Tiësto - In Search Of Sunrise 2

Songbird: 2000

I knew almost nothing about Tiësto way back in 2004, beyond a few class remixes and that he was ridiculously popular among the trancecrackers of the world. I’d moved on from trance as the new millennium took form, so all his accolades didn’t matter much to yours truly. Unfortunately, that’s an incredibly ignorant stance to take when you’ve been brought on as a writer and editor for a burgeoning website called TranceCritic. Shit, son, ya’ll better get caught up to speed on this Tijs Verwest fella’ in a hurry, and what better way than to buy the DJ mix CD that tends to top fans’ favorites lists. Alright, fine, it can’t be all that bad. I mean, it was released in the year 2000, when the genre still had good material being cranked out along all the Dutch cheddar. There… won’t be much of the cheese here, will there…?

Nope. The In Search Of Sunrise series was meant to showcase a mellower, Balearic side to Tiësto’s DJing, and this second volume has that in spades, so no room for über-anthems here. The opening run of tracks are about as fine a collection of summery, breezy tunes as one could hope for, including Summerbreeze from the Tijs and Benno de Goeij pairing of Kamaya Painters. Rui da Silva’s overplayed Touch Me follows it, but it wasn’t overplayed when ISOS2 came out, so, um, fair play?

Things go wonk after that, the mix from Touch Me into Salt Tank’s Eugina just abysmal, a horrible clashing of genres despite keeping the Balearic tone. Whatever, the tune’s mint and such a rough transition’s easily forgotten. After that though… God, it’s that stupid, pointless vocal mix of Cass & Slide’s Perception. I’ll admit I’m hopelessly biased against it since I heard the original instrumental on Sasha’s GU13, and by slapping some useless singing from Naimee Coleman overtop, it reeks of desperate commercial pandering (doesn’t help matters it was done without Cass & Slide’s consent). Oddly, I don’t hate the vocal version either, as I find the singing easy to ignore, my brain almost subconsciously tricking me into thinking it’s the original version. Funny how that lump o’ gray matter can do that.

From there the mix goes through various offerings of progressive trance – including more vocals that at least aren’t so useless as the ones in Perception - that anyone familiar Oakenfold’s output of the same time will have heard. Tracks like Mekka’s Diamondback, Fortress’ An Angel Saved My Life, Breeder’s Tyrantanic, and Max Graham’s Airtight all make the cut, and while undoubtedly sounded great brand new, most have seen duty elsewhere plenty times since, and ISOS2 doesn’t do much to elevate them from the glut.

In fact, wait a moment… *checks previous reviews* Well I’ll be damned, Max Graham literally used three of the same tracks for his Cream CD2, in almost the same order! Both mixes also came out around the same time too. Quite a coincidence, if you believe in such things.

Various - Impulsive! Revolutionary Jazz Reworked

Verve Records: 2005

It’s been one year since I started this blog up again, and I've ducked, dodged, and weaved away from this beast of a genre. Now, I must deal with one of the most daunting scenes of music for any rookie to delve into: jazz. Not acid jazz or dance-jazz or nu-jazz or sampled-jazz; no, nothing so easily tied to the forms of music I'm most familiar with. This is full-blooded, one-hundred percent, straight from the smokey recesses of inner-city habitats jazz. John Coltrane's here! Dizzy Gillespe's here! Chico Hamilton's here! Pharoa Sanders is here! Archie Shepp's here! Still with me on this? 'Cause I'm already lost on some of these names.

I don't mind jazz, but I can't claim to knowing more than the cliff's notes version of its long, long, long history. It's a scene where you're either all-in, or barely dipping your toes. To do that, I'd have to become a Jazz Guy, but I'm not ready for that kind of commitment. I'd have to dress different, act different (all other music's inferior); I'd have to grow a moustache and get all kinds of fedoras and wines. I'd have to get new furniture and 'art' for the walls and mood lighting. I'd have to get new friends, new Jazz Friends. No, I'm not ready for it.

Fortunately, we have handy bluffer’s compilations to get a taste of that action without going all the way in. This here Impulsive! Revolutionary Jazz Reworked is one such collection, several contemporary electronic acts having their chance at remixing classic cuts from the groundbreaking label, Impulse! Records. Establishing itself in the early ‘60s, and with John Coltrane leading the charge, it was instrumental in popularizing the free jazz movement from which I shall stop talking about its history because I really, really don’t know more than what Wikipedia tells me nor do I care and is this freeform method writing cool-daddy enough for ya’? Argh, all this jazz, man, it gets in the head.

So we have Kid Koala, Chief Xcel of Blackalicious, RZA, and others giving modern takes on classic urban stylee jazz numbers. For the most part, it puts the music closer to the acid jazz camp clubbers will be familiar with. Others go more for the hip-hop flavour (Prefuse 73’s go on Gabor Szabo’s Mizrab is almost glitch) and Teflon Tel-Aviv turn Oliver Nelson’s Stolen Moments into something out of a Hybrid interlude. A solid gathering of reworkings all round, and perfectly safe listening for those who feel Ninja Tune’s the extent they’re willing to indulge jazz music in.

But, if you’re feeling more daring, this here 2CD copy has the original cuts on the second disc, all in the same order as their remixed counterparts on disc one. Now you can compare and see if these updates do the classics justice. Let’s hear how first track, George Russell’s A Helluva Town, sounded. *couple minutes pass* Oh my God, that drum solo! That’s awesome! No, must... resist... becoming... Jazz... Guy...

Solieb - Impersonator

Maschine: 2006

Screw all those trance pansies, ignoring a great album like The Hive in favour of the latest Dutch monstrosity. Time to take your work back underground, Lieb, away from the limelight and expectation of the mainstream clubbing consciousness. New label, strictly vinyl, no hype. Or, y'know, just hop on the trendy minimalist techno bandwagon, since it's a style of music you've yet to explore much of. Yeah, challenge the muse! Whatever excuse for this change of direction you want to go with.

The Solieb project was more than just a departure in music for ol’ Oliver: it also marked the start of going into business for himself, establishing his own Maschine imprint through which he released music under the new moniker. It was a bold step, in that he no longer could rely on larger labels to do the heavy promotions for him. Judging by how much the Solieb stuff got licensed out compared to L.S.G. or Spicelab, it doesn’t appear he was as concerned with that aspect of label running. Surely the good graces of name recognition alone would propel him to success. Eh...

Look, I can’t blame Lieb for wanting to make serious techno musics after so long of wading through the oceans of trance, but everyone was making serious techno musics in the mid-‘00s (yay hypberbole!). Why not try house music? Or jungle? Maybe even acid jazz! Could that German heritage of his just not help it, eager to show all these new producers what real machine music was capable of, from a native of the nation that invented machine music? Fair enough, but man, this better be some next-level shit if you’re gonna stand out from all the Hawtin wannabes.

Oh, wait, the Solieb stuff was only released on vinyl. I don’t collect vinyl. Dammit, Oliver, you’re not only challenging my dedicated consumption of your craft, but now forcing me down the internet backroads to procure it? Why are you making it so difficult for me to like this new project? How about some sort of ‘collected works’ CD option? If even that wacky Ricky D. James guy did it for his Analord series, surely something similar can be done for the Solieb stuff. Okay, enough grumbling over catering to my selfish needs. It’s time to listen to a bunch of your serious techno musics.

As chance would have it, a pair of tracks I ‘acquired’ made up the Impersonator EP, released when Solieb was gaining enough steam for folks to finally take notice (“Wait, it’s that Netherworld guy?” “Uh, yeah, name’s a dead giveaway.”). The titular A-side is quite a bangin’ bit of techno, with plenty of polyrhythmic percussion, noisy synths, and messy sound effects that has ‘peak hour’ square in its sights. I likes. The B-side, Stay High, plays up the trendier side of techno in ’06, with a shufflin’ tech-house groove and random squelchy noises. It’s... not so interesting. Wow, who’d have thought all that ‘forward-thinking minimal techno’ would sound dated already?

Raekwon - Immobilarity

Sony Music Entertainment (Canada): 1999

It all starts somewhere, and for yours truly, Raekwon’s Immobilarity was the one that got me taking hip-hop seriously. For sure stronger albums that could have done the trick existed (including, of course, Raekwon’s first album, Only Built For Cuban Linx), but by and large I regarded the world of rap music as something rather gimmicky. The biggest hits were typically crossover party jams, and the stuff my peers played to piss off our parents over-glamorized gangsta tropes and sexual misogyny to the point of ridiculousness. Thank God The RZA Hits came along when it did, shoving some musical knowledge into my ears in the process. While it clued me into the ‘musical’ potential of the genre, soon I wised onto the ‘intellectual’ potential too.

Raekwon’s sophomore effort dropped about the same time as The RZA Hits, and, eager to quickly consume more Wu, I checked it out, promptly blown away yet again. This wasn’t some cliché ridden gangsta bullshit; rather, something far more mature in tone and concept was going on, painting an elaborate story of established criminals trying to survive in an ever-changing game. Immobilarity was hardly the first hip-hop album to do this, but it was the first that I properly heard.

Raekwon’s debut had the benefit of the Wu still being something of the streets, thus their tales of criminology still had a degree of honesty to them. In the four years following it, however, the group had conquered the globe, and it just didn’t make sense to still rap about roughin’ it to get by. They were made-men now, so to take the concept of ‘criminology raps’ to the next level (not to mention distance themselves from all the copy-cats), Raekwon changed the concept of Wu-gambinos to reflect that. They’re at the top now (or very near it), and they have to protect what’s theirs from all the up-and-coming hustlers. Maybe even find a way out of the game altogether, if the opportunity arises. If Cuban Linx could be considered a Scarface tribute, then Immobilarity is Godfather.

That could have made for an incredible album, if not for weighty expectations holding it down: heads only wanting Cuban Linx, Pt. 2, and RZA’s absence in the producer’s chair. Instead, we get a slew of relatively unknowns (sans Pete Rock) using rather cheap-sounding drum kits coupled with loops of heavily synthesized Mediterranean music (especially Chris Spheeris). Maybe it’s my Italian heritage, but I love hearing these loops, perfectly complementing Raekwon’s crime stories, but I can understand why others would dismiss Immobilarity on these ground, at least back in the day.

Now that hindsight’s clued folks up that RZA wouldn’t be on every Wu release (and we did get Cuban Linx, Pt. 2), folks have since softened on this album. Problems remain that keep it from being a hidden gem in the Wu discography (too much filler in the end; the beats still lack), but Immobilarity’s a worthy pick-up if you prefer your hip-hop having sophistication and class.

BT - 今 Ima

Reprise Records: 1996

Ha ha, neener neener! For once, those of us on the west side of the Atlantic got a superior version of a major electronic album. Suffer, all you Europeans, with your single-CD version of BT's debut album Ima, and bask in our glorious 2CD edition. Not only does this re-release contain all the original's tracks and the Sasha mini-mix, but also extra remixes, b-sides, and that Tori Amos collaboration everyone over here went monkey-poop over. Yes, yes, I feel that envy, that glorious- huh? What do you mean you can simply order it online? What is this, man – like, the future? Why am I talking like it's 1996, duuddee?

Seriously though, Ima's an album that is hopelessly dated to the era it came from. Hell, some of it sounded dated even by mid-'90s standards, with 'Balearic' sounds that 808 State left to the bin years prior. Meanwhile, whatever the heck ‘epic house’ was, it only lasted for that brief period of time, producers soon moving onto other forms of prog as the new hotness (gotta keep progressin’, after all). So while Ima had quite a bit going for it when it came out, if you’re one of those cats that can’t stand anything firmly rooted in the ‘90s, you may want to stay away.

Oh, you’re still here? Ah, I get it. You discovered BT long after this came out, and all his long-time fans proclaim Ima as Mr. Transeau’s best album front-to-back. It’s the one you’re supposed to have, even if you’re not much of a BT fan, a shining example of the musical craft he’s capable of, many times after put to great use or utterly squandered in equal share. What sets Ima apart from most of his later efforts is the relatively narrow scope of genre he explores. Balearic, epic, progressive, acid, psychedelic... whatever, dude, it’s just house music; a little trance too.

For my money, the bangin’ tracks like Quark, Tripping The Light Fantastic, Poseidon, Embracing The Sunshine, and Divinity are where it’s at, but that’s because I loves me some gnarly TB-303 workouts, which BT displays an expert use of. It even helps elevate the cornier moments in Embracing and Divinity, the uplifting piano refrains, guitar strums, woodwinds, strings and nature sound effects given extra heft (and keeping them firmly out of tepid ‘dream house’ territory). The other tunes are fine as well, though with more vocals so if you just can’t stand those, maybe- oh, wait, this is early-early BT, where he doesn’t sing at all. Carry on, then. (gotta say though, hearing Tori Amos endlessly repeat “blue skies” grates after a while)

Ultimately, the funny thing about Ima is that, for a BT album, it doesn’t really feel like a BT album, not anymore. His muse has wandered in so many bizarre, brilliant and crap ways since, that compiling a straight-forward dance long-player just doesn’t seem like him. Given Ima’s status among many, however, maybe he should do that again someday.

Nas - Illmatic

Columbia: 1994

The only Nas album you’re supposed to have, even if you’re not much of a Nas fan. That’s what everyone will tell you, and given his storied career, that’s some incredible praise to be had for Illmatic. So like any good hip-hop head, you go and get the CD or vinyl (no MP3 cheating, son!), throw it on, and think, “Yeah, this some good shit, back when hip-hop was best. Lovin’ those Eastcoast beats. Damn fine lyrics, Nas. This truly is illmatic and- what, it’s already done? That’s it!?”

‘Tis true, one of the most essential hip-hop albums of the ‘90s is also one of the shortest, clocking in at under forty minutes of your time, including a near two minute intro. And once It Ain’t Hard To Tell fades off, you’re left hanging, hungry for more. Illmatic’s almost calculated in its succinctness, building hype for the next release with just a teaser, a taste of what Mr. Nasir Jones could bring to the table (as if live freestyles around New York weren’t already enough). Most rappers these days have to generate such hype by way of the mixtape circuit, and here’s Nas doing it as a proper debut.

I can’t say it’s worked for me, though, as Nas in general hasn’t interested me much beyond respecting nods on the tracks I’ve heard him guest-verse. This is going to sound totally lame on my part, but even though ol’ Nasir’s main strength’s long been considered his lyrics, he has a voice and flow I find boring and un-dynamic. Just because his style is more a storyteller than a hype man doesn’t mean he couldn’t show more enthusiasm. Maybe his albums have him showing more passion, but if Illmatic is considered his best, I’m kind of doubting it, as he exhibits the same flow here as I’ve heard everywhere else.

Whatever. I’m a twat for thinking this way about Nas, but along with the laid-back jazzy vibes this album holds, his flow is appropriate. I couldn’t think those piano loops on The World Of Yours, organ licks on Memory Lane, xylophone plinks of One Love, or mix-up of everything in N.Y. State Of Mind working any better if Nas was shouting a bunch over them. There’s definitely urgency in his voice as he narrates his tales – street hustling, recollections of youth, or prophesying the future; the topics covered are generally what you’d expect of Eastcoast rap – so he will keep your attention. It’s just, damn, them backing tracks are mint. Dealing drugs, are ya’ (One Time 4 Your Mind)? That’s nice, Nas, but let me focus on that dope bassline some more. Yeah, that’s the stuff.

Okay, this review’s been lacking, I admit it. Illmatic deserves its classic status, but I’m the last person to tell you since I’m just parroting the narrative. To give a more informed opinion of it, I’d have to digest ten more of Nas' albums. And, well… yeah.

Beastie Boys - Ill Communication

EMI Music Canada: 1994

The Beastie Boys had been in the music business nearly a decade by the time Ill Communication hit the streets, utterly thriving in the world of hip-hop where a three-piece whiteboy posse should have miserably failed. Still, ten years is more than enough time for the rap game to see change, and much had in their region: Eastcoast-Westcoast rivalries heating up, gangsta rap emerging as the new hotness, and fresh New York-based upstarts like Wu-Tang Clan, Nas, and Notorious B.I.G. challenging the old guard. And what's with this DJ Premier guy, sampling all these jazzy loops as a counter to the g-funk of the left side of America? Well shit, son, the Beasties are actual musicians. If that’s the way things are going, why not forget drum machines and raiding the past for samples? Start making your own original jams. Ain't no one doing that in hip-hop, is there? (Guru, but whatever)

And that’s what they did done. Throughout this album, you get funky Big Apple jazz licks galore, nearly a third of which are pure instrumentals. What is this, a blaxploitation soundtrack? Nah, guy, but it’s definitely a throw-back of sorts to the music the Boys undoubtedly grew up surrounded by in the ‘70s. The cheesy cop caper video for Sabotage was hardly a one-off fancy on their part; rather, part of a larger whole that is the homage to that era.

The Beastie Boys don’t let the b-boy antics fall by the wayside though. Root Down, Sure Shot, Freak Freak, and Alright Hear This find them as sharp as ever, with beats – whether sampled or played live by Mike D – keeping the boom-bap ever fresh. The star, however, has to be Get It Together featuring Q-Tip of A Tribe Called Quest, a perfect meeting ground of old and (then) new Eastcoast hip-hop. The Boys were clued into what was shaking up within the Five Boroughs, even if their music didn’t always reflect it.

Yet, with all these positives, Ill Communication tends to get overlooked when discussion of Beastie Boys albums comes up. About all most folks know of it is that Sabotage is the big tune (wedged between Root Down and Get It Together no less, for an excellent string of tracks!), which is unfortunate but understandable. As the Beasties had entered that ‘experimental’ stage most long-running music groups go through, there’s ample genres indulged in here. Second track Tough Guy is a pure punk freakout, and while Sabotage oozes thrash rock too, going that far off the hip-hop road must of turned some heads away. Or what about the Bhudda chant funk-jam fusion of Shambala, delved even further in follow-up Bodhisattva Vow? Who do the Beasties think they are, Banco de Gaia? Darn Tibeten muses.

As such, the musical explorations renders Ill Communication somewhat lower on the “Repeated Play-Through” totem for most. It’s still an essential part of any fan’s collection though, so if you haven’t done got on this yet, then go get her done.

Banco de Gaia - Igizeh

Six Degrees Records: 2000

Anyone recall hearing The Prodigy's Fat Of The Land for the first time? The initial anticipation of new music from an act you enjoy, but feeling content in the assumption they couldn't surprise you any longer? Remember how Smack My Bitch Up utterly abolished those preconceived notions? If you're feelin' what I'm preachin' here, my friends, then you'll have an inclining of how I reacted to hearing Seti I on Banco de Gaia's fifth album.

I'm by no means comparing the two tracks, as they're worlds apart (although they do both make use of an ethnic vocalization). In terms of how they kicked off their respective albums, however, and how they represent everything good about the producers behind them, they're quite similar. At first ear-glance, Seti I works a slow-building atmosphere with oodles of nature samples and chants. A stomping rhythm emerges, and a ridiculously catchy vocal hook joins in. For the duration, this tune absolutely gets the blood pumping. I don't think Toby Marks has ever opened another album stronger than Igizeh, yet Seti I is barely known; heck, it didn't even make it to his 10 Years retrospective or other such collections. So, um, I guess the Prodigy comparison ends there.

Since Seti I wasn’t a single from an album that saw at least two, Igizeh must be an astounding album. Eh, it's good, but not that good. It's actually a rather curious one when you consider the context it came out in. As odd as it sounds, the album finds Marks doing a fair bit of bandwagon jumping, yet somehow maintaining his distinctive sound throughout. The first single, Obsidian, appears to borrow quite a bit from progressive trance, with the (barely comprehensible) vocals from Jennifer Folker lending it further to something far more commercial than you'd ever expect from Banco de Gaia (until You Are Here anyway). One could say the same about the new version of Glove Puppet, a dead-ringer and mint take on trip-hop. Meanwhile, second-single How Much Reality Can You Take has elements of big beat, a notion not gone unnoticed by Jack Dangers when he remixed the tune.

Those were the popular genres of the time (or from a couple years back anyway), but Igizeh features further musical adoption than that. Fake It Till You Make It finds Marks and company going about as full-on Pink Floyd as they ever did back in those days. Gizeh adds Moog funk to their characteristic grand musical builds (Egyptian slave revolutions never sounded so epic!). And B2 sounds like, well, Banco de Gaia did during the early ambient dub days, but with a fresh year-2000 sheen.

So in a roundabout way, Igizeh might have ended up being Banco's most accessible album, but those proggy world-beat attributes didn't quite make it so. The style Marks' project cultivates keeps this firmly on the underground side of music, though as far as 'electronica' albums go, it's remarkably diverse. A bit like that Prodigy album, come to think of it.

Faithless - If Lovin' You Is Wrong

Cheeky Records: 1996

Of all the tracks to pluck for single duty from Reverence, they went with this one? Insomnia and Salva Mea were no-brainers (lead-ins, to be honest), and Don't Leave made for a decent third. If Lovin' You Is Wrong always struck me as novelty track though, like Baseball Cap or Dirty Old Man - something to spice the album up with cheeky fun so it didn’t get weighed down with po-faced seriousness. It's definitely the most erotic you'll ever hear Maxi Jazz, the sort of sexy come-ons you wouldn't expect a pseudo-religious lyricist to indulge in (sample: “Eat you like a cannibal.” Classy.). Heck, in retrospect, the entire track feels at odds to Faithless’ discography; at least, to the extent I’ve kept tabs on the group, as their post-Outrospective material hasn’t graced my ears much. That’s a topic of discussion for later though.

As with a lot of Faithless music, If Lovin’ You Is Wrong defies easy description. I suppose Prince-influenced R’n’B is the easiest lump, borrowing tempo and sounds of that genre (oh so much womanly moaning throughout). But ho, there’s more: beat scratches, clanking percussion, and a gospel chorus! I... don’t think I’d want to hear that while “tearing off tights with my teeth”. Wait, that’s a different song. Overall, the tone is just too goofy to take seriously as a slice of pure eroticism, despite Maxi Jazz’ sexy descriptions of unhinged love making. Like I said, more of a novelty track following the uber-anthem Salva Mea on the album.

The single comes with a Sexy Edit (just the album version), and a Cleaned Up Edit, which removes all the moaning and adds more light-hearted bounce to the music. Oh, and some lyrics are changed. Instead of eating you like a cannibal, Maxi Jazz will “eat you like caramel.” That’s actually more erotic, come to think of it. And speaking of coming, Mr. Jazz initially said, “If you come first, well that’s the worst”; now he says, “If you go first, well that’s the worst.” That’s... um, that’s just lame now.

On the backend of the CD, we get a pair of remixes courtesy of Rollo and Sister Bliss (I assume, what with no other credits listed). The Slowly Risin’ Mix opens with Mr. Jazz singing his opening verse without any musical backing, a boogie-woogie bassline eventually emerging. Pretty fun stuff, and then it’s off to house land, getting a little prog, getting a little bosh, and, of course, a little hands-in-the-air. Not bad, but if you prefer it when Faithless goes for the full-bore anthems, then check out the Inflammable Mix, about as unabashedly over-the-top as the group could get in the ‘90s. For that matter, how’s this track even related to If Lovin’ You Is Wrong? Admit it, Rollo, you and Ms. Bliss just had another anthem lying around in demo form, and slapped it on here under pretence instead, didn’t you. Oh well, as far as b-sides go, it’s worth scoping this single out for.

Petar Dundov - Ideas From The Pond

Music Man Records: 2012

I'm not going to debate the genre classification of Petar Dundov's music any further than I did on his Escapements album. Whether you figure it can only be techno, or have your head out of your ass enough to admit it can be a hybrid of trance too, that's up to you. All I know is his music at times bears similarities to the likes of Laurent Garnier and Ralf Hildenbuetel of the early '90s, and folks sure didn't have as much trouble identifying their material. That sorted? Good. Let’s get into Mr. Dundov’s sophomore album then, released four years after his debut full length (Sculptures doesn’t really count at this late stage).

Having attracted a number of fresh followers after Escapements, the anticipation for Ideas From The Pond was high - would Dundov continue exploring the hypnotic, melodic roads that made tracks like Oasis so memorable? Yeah, guy, he totally did, in fact ditching almost all traces of straight-forward techno in the process - we’re a long way from the tribal workouts you might have found on his old-ass Libra EP. Instead, the classic synth influences are more apparent than ever, right down a vintage quality of sound that can’t help but draw comparison to original ‘70s and ‘80s gear. The music isn’t bogged down in nostalgic tones for their own sake though, but instead complements the contemporary production, such that the tracks retain a timeless quality to them (re: the Boards Of Canada effect). Case in point: the opening titular cut, a tune that will doubtlessly forever have Jarre comparisons, but sounding far richer and nuanced than anything the French synth composer could have achieved three decades ago.

Later in the album, the use of trancey arpeggios again find their way into cuts like Distant Shores and Brownian Interplay, though rather than having stripped-down techno rhythms in support, these have more groove going on, lending almost to a house vibe. I can imagine Sasha and similar jocks getting weak in the knees had he stumbled upon tracks like these during progressive house’s mid-‘90s-

ACK! No, no! Don’t go there! Bad enough the ‘deniers of trance’ contingent puts Dundov’s music in a weird no-man’s land of stylistic classification (melodic techno is not a genre!), but to rope the prog scene into this debate too turns it all ridiculously convoluted – they can barely sort their own scene out! Quickly, moving on. Ah, these final run of tracks are gorgeous, very ambient but without all the noodly drone aspects; maybe more Berlin School in inspiration. That’s a safe genre to compare Dundov to, right? Because the alternative would be ambient techno, which would drag the entirety of IDM into this mess, and we don’t want that, now do we?

Anyhow, Ideas From The Pond is a lovely little album for those with an inclining towards electronic music’s subtly melodic potential. Don’t miss out, ‘cause it might be another four years before- oh, he’s already released another album? Damn, dog, slow down!