Ice Cube - Death Certificate

Priority Records: 1991/2003

I had no idea Ice Cube’s Death Certificate was so old. 1994-ish was my guess when I saw this album sitting on store shelves, but no earlier. Hell, I thought The Predator was older! I’ll grant part of my ignorance was just not knowing much about O’Shea Jackson’s early solo career, beyond a basic cliff-notes summary (formed N.W.A., left for solo-pursuits, got into movies, etc.), but there was another, sillier reason too: his haircut. Thanks to the album covers of Straight Outta Compton and AmeriKKKa’s Most Wanted, plus the movie Boyz N The Hood, I always associated early Cube with the jheri curl style. The first instance I saw of him without the cut was in the 1993 rap parody movie CB4, so surely Death Certificate came out sometime after then, right? Hell no, in fact dropping onto store shelves a mere year after Cube’s solo debut. Wow, am I ever an idiot for taking so long to realize that.

Legend purports Mr. Jackson shaved his head as a way of distancing himself from West Coast gangsta rap tropes, which is funny considering Death Certificate marks the introduction of another attribute that defined Cali-based hip-hop: g-funk. Yes, a full year before Dr. Dre cemented the sound. To be fair, raiding George Clinton for samples was still a fresh concept, but all the glory for it goes to one of Cube's associates/enemies, and none for Da Lench Mob. Maybe everyone wanted more Bomb Squad action instead?

It definitely lends a different tone to this album compared to the last one. Lyrically, Ice Cube keeps firing shots at all the problems wrought by American society in the early '90s, but as the music has more bounce to it compared to the Bomb Squads' propulsive beats, Death Certificate comes off light-hearted compared to AmeriKKKa's Most Wanted. Not by much, mind, as tunes ranging in topic from ghetto misdemeanors (of course), members of the black community who sell themselves out for a bigger piece of the corporate pie, STDs (Look Who's Burnin' ain't about fire, folks), and even racism within the 'hood are just as vitriolic as anything Cube's done. It's just, y'know, funkier now.

So while his targets remained mostly the same (though now including N.W.A. on No Vasaline, since they had the audacity to make disses on him), Cube wanted to focus his words with more conceptual precision rather than the scatter-shot way he did before. The result is an album of two halves, a 'Death Side' and a 'Life Side' (probably worked better on the vinyl or tape copies). To be honest, there's scant difference between the two, though more 'hood tales permeate the 'Death Side', whereas 'Life Side' deals heavier with societal topics. It was a good idea in principle, but not delved into deep enough to make a difference in the album's flow one way or the other. It also dates Death Certificate to the early ‘90s, making my former ignorance of its release date all the more sad.

Miguel Migs - Get Salted, Volume 1 (2013 Update)

Salted Music: 2005

(Click here to read my original TranceCritic review.)

I must be getting old. It's the only explanation for how I somehow enjoy this CD more than when I first wrote a review for it. When was that, six or seven years ago now? My God, can one's taste in music really change that much from their late twenties to mid-thirties? I mean, I heard the rumours of it being so, the anecdotes, the old-wives' tales, but now that I've experienced it myself, I'm astounded to find the legends are true. It's not like I didn't have an appreciation for deep house when I was younger. Even in my early twenties, I enjoyed the output of chaps like Mark Farina and such. This is a different feeling though, a soul feeling, a- Oh dear, I'm turning into one of those house heads, aren't I.

Yeah, yeah, I quipped a whole bunch about that in my original TranceCritic review of Get Salted, Vol. 1, which sure makes my writing come off immature now that I look back at it (not to mention the overlong, pointless 'angle' of whether Miguel Migs should get an artist credit or not – inappropriate, leftover snark-rant regarding DJs and the spotlights they seek, t’was). Folly of youth, I guess, but it’s not like this CD’s an overlooked gem that my lack of maturity couldn’t comprehend at the time. All that’s happened is the bumpin’ funk and soul vibes that’s long been a deep house trademark now resonate stronger than they did before, and there’s any number of reasons for this other than ‘getting older’.

For instance, the music that passed for popular ‘deep house’ following Get Salted, Vol. 1’s release was, for the most part, boring as shit. Minimal deep-tech? For the love of... What happened to the funk and soul? Hell, what even happened to the artsy European flavour? But whatever, that fad thankfully came to an end, to which we now have the nu-‘deep house’. It’s... well, just boring house for the most part, like 2002-era prog, but with all the plod and a distinct lack of spaciousness. Well sure then, Get Salted, Vol. 1’s gonna sound brilliant compared to those contemporary offerings of ‘deeper than thou’ house.

Props to Mr. Migs, then, for ignoring such trends while maintaining his Salted Music label to this day. Though sporadic in releases, it still peddles in that West Coast summery disco-funk style that OM and Naked made their names on. He even released a second volume of Get Salted in 2009, though I’m not compelled to check that one out, which brings me to a final point.

Get Salted, Vol. 1 may sound better to my aged ears in the here and now compared to the then and before, but the stylistic and pacing problems I mentioned in that old review also persist, especially the drag in the middle of the set. Despite Mr. Mig’s brand of deep house hitting those classic soul notes better than most, it still has its flaws too.

Juno Reactor - Hotaka

Metropolis: 2002

Juno Reactor was already popular within the psy trance community by the turn of the century, but as the new millennium took form, something must have happened in Japan, as Ben Watkins’ music found an even wider audience in the Far East country; at least I assume, given how many live CDs and DVDs they’ve released of concerts there. So big, in fact, that while the Reactor project was between albums, he released this EP titled Hotaka, a major tune for the Hotaka Mountain Festival where Juno Reactor performed the year prior. What else could it be for?

The track itself is quite the mish-mash of musical heritage. Taiko drums and Japanese vocalizations are obviously a bit part of the tune, but as we're still in that 'spaghetti Western' portion of Watkins' career, the thrashy guitar riffage is accounted for as well; and, of course, those pseudo-EBM rhythms that's long been a Juno Reactor trademark. I guess if the first half of the album Shango didn't do much for you, neither will Hotaka, as the tune's firmly moved on from all those early psy trance vibes many were introduced to the Reactor. Heck, it doesn't even have that 'buttrock goa' thing going for it, so finely produced it is.

Juno Reactor had a decade-deep discography by the time Hotaka came out, but very few singles to their name, as their main strength lay in the album format. That trend continued here, with a pointless Radio Edit and two remixes included with the main track. As for the re-rubs, there's some discrepancy. They're credited to Thomas Heckmann and Der Dritte Raum on the CD, but Lord Discogs states otherwise, the “Heckmann” remix done by Kloq, and the “Raum” one by Juno Reactor member Kris Kylven. There's also a note stating the CD credits are mislabeled, but if that's the case, it's one Hell of a mislabel. Were Heckmann and Raum even commissioned to do remixes for this EP? Who knows at this point, but I'm sure some Juno junkie could enlighten you if you're curious enough.

Ignoring all the clerical mishaps, how do these remixes sound? The “Heckmann” remix is far more banging, almost what you'd expect the techno producer to do to the track if given the chance. Meanwhile, the “Raum” remix goes more subdued and minimalistic – it's almost meditative in an ambient sort of way, but without losing any of the high tempo of the original. Overall, they're both interesting variations of Hotaka, in a stripped-down, understated way.

Hotaka’s a tidy little EP, though probably only Juno Reactor completists will likely feel the need to nab a copy; what an odd thing to say, coming from yours truly, as this and Shango are the only Reactor releases I have. Granted, part of that oversight’s because of an early Audio Galaxy raid gathering up their music for burned CDs, but those have long since disintegrated. Looks like I’ve some music hunting to do…

Daft Punk - Homework

Virgin Music Canada: 1996

The most important house LP of 1997, and no, I’m not joking. All the hype that preceded it, all the plaudits and criticisms it earned, and all the set trends following its release, I dare ask you to name another house album that had as much of an impact as Daft Punk’s Homework. It changed the way folks regarded the genre – in some cases, even dance music in general – and its aftereffects have rippled to this day. Whether you thought it was a good album, however, that’s been a contentious debate for over fifteen years now, and will undoubtedly continue as Daft Punk draw in new fans with each sporadic release.

While it'd amaze me if adding my voice to the cacophonous Homework dialog ends up having any kind of sway, here's my take on the French duo's debut: it's a good album, with two glaring problems. It's that simple, and surprising such furor over its merits has continued for so long.

There's a lot of strong house music on here. From the opening propulsive party vibes of Revolution 909 (first two tracks don't count), filter funk of Fresh, bumpin' vocal loops of High Fidelity, shimmering shoulder-shufflin' fun of Burnin', and all the way to the cascading synths of Alive at the end of the album, Homework is filled with tunes that have stood the test of time remarkably well. They’re not all-time classic, mind you, but solid enough, and would have been fondly remembered were it not for four tracks.

First, the wack. I won't deny Rollin' & Scratchin' is effective in a club, but the hard-stomp acid nature of the tune aggravates after seven minutes worth in an album format. Worse, it's quickly followed-up with a poor-man's version in Rock'n Roll, tediously dragging down the back half of Homework, including all the songs surrounding it.

Oddly enough, an opposite effect is caused by the two highlights of Homework, Da Funk and Around The World. These tunes are brilliant, and warrant the superstar status Daft Punk earned when they broke out. In fact, they're too good, as nothing else on the album comes close to capturing their delicious, vibey magic. Around The World marks the end of Homework's first half, and you're left wanting for another tune on par with it or Da Funk to emerge. But no, all you get are solid house tunes (and two duffs), memorable when out of context but unable to reach the highs Homework generated prior. And boy does that make for a frustrating album when played front-to-back.

The bitch of it is that the solution to this is so simple: jettison Rock'n Roll (or, if you must, reduce its ridiculous length), and add in the rare tune Musique, a b-side to Da Funk that's just as hooky as the Big Two. It won't solve the 'unreachable peak' problem caused by them, but at least the album's pacing would be vastly improved. Or lessen all those debates over Homework's classic status, anyway.

Various - Dirty Vegas: Homelands 2002 Preview

Muzik Magazine: 2002

So this Homelands music festival, it was a big deal in the UK? The way Muzik Magazine went on about it sure made it seem like a big deal. I never heard much about it outside of the rag’s articles, but then I do live on the other side of the hemisphere. Odds are I’m not gonna hear about every single music festival in the British Isles, though I have heard of plenty famous ones: Glastonbury, Reading, Creamfields, Global Gathering, and the like. Apparently Homelands reached upwards of 35, 000 punters, respectable numbers but, turns out, unsustainable, as the brand ended around 2006. I've no idea why the festival folded, nor does cursory Google searches reveal much either. Did it just grow too big for its own good? Should'a kept it smaller, like our Shambhala festival. It’s still going strong, bringing in all the UK's big breaks acts for years now, yeah yeah! [2023 Edit: Shambhala's humble attendence numbers may no longer be valid]

I guess Muzik had an advertising deal with Homelands, hence all the plugging for it going on with the particular issue this free CD came with. Oh, they included write-ups for other summer festivals too, but not to the degree they did for Homelands. I wonder if it was as spectacular as they made it out to be; anyone have stories? Whatever, let's focus on what Dirty Vegas provides for an uber-festival preview.

Hey wait! Dirty Vegas! You remember them, right? They of the super-mega hit Days Go By, made famous by a snappy car commercial (I can't recall which one now – t'was over a decade ago). Seeing as how I don't own any of their proper releases, maybe I should go into a little detail about the group while I have the chance. Um... they had a super-mega hit called Days Go By (made popular by a snappy music video). Few gave a flute about their following debut album though, even less about their sophomore effort. They then practically disappeared for years, returning with a third album on OM Records a couple years back. Did you know that? I sure didn't. Boy, for a group seemingly destined for super-stardom, did they ever fizzle out. Kinda like those other early ‘00s hopefuls Fischerspooner, come to think of it.

Alright, back to the Homelands Preview. Some big names on this mix for sure, as the filthy folks from Nevada (South London) aimed for a set that built hot anticipation for the acts many could catch at the festival: Hernan Cattaneo, Royksopp, Basement Jaxx, Carl Cox, Slam, and X-Press 2 amongst others. The music itself is, um, quite prog for the first half – hey, it was 2002. Breaks care of Stanton Warrior’s Da Antidote 2 (The Unreleased Mix), liquid funk d’n’b on Peshay’s You Got Me Burning, and a funkier jam in Timo Maas’ To Get Down add variety at the end, but Homelands Preview doesn’t stray far from the unexpected. Except for those mooing cows when the music finishes - gotta capture that proper festival vibe, after all.

L.S.G. - The Hive

Beat Buzz Records: 2002

In some ways, ending the L.S.G. project on Into Deep would have been perfect. Having successfully pushed the boundaries of his popular trance moniker down roads few thought possible, where else could Oliver Lieb go with it? House music? Jungle? Acid Jazz!? Nope, in a move that was somewhat surprising at the time, the fifth L.S.G. LP went back to its regular progressive trance roots, offering up an album of about as straight-forward Oliver Lieb branded trance as you could get. And then it was almost utterly forgotten shortly after, his mid-‘90s sound coming off old-fashioned and dated in the year 2002.

Okay, trance burnout had definitely settled in by that time, five years of over-exposure sending many folks seeking fresher genres. That The Hive would pass by with little fanfare is understandable. What boggles my mind, however, is how, in the ensuing decade, old schoolers decrying the lack of good trance in the '00s never brought this album up in conversation. Was it really so underwhelming that it slipped everyone's mind? So it lacked the 'firstness' of Rendevous In Outer Space, the killer single of Vol. 2, the ferocity of The Black Album, or the soaring sonics of Into Deep. The Hive was just... there, holding few surprises for the discerning L.S.G. follower to return to.

And I cannot deny I'm guilty of this too. It's been years since I last threw this on, and though I remember enjoying the Hell out of it, The Hive's always been the last L.S.G. album I'm inclined to hear. Even now, despite remembering all those awesome moments throughout, I just know when I reach for a Lieb LP again, other entries in his discography will find their ways to my ears sooner than this one. Such is the price one pays for maintaining such a high standard of quality, I guess.

So what does ‘awesome but forgotten’ L.S.G. sound like? Oh man, there’s some mint stuff on this album. Opener Loose Ends seems appropriately titled, coming off like a left-over tune from a prior LP. Then we’re flying out in space with Down To Earth (or returning from space?), kick ass tribal rhythms with Saviour… Hell, I could go track-by-track on how good this music is, but self-imposed word count forbids. And truthfully I’d be detailing things anyone familiar with Lieb’s work should recognize anyway, as he re-uses plenty of synths, melodies, beats, and effects from years past. If you’re wondering if he brings anything unique to The Hive, Everon features a bassy hook that I’ve never heard attempted in prior L.S.G. material, but that’s about it.

Still, Oliver Lieb going through the motions easily trumps many trance producers out there, such that The Hive, though not a defining L.S.G. album, remains essential for any collector of the genre. Don’t make the mistake so many others have made in turning a deaf ear to it just because it came out at the wrong time.

2 Unlimited - Hits Unlimited

Popular Records: 1995

The only 2 Unlimited collection you need, if you've just a passing interest in the group. It covers the first five years of their discography, and, since it was released in 1995, totally ignores the woeful attempt on Phil Wilde and Jean-Paul de Coster's part to resurrect the brand with two new singers. God, was that ever a disappointment. I could forgive them for bringing those chicks in, but what the Hell happened to their hit-making ability? It’s amazing how a duo responsible for so many all-time great euro dance tunes (including other acts like C.B. Milton, Def Dames Dope, and more) could fail to change with the times when euro trance became the clubbing music of choice. On the other hand, with anthem house enjoying quite the comeback lately (what, you thought 'trouse' was a new thing?), maybe that proper 2 Unlimited reunion will occur as current rumours suggest. It was a similar sound that gave them their breakout, after all.

Let's be clear on this though: 2 Unlimited as a group can only exist with Ray Slijngaard and Anita Dels holding the microphones. Whatever you may think of their vocals, you cannot deny they brought a unique dynamic to the euro dance template. Plenty of rappers stood out enough to have a hit or three during that scene's early '90s heyday, and the same could be said of whatever gal happened to be singing on the chorus. None, however, had as many chart topping hits as 2 Unlimited generated. How many, you ask? Just look at this CD. Every single one of them hit Top 10 in some country (mostly the Netherlands, Spain, and the UK). That's sixteen songs, over a mere five years. In the freakin' '90s! I think only Madonna managed similar dance act chart success (whether you consider her included in that discussion or not). No wonder we still hear Get Ready For This, Twilight Zone, No Limit, Tribal Dance, Workaholic, and The Real Thing today.

So, my 2 Unlimited fanboyism gushing all over the place, obviously I'm going to give Hits Unlimited a high recommendation. Actually, that's not quite the case. As mentioned, this is a good CD if you're just interested in the big tunes and little else. Truth is I find the included versions of these singles lacking compared to their album counterparts. Twilight Zone's cut short, Here I Go’s cut short, we get the not-as-good radio version of No Limit (no, trust me, the album version’s better), and, unsurprisingly, we don’t get the snappy “Who the fuck are you?” sample in Workaholic. Only two tracks here are improvements from the LP versions, Let The Beat Control Your Body (much better!), and Maximum Overdrive.

I’ve little else to say regarding Hits Unlimited, as it’s about as straight-forward a ‘greatest hits’ package as you can expect. Only in this case, each track included well warrants its status as a bona-fide euro dance hit (except new track Spread Your Love... ugh).

Various - History Of Hardstyle 4 (Original TC Review)

Atlantis: 2007

(2013 Update:
So bizarre hearing Frankie Knuckles' Your Love in that Reforced track so soon after hearing the original and the 'remake' on the previous CD. Aside from that, not much else to add to this one. I probably gave it much more attention than it ever deserved, but I had some grief to get off my shoulders over the criticisms music critics often received. Figured a hardstyle compilation was the best outlet for it, and History Of Hardstyle 4 was the first one I stumbled upon.

Oddly, upon first re-listen, I started liking this more than I expected - an almost refreshing sound compared to where popular hard dance has ended up. By the end of it though, I was bored of the repeated tropes. Oh well.)


IN BRIEF: A ‘march-a-long’ look back.

“If you don’t like it, don’t review it!”

Seen this statement before? Been tempted to write it yourself? It is one of the most common complaints any reviewer will come up against, and has become something of a hate-mail cliché along with “Let’s see you do better!” and “You’re just a hater!” Of course, such a complaint doesn’t make much sense when directed at major reviewers: they get sent items to cover either in the hopes of a glowing exposé or just for any coverage at all. It’s their job to be critical, and fanboys sure do hate them for it.

However, we here at TranceCritic usually have more discretion in what we review, as promos are still few for a young site such as ours; much of what we decide to cover tends to come out of our own pockets. So why would we review anything we don’t like in the first place? Simply put, we don’t know if we will dislike it until it goes into the player. Sure, we may have personal preferences, but we don’t feel certain styles of electronic music should be given the shaft because of them, nor do we let it affect our judgments (much). Our aim is to cover it all, as everything deserves a fair shake.

Still with me on this? Good. Now you know why, even though we haven’t been terribly kind to hardstyle in the past, we have yet another collection of hardstyle ready to go under the knife. Who knows? This could potentially be the one that gets the good grade! But until it gets the listen-over, we won’t know.

Initial impressions are in its favor. After all, anything with History in the title hints at a release containing choice cuts from the past. This being the fourth edition from Atlantis, surely they’ve managed to tap a well of hardstyle that was fresh and original when it was a new genre.

Wait just a moment. How old is hardstyle anyway? I know it sprung up when the residue of a decaying NRG scene merged with the gabber scene, but does it really have enough history behind it to start cranking out retrospective releases? Some quick sleuthing of the tracks on here reveals them to be from late 2002/early 2003. So... roughly four years then. That may seem like a short period of time but even ‘house classics’ compilations began emerging as early as the late 80s, so it isn’t much of a surprise to see Atlantis cashing in on their back-catalogue so soon. There’ll always be new kids in need of these to catch up on their scenes.

The first thing I noticed with these older hardstyle cuts is how much more sluggish they are compared to current offerings. While the tempo is still brisk, the emphasis on that trademark ‘WWWUUMMPA-WWWUUMMPA-WWWUUMMPA’ bassline drags the energy along. These are primarily interested in simple fist-pumping action, and everything is centered on that aspect. I can see why this had such appeal earlier in the decade for the hard dance massive: you don’t have to work as hard to keep pace with these tracks as you would for gabber or NRG.

The second thing I noticed is just how damned similar these all sound. The reason for this is easy to discover when you look at production credits: all but two of these tracks are by the same group of people! Cristiano Giusberti - aka: Technoboy - gets the most exposure on here, with eight out of eleven tracks having his hand in; also invited to this party are Antonio Donà, Mauro Farina, Luca Antolini, Paolino Nobile, Riccardo Tesini, and Luca Peruzzi.

Atlantic Wave, Builder, Droid, The Raiders, Hunter, Citizen, K-Traxx, Q-Zar: it’s all these guys, usually together, although sometimes a couple at a time - and Donà on his own as K-Traxx. Hardstyle has never been a terribly creative form of hard dance, typically recycling the same structures over and over, but a full disc of it when even the producers are recycled does not bode well for diversity. As for the other two acts - DJ Stardust and Tuneboy - they sound almost identical to all these Italians to render their inclusion moot if you want a little uniqueness in your hardstyle.

Differences through tracks tend to be marginal, as they all stick to the same march-a-long rhythmic structure and similar sounding gabber synths. Distinguishing characteristics between all these cuts are minute: Rave Train makes use of faux-train whistles; Sweetie gets ‘naughty’ with “bitch motherfucker” samples; Reforced sounds like it copied an old Frankie Knuckles tune for its build; Hardrive teases with tempo changes that hardly ever occur; Maori Fight uses war chants during a build, which is actually rather creative compared to the rest of these; and Tuneboy’s Demolition managed to turn my head by taking a vocal sample of 2 Unlimited’s Let The Beat Control Your Body. Most of the others use time-worn vocal samples heard in hard dance for ages (“Something for your mind...”; “So get up!”; etc.). And hooks? Riffs? Merely there to emphasize the throbbing beat, although Hardventure gets a tad more intuitive than the others.

There’s little more to discuss about History Of Hardstyle 4. This isn’t a form of music that requires much analysis, laying out its manifesto simply and bluntly. Play this at a big rave, and you’ll get the crowd enthusiastically jumping in the same spot with their fist pumping the air; listen to it at home, and you’ll tire of it quickly, as there’s frankly not enough going on here to treat it as anything but rave fodder. And while serviceable in such a setting, these are mostly rote examples, and won’t convert those who aren’t already fans.

Frankie Knuckles - His Greatest Hits From Trax Records (2013 Update)

Trax Records: 2004

(Click here to read my original TranceCritic review.)

Hey, kids, are you tired of blasting electro house at festivals, knocking you over with over-the-top 'complextro' nonsense? Have you ever wondered if house music could be simple and groovin', but without sacrificing catchy hooks and kick-ass bass? Then let's take a gander at the roots of the genre, born and raised from the good ol' American city of Chicago. Wait, where are you going? What do you mean you can get your fix elsewheres? New York? Ireland!? Ya'll be trippin', I say. Ain't no house like Chicago house, right from the source. And no, I'm not talking about The Source, from which became synonymous with Frankie Knuckles even though the two likely never even talked to each other over the phone.

Ugh, this isn’t working. I’m just blathering nonsense. Against all odds, that original TranceCritic review I wrote years ago has held up. Yeah, the grammar’s still clunky in places, and I come off pointlessly defensive in the opening paragraph (does it really matter what my sexual orientation is?), but all the information you need’s right there in white on black. And any sort of ‘updating’ I could relay about Knuckles’ music on Trax has been co-opted by the seemingly never-ending ‘classic house revival’ narrative that’s developed in the past while. Hell, I just touched upon that with Hercules & Love Affair.

So I’m left with a 2013 Update with nothing to update on. That said, and half this wasteful exercise over, I’m going out to get drunk right now, and when I come back, let’s see what I’ve to say.

*tick-tock, tick-tock, not much time passed on the clock*

Well, that was pointless. Sure, I got drunk, but all too quickly for my liking. I must be exhausted, a theory totally corroborated by the wonky work hours I’ve had since getting back from vacation. Normally I work late evenings, but it’s been early mornings this past week, screwing up my sleep cycles. Thank God for energy drinks, even if they do weird things to your insides and possibly eyeballs (why do I see so many blobs and dark dots floating about?).

Is anyone still reading this far? If so, don’t be expecting some sort of new epiphany regarding Frankie Knuckles and his greatest tracks from Trax while I’m in this drunken state. The CD remains as good as when I first heard it; so instead, here’s a c+p of my concluding paragraph from my first review:

This release is a good introduction to the house sound of the mid-80s. A vibrant, hedonistic, sexual energy runs through these songs, capturing the carefree days when a gay man could escape the torment of prejudice and lose himself in house music. The tragic breakout of AIDS sadly cut short those years, and, like any scene that sprouts from innocent intents, it will never occur again. This is the soundtrack to those times and, no matter your sexual orientation, you can’t help but get lost in the moment as well.

DJ John Kelley - High Desert Soundsystem 2

Moonshine Music: 2000

John Kelley's second mix under the High Desert Soundsystem banner was a disappointment when I first threw it on, lacking so many of the big anthems that made the first one quite fun. So of course, over a decade on, I find myself enjoying this one more as a DJ set. I'm not sure what the former funky desert breaks man had in mind when he started doing these CDs, but for the second (and last) volume, he's gone full shuffly, driving techno, with touches of house, tech-trance and a dash of prog. Blend everything in an arid, outdoor tribal vibe, and you have High Desert Soundsystem 2. Ah, Consistency, how you always make mixes better.

So while this makes for a solid CD for the ears, I'm struggling to find much of substance for your eyes. Kelley opens his mix with Samuel L. Sessions, gives us two Timo Maas tracks after that (boy, remember how big his star was supposed to be at the turn of the century?), some fine bangin' material plays out for a while (oh, two Ben Sims!), with a sorta-peak hitting with Trancesetter's classic Roaches, and an easy fade-out with the Fade mix of Carissa Mondavi's Solid Ground. There, done.

Even at fourteen tracks, High Desert Soundsystem 2 isn't a very long set, not even an hour's length. Since most of these tracks don't offer much other than keeping the tribal-tech momentum moving, it's not an issue, as each cut serves its purpose for the brief duration it plays out. Also, Kelley's mixing is quite smooth, a marked improvement over the previous HDSs, but by staying in such a narrow frame of genre-type, something's lost in the unpredictability that came before.

At best, High Desert Double-Loo is a snapshot of whatever John Kelley happened to be playing out at the Moontribe parties at the time ...I assume, anyway. If I wandered over to a stage where he was playing this, you bet I’d be down for these sounds, and if you’re perfectly fine with a CD that captures an hour’s worth of what sounds like at least a three-hour session, by all means scope this disc out.

And there it is. Absolutely nothing else to say. What happen to John Kelley afterwards, you ask? (no, just pretend you did, alright? I’ve still another hundred words to fill here, damn it) He made a mix for the United DJs Of America series (second to last one, in fact), released an album of original breakbeat material in 2005 (well, more of a mid-‘90s throwback, if we’re honest), and not much else of note, according to Lord Discogs. He’s still active, mind you, DJing and lending an occasional production hand to Eastern Sun (who?) – and, of course, playing for Moontribe events whenever they go down. All things considered, it’s unfortunate seeing one of chemical breaks’ biggest supporters seemingly disappear underground with such little fanfare, but such it goes with that genre in the current millennium, it seems.