techno will be satisfied with Colourform.

Bone Thugs-N-Harmony - The Collection (Volume 2)

Ruthless Records: 2000

Why release one collection of previous work when you can release two and charge twice the price! Alright, this isn’t that cynical of a comp’, but it is bizarre to see a second volume of Bone Thugs but two years after the last one. How could there even be enough material for this? Well, there’s more to the Bone Thugs story than their main singles and albums. Solo projects! Extended posse albums! Unreleased songs! All quality! Well, maybe not Ghetto Cowboy. That one’s just too silly.

Still, you get some tracks that simply didn’t make the cut on the previous collection (Thug Luv), collaborations where they appeared on other’s albums (Don’t Hate On Me was on a Jermaine Dupre album, and Hook It Up featured on a No Limit movie soundtrack -yes, Master P made movies, and yes, you’re allowed to laugh at that), cuts from the Mo Thugs Family, and remixes of tunes from the BTNHResurrection album that came out the same year.

Meanwhile, unless Discogs is lying to me, nearly a third of Volume Two features unreleased material, though whether old or new, the inlay don’t say. Probably the best of this lot is Sleepwalkers, which features an Eazy-E verse that’s fire, and makes for a suitable bookend to the whole Collection saga considering it was the Eazy-E featured Foe Tha Love Of $ that opened Volume 1.

Of course, you’re likely thinking this has the hallmarks of a ‘Thugs Fan Only’ release, and you’d be right. Though the quality of music’s still high, unlike the previous collection, this one doesn’t flow nearly as well, likely due to the disparate origins of these tracks. If you’re looking to get acquainted with Bone Thugs-N-Harmony, Collection: Volume One or the 2004-released double-disc Greatest Hits are better starting points.

As for the group itself, their legacy’s diminished since the high times of the 90s. Internal conflicts and spotty output has rendered their last decade of material almost inconsequential, while keeping up with solo projects became a chore for all but the most ardent fan. Maybe there’ll be another series of Collections to round up the better cuts, but considering how scattered across several record labels their later music is, that would prove legally difficult.

Hm, this review’s come up a bit short… I know, let’s play a game! The members of Bone Thugs all had ‘bone’ as a part of their aliases: for instance, Krayzie Bone, Wish Bone, Bizzie Bone, etc. For your reading distraction, here’s a list of potential members that could have been considered. Bone Dogg. Ice Bone. Bonestarr. Scooby Bone. Bone Digweed (this makes total sense, given the group’s fondness for the herb!). Bonecrusher. What, there’s already a rapper called that? Dammit, I lose then.