In Trance We Trust: 2003
Now this is a surprising mix. While Ton T.B. (Antonius H.M. Ton van Empel to his birth parents) is best known as one half of Three Drives (On A Vinyl) and numerous other productions, he’s never been seen as a DJ, and for good reason. This here In Trance We Trust 008 remains his only major mix CD credit at Lord Discogs, and while I’ve no doubt he does the occasional gig as most producers are wont to do now, all the glory he’s gained comes from the music he makes.
A little less surprising is the style that ended up on this mix. As you’d expect of a guy that became synonymous with the height of progressive trance’s late ‘90s peak, the early going of his set features some choice cuts of the genre, including Joker Jam’s blissy Traffic, and even breaks care of the San Project Remix of Coda’s Under Control. And here I thought this stuff was dead by 2003. It all reaches a mini-peak with his and DJ Enrico’s Air Traffic, a tune with a whiny hook that’ll have you initially scratching your head, yet somehow makes sense once all the other elements are in play. Say, why didn’t the other half of Three Drives get a mix as well?
The middle of this CD’s all a-muddle though, as if Ton T.B. didn’t have the knowhow to link the first third of his mix with the banging latter portions. Rather awful among this bunch is Tillmann Uhrmacher’s Friends, which includes a woeful saxophone solo in the breakdown. Ugh, smooth jazz and trance: a hideous combination. Fortunately, once things pick up again with Midtone’s Pearl, it’s high-flying energy to the finish, with galloping trance rhythms galore. Sweet, there’s even a nod to German trance of yore in Tyrome’s Bad Magic, and Tiësto’s remix of Jan Johnston’s Venus remains one of my few vocal trance guilty pleasures (yeah, that Cor Fijneman guy had a hand in it too).
So a solid mix of progressive and high-energy trance from Ton T.B. Name notwithstanding, I admit being unprepared by this turn of events, given the low expectations I had for the In Trance We Trust series going in. I wonder if the rest will turn out this good. (spoiler: nope)
A classy, efficient effort from a trance veteran? Only World Champion Ryu can give proper perspective in this guest review.
Ryu: “The way of the DJ is the way of the warrior, tirelessly striving for perfection of skill and craft. One must be consumed by an almost obsessive determination to be the very best, practice with patience, lest he is consumed by their darker desires. This Ton T.B., he displays these qualities here, for which I must commend. It is-”
Ken: “Geez, Ryu, lighten up. It's dance music, tunes for cutting loose and having fun. Stop being so uptight. Let go once in a while.”
Evil Ryu: “You're right. I must give into Satsui no Hado...”
Ken: “Wait, that's not-!”
Sunday, December 8, 2013
Saturday, December 7, 2013
Various - In Trance We Trust 005 - DJ Cor Fijneman
In Trance We Trust: 2001
And right in the first track, I'm hit with a god-awful example of supersaw epic trance. Holy Hell, this Aloha from hopelessly forgotten Organza is pathetic. I know these DJs have to highlight some tracks from the In Trance We Trust label, but be pickier about your selections, eh? It's the opening sound of waves crashing you wanted, Cor, wasn't it. A Balearic feeling for your first of two mixes in this series. *sigh* Why couldn't 006 have been the cheap one? It's got Oliver Lieb, Airwave, Insigma, Orkidea, and Marco V on it. This one? Allure, Rank 1, and 4 Strings; Art Of Trance too, but it's Breathe, Simon Berry's regrettable attempt at a vocal trance anthem (okay, the acid's still mint).
Anyhow, the chubby, cherub-faced Cor Fijneman was one of Dutch trance's early key players, having a hand in producing some of Tiësto's first hits (Theme From Norefjell, Sparkles). This still being the early days of In Trance We Trust, Mr. Verwest’s also involved with putting these mixes together, though only given a 'compiler' credit along with Cor, while Mr. Fijneman handles the live turntable mix. I've no idea what the two had in mind while selecting these tracks, as there's almost no flow between tunes. It jumps through all sorts of epic, anthem trance of the day, some of it none too shabby (Freon’s Heaven’s Gate, Twenty-Something’s Morphing Mirror), others about as corny as you'd expect of supersaw trance in the year 2001 (Clubmasterz’ Cyberdrive, Ascension’s Someone). Yeah, the fatigue was definitely setting in with the old template.
So while the mix doesn't have much direction other than banging out various trance of the day, the high energy of this music is enough to keep you engaged for the most part. I'd grown bored of it by Denzel D.'s A Binary Star though, and a few tough tech-trancers for the finish weren’t enough to leave more than a passable impression on yours truly. Or maybe I’m still just bummed about not getting the mix with Oliver Lieb on it.
As for ol’ Cor, he continues producing and DJing, but as with so many of these In Trance We Trust jocks, never broke out of third-tier status. What, the Tiësto bump wasn’t enough?
Our guest Street Fighter Alpha 3 reviewer is none other than the Jamaican man with a perpetual smile, the “Southern Comet”, Dee Jay! Only he could be positive enough to enjoy this stuff so unabashedly.
Dee Jay: “Hey, mon, glad to see you recognize my great sense of music and rhythm, yeah! Only my amazing musicality can kick off such a wicked project. Speaking of which, have you heard my latest single, The Sun Rises Everyday? Dancehall number one hit like a Machine Gun Upper. It's inspired by my incredible Theme Of Sunrise super combo, mon! Hey, these Dutch guys, they like sunrises too, amirite? Can't say trance is much for me, too hard, but hey-hey-hey, they smilin' everyday, so they cool, mon.”
And right in the first track, I'm hit with a god-awful example of supersaw epic trance. Holy Hell, this Aloha from hopelessly forgotten Organza is pathetic. I know these DJs have to highlight some tracks from the In Trance We Trust label, but be pickier about your selections, eh? It's the opening sound of waves crashing you wanted, Cor, wasn't it. A Balearic feeling for your first of two mixes in this series. *sigh* Why couldn't 006 have been the cheap one? It's got Oliver Lieb, Airwave, Insigma, Orkidea, and Marco V on it. This one? Allure, Rank 1, and 4 Strings; Art Of Trance too, but it's Breathe, Simon Berry's regrettable attempt at a vocal trance anthem (okay, the acid's still mint).
Anyhow, the chubby, cherub-faced Cor Fijneman was one of Dutch trance's early key players, having a hand in producing some of Tiësto's first hits (Theme From Norefjell, Sparkles). This still being the early days of In Trance We Trust, Mr. Verwest’s also involved with putting these mixes together, though only given a 'compiler' credit along with Cor, while Mr. Fijneman handles the live turntable mix. I've no idea what the two had in mind while selecting these tracks, as there's almost no flow between tunes. It jumps through all sorts of epic, anthem trance of the day, some of it none too shabby (Freon’s Heaven’s Gate, Twenty-Something’s Morphing Mirror), others about as corny as you'd expect of supersaw trance in the year 2001 (Clubmasterz’ Cyberdrive, Ascension’s Someone). Yeah, the fatigue was definitely setting in with the old template.
So while the mix doesn't have much direction other than banging out various trance of the day, the high energy of this music is enough to keep you engaged for the most part. I'd grown bored of it by Denzel D.'s A Binary Star though, and a few tough tech-trancers for the finish weren’t enough to leave more than a passable impression on yours truly. Or maybe I’m still just bummed about not getting the mix with Oliver Lieb on it.
As for ol’ Cor, he continues producing and DJing, but as with so many of these In Trance We Trust jocks, never broke out of third-tier status. What, the Tiësto bump wasn’t enough?
Our guest Street Fighter Alpha 3 reviewer is none other than the Jamaican man with a perpetual smile, the “Southern Comet”, Dee Jay! Only he could be positive enough to enjoy this stuff so unabashedly.
Dee Jay: “Hey, mon, glad to see you recognize my great sense of music and rhythm, yeah! Only my amazing musicality can kick off such a wicked project. Speaking of which, have you heard my latest single, The Sun Rises Everyday? Dancehall number one hit like a Machine Gun Upper. It's inspired by my incredible Theme Of Sunrise super combo, mon! Hey, these Dutch guys, they like sunrises too, amirite? Can't say trance is much for me, too hard, but hey-hey-hey, they smilin' everyday, so they cool, mon.”
Friday, December 6, 2013
In Trance We Trust: Super Champion Review Project Turbo
Here’s the deal: way back when, I reviewed the eleventh volume of the In Trance We Trust DJ mix series, helmed by Phynn for that particular edition. As with so many trance mixes of the time, it was a middling affair for the most part, one that prompted me to derail my overly-detailed coverage to play some Street Fighter Alpha 3. An odd thing to do for a ‘professional amateur’ review, for sure, but fun nonetheless. I was rather looking forward to hearing it again in my alphabetical order, just for old time’s sake and maybe recount another Street Fighter session. One snag though: I no longer have that mix, which is odd considering I know I listened to it just a couple years back.
Whatever. I can just get another copy again if I really wanted to, probably at a reduced price through Amazon no less. Hmm, but if I’m going to do that, why not also do another ‘DJ mix series on cheap’ retrospective? It’s been a while since the last one, and though instinct tells me otherwise, I’ve long been curious to hear if the In Trance We Trust series might offer some long-lost gems. The concept of the label does have easy appeal, with classy cover art, a clubbier sound, and often giving up-and-comers a chance for greater exposure. Okay, it’s also a sub-label of Black Hole Recordings, which means there’s undoubtedly loads of Dutch trance cheddar to wade through. Yet, considering epic, anthem trance excess has faded from popularity, those tunes can now be appreciated on a different level, as appealing artifacts of a time passed. Shyah. Right. And Paris Hilton will win the DJMag Top 100.
There’ve been nineteen (!) main volumes of In Trance We Trust over the years, so I had to place a limit on how many were picked up. Since only a couple turned up under the $5 mark I used for prior retrospectives, I instead settled on everything I could find that was cheaper than Phynn’s edition. Turns out a lot of them were. I’m… going to regret this, aren’t I?
(Oh, and I didn’t bother getting Phynn’s mix again; funnier to see who’s considered of lesser value than him)
Finally, in honor of the Street Fighter derailment in my original TranceCritic review, each volume will feature a brief, guest reviewer from Alpha 3. Who will show up? Who will even know what trance music is? What characters are even in Alpha 3?? Stay tuned in the following week for these answers and more!
Whatever. I can just get another copy again if I really wanted to, probably at a reduced price through Amazon no less. Hmm, but if I’m going to do that, why not also do another ‘DJ mix series on cheap’ retrospective? It’s been a while since the last one, and though instinct tells me otherwise, I’ve long been curious to hear if the In Trance We Trust series might offer some long-lost gems. The concept of the label does have easy appeal, with classy cover art, a clubbier sound, and often giving up-and-comers a chance for greater exposure. Okay, it’s also a sub-label of Black Hole Recordings, which means there’s undoubtedly loads of Dutch trance cheddar to wade through. Yet, considering epic, anthem trance excess has faded from popularity, those tunes can now be appreciated on a different level, as appealing artifacts of a time passed. Shyah. Right. And Paris Hilton will win the DJMag Top 100.
There’ve been nineteen (!) main volumes of In Trance We Trust over the years, so I had to place a limit on how many were picked up. Since only a couple turned up under the $5 mark I used for prior retrospectives, I instead settled on everything I could find that was cheaper than Phynn’s edition. Turns out a lot of them were. I’m… going to regret this, aren’t I?
(Oh, and I didn’t bother getting Phynn’s mix again; funnier to see who’s considered of lesser value than him)
Finally, in honor of the Street Fighter derailment in my original TranceCritic review, each volume will feature a brief, guest reviewer from Alpha 3. Who will show up? Who will even know what trance music is? What characters are even in Alpha 3?? Stay tuned in the following week for these answers and more!
Thursday, December 5, 2013
Model 500 - Deep Space
R & S Records: 1995/2011
Oh, what the Hell, R & S? I wasn’t too choked about seeing you replace the Aphex Twin re-issues with your logo, as those were rather drab covers to begin with (no, SAW 85-92 really is). Not so with Deep Space. This was the first proper LP from Juan Atkin’s Model 500 project, and to sell the image of a techno journey through the out reaches of the galaxy, the original cover showed a gorgeous picture of the Eta Carinae Nebula, and nothing else. What mysterious, wondrous soundscapes could be contained within that jewel-case/gate-fold? The vast expanse of gas and young stars, including the super-massive Eta Carina star set to go supernova at any time in the near future (if it hasn't already, crazy-ass light speed paradoxes!), it lures you in, ready to be taken on a cosmic ride by a techno legend. No, that's not it anymore. You get to see the R & S horse on a blank, purple front. Well, who cares about that, unless you're an R & S disciple?
Yeah, yeah, it’s my own fault for sleeping on Deep Space for so long. Had I found it in shops way back in the day, I’d probably have snagged a copy (that cover!). Truth be told though, I didn’t even know it existed until recent years. I definitely knew of Juan Atkins (who doesn’t? No, you aliens from the Eta Carinae Nebula don’t count), and even the Model 500 alias, but only his seminal singles from the ‘80s. It never occurred to me that he’d released two fully-realized LPs nearly a decade on from those early Detroit days, much less check with the good Lord Discogs to discover such tantalizing info.
I can imagine the anticipation from fans going into Deep Space …and the subsequent disappointment. Here was one of the Detroit (Belleview) Godfathers of Techno, coming out of the dystopian steelworks, hopefuls undoubtedly expecting Atkins to rescue their scene from the stagnation Hawtin minimalism had started settling in by the mid-‘90s. Nope, you ain’t getting that. This here a concept album, using techno to explore spacey pad work (Orbit), synths shimmering like glittering stars (Astralwerks), groovy minimalist shuffle (Starlight), cold, interstellar electro (Last Transport (To Alpha Centauri)), and stuttering bleeps and bloops as though hitching a ride on tachyon transmissions (Warning). Hey, this is some great sounding stuff, definitely on the Carl Craig side of techno where the ‘90s are concerned. Yet, not as genre defining as you’d expect a debut album from Model 500 might be. Though R & S deemed it classic enough to receive the ‘bland R & S Classics packaging’, Deep Space isn’t exactly discussed up to the degree other techno classics of the era are.
Ah well, it’s not like Atkins had anything left to prove. If exploring his muse by way of a trip among the stars was how he decided to drop a debut Model 500 album, so be it.
Oh, what the Hell, R & S? I wasn’t too choked about seeing you replace the Aphex Twin re-issues with your logo, as those were rather drab covers to begin with (no, SAW 85-92 really is). Not so with Deep Space. This was the first proper LP from Juan Atkin’s Model 500 project, and to sell the image of a techno journey through the out reaches of the galaxy, the original cover showed a gorgeous picture of the Eta Carinae Nebula, and nothing else. What mysterious, wondrous soundscapes could be contained within that jewel-case/gate-fold? The vast expanse of gas and young stars, including the super-massive Eta Carina star set to go supernova at any time in the near future (if it hasn't already, crazy-ass light speed paradoxes!), it lures you in, ready to be taken on a cosmic ride by a techno legend. No, that's not it anymore. You get to see the R & S horse on a blank, purple front. Well, who cares about that, unless you're an R & S disciple?
Yeah, yeah, it’s my own fault for sleeping on Deep Space for so long. Had I found it in shops way back in the day, I’d probably have snagged a copy (that cover!). Truth be told though, I didn’t even know it existed until recent years. I definitely knew of Juan Atkins (who doesn’t? No, you aliens from the Eta Carinae Nebula don’t count), and even the Model 500 alias, but only his seminal singles from the ‘80s. It never occurred to me that he’d released two fully-realized LPs nearly a decade on from those early Detroit days, much less check with the good Lord Discogs to discover such tantalizing info.
I can imagine the anticipation from fans going into Deep Space …and the subsequent disappointment. Here was one of the Detroit (Belleview) Godfathers of Techno, coming out of the dystopian steelworks, hopefuls undoubtedly expecting Atkins to rescue their scene from the stagnation Hawtin minimalism had started settling in by the mid-‘90s. Nope, you ain’t getting that. This here a concept album, using techno to explore spacey pad work (Orbit), synths shimmering like glittering stars (Astralwerks), groovy minimalist shuffle (Starlight), cold, interstellar electro (Last Transport (To Alpha Centauri)), and stuttering bleeps and bloops as though hitching a ride on tachyon transmissions (Warning). Hey, this is some great sounding stuff, definitely on the Carl Craig side of techno where the ‘90s are concerned. Yet, not as genre defining as you’d expect a debut album from Model 500 might be. Though R & S deemed it classic enough to receive the ‘bland R & S Classics packaging’, Deep Space isn’t exactly discussed up to the degree other techno classics of the era are.
Ah well, it’s not like Atkins had anything left to prove. If exploring his muse by way of a trip among the stars was how he decided to drop a debut Model 500 album, so be it.
Labels:
1995,
album,
ambient,
electro,
Juan Atkins,
Model 500,
R & S Records,
techno
Tuesday, December 3, 2013
Banco de Gaia - Last Train To Lhasa
Mammoth Records: 1995
I was so disappointed when I first got Last Train To Lhasa. All the expectations and preconceived notions of what Toby Marks' proper sophomore effort would bring, and none of them came about. In fact, what the Hell is this music on here? House beats? Techno? Weird wibbly ambient excursion? I thought Banco de Gaia was supposed to be a cooler sounding Deep Forest. This isn’t what I'd heard from him before. Okay, so it was only two tracks by that point, both on an ambient dub compilation, but it was enough to know exactly what my new favourite electronic act was all about. Don't judge me. I'm old enough to know what's up with music in the world, at this old age of seventeen.
Yeah, 1996 Sykonee had a lot to learn, but I'm continuously amused by that first impression of this album, one that obviously dissipated after a couple more play-throughs. Some things still hold it back from being a great Banco LP, yet there’s also things you’re not gonna find elsewhere in his discography either.
Like that thirty-six minute version of Kincajou on CD2! Essentially carrying on where the main album version faded off, story goes Duck! Asteroid came about during a studio jam. What, was Pete Namlook hanging out at the time? It definitely has the hallmarks of the ambient wizard’s lengthy noodle-fests, but somehow never meanders, feeling like you’re travelling about the galaxy in a space-born Tibetan monastery. The fact it’s followed upon by another spacey dub cut (Eagle) completes the sonic trip through the cosmos (I guess the tribal-trance Gnomes Mix of Kuos is the launch).
What about CD1, then? Well, Last Train To Lhasa’s here, made popular by its inclusion on the first Northern Exposure. I like it fine, but not as much as others do – good atmospheric moments and all, but rather lacking in the rhythm department. In fact, most of this album has that ‘some-good, some-meh’ production going on. Kuos has a fun idea somewhere, but is undone by using such an overplayed African sample for its hook. Amber builds wonderfully at the beginning (that bass!), then doesn’t go much of anywhere after; alternatively, 887 has a great finish, but ambles far too long to get there. White Paint’s pretty good, what with its soaring choral pads and dubby beat, but I’ve been spoiled by the chipper version on the Live At Glastonbury CD. China’s a pleasant little chill number, portraying the culture in a more positive light compared to the scathing indictment Marks mentions in the liner notes regarding Tibetan atrocities. Take a stance, guy.
Speaking of stances, I’m always surprised by how many point to Last Train To Lhasa as their favourite Banco album. Sillies, his follow-up albums were far better, ol’ Toby finally and firmly breaking away from standard dance music moulds marked by his early work. This one has its share of brilliant, sublime moments within the Banco discography, but not to the degree latter efforts offered.
I was so disappointed when I first got Last Train To Lhasa. All the expectations and preconceived notions of what Toby Marks' proper sophomore effort would bring, and none of them came about. In fact, what the Hell is this music on here? House beats? Techno? Weird wibbly ambient excursion? I thought Banco de Gaia was supposed to be a cooler sounding Deep Forest. This isn’t what I'd heard from him before. Okay, so it was only two tracks by that point, both on an ambient dub compilation, but it was enough to know exactly what my new favourite electronic act was all about. Don't judge me. I'm old enough to know what's up with music in the world, at this old age of seventeen.
Yeah, 1996 Sykonee had a lot to learn, but I'm continuously amused by that first impression of this album, one that obviously dissipated after a couple more play-throughs. Some things still hold it back from being a great Banco LP, yet there’s also things you’re not gonna find elsewhere in his discography either.
Like that thirty-six minute version of Kincajou on CD2! Essentially carrying on where the main album version faded off, story goes Duck! Asteroid came about during a studio jam. What, was Pete Namlook hanging out at the time? It definitely has the hallmarks of the ambient wizard’s lengthy noodle-fests, but somehow never meanders, feeling like you’re travelling about the galaxy in a space-born Tibetan monastery. The fact it’s followed upon by another spacey dub cut (Eagle) completes the sonic trip through the cosmos (I guess the tribal-trance Gnomes Mix of Kuos is the launch).
What about CD1, then? Well, Last Train To Lhasa’s here, made popular by its inclusion on the first Northern Exposure. I like it fine, but not as much as others do – good atmospheric moments and all, but rather lacking in the rhythm department. In fact, most of this album has that ‘some-good, some-meh’ production going on. Kuos has a fun idea somewhere, but is undone by using such an overplayed African sample for its hook. Amber builds wonderfully at the beginning (that bass!), then doesn’t go much of anywhere after; alternatively, 887 has a great finish, but ambles far too long to get there. White Paint’s pretty good, what with its soaring choral pads and dubby beat, but I’ve been spoiled by the chipper version on the Live At Glastonbury CD. China’s a pleasant little chill number, portraying the culture in a more positive light compared to the scathing indictment Marks mentions in the liner notes regarding Tibetan atrocities. Take a stance, guy.
Speaking of stances, I’m always surprised by how many point to Last Train To Lhasa as their favourite Banco album. Sillies, his follow-up albums were far better, ol’ Toby finally and firmly breaking away from standard dance music moulds marked by his early work. This one has its share of brilliant, sublime moments within the Banco discography, but not to the degree latter efforts offered.
Monday, December 2, 2013
Trentemøller - The Last Resort (Original TC Review)
Poker Flat Recordings: 2006
(2013 Update:
Oh my God, I thought ugly, bloated reviews like this one were a thing of my past by late '06. Way too much preamble about 'the state of the musics' in the early going, some of which is hilariously dated now. Mylo pushing "musical innovation"? Markus Schulz in the same sentence as Dirty Vegas and Audio Bullys? Save that kind of material for blog posts, guy, none of it has anything to do with Trentemøller. Right, I was attempting a segue into the notion of Anders becoming a proper breakout electronic music star, but even that angle is moot at this point. Despite earning all the accolades for The Last Resort, Trentemøller's faded off into the realms of indie rock, shoegaze, and other assorted music unfriendly for clubbers the world over. Hardly anyone speaks of his output anymore, at least in the same reverential tone as his mid-'00s breakout.
We should have seen it coming though. This album has all the hallmarks of an electronic music producer with more on his mind than straight-forward club cuts for DJs to rinse out, for which Trentemøller was heralded for, a successful risk taken and accomplished. Even the following tour with a live band was met with kudos. Had anyone known that road would lead to the realms of indie rock, however, I wonder if those same folks would have been so eagre to sing his praises.)
IN BRIEF: A light in the dark.
In a recent discussion with fellow writer J’, our discourse led to the topic a few troubles afflicting electronic music lately. We by no means felt it was in dire straits, mind, but when compared to the critical, popular, and creative highs seen in the 90s, this decade’s certainly falling behind. While there are a number of contributing factors for this, a major one we agreed upon was the lack of breakout star producers pushing musical innovation. Sure, we have our Felix da Housecats and Vitalics and Mylos and Stuart Prices, but that’s small compared to what the 90s gave us (The Future Sound Of London, Underworld, BT, Orbital... I could go on forever). And, most likely, it was the unfortunate fact electronic music’s marketing power decided to push DJs more than producers which caused this gap, leaving many potential talented new kids on the block buried underneath the hype behind the guy who plays their records.
With the idea of superstar DJs growing passé and some of the old guard moving on, electronic music is starved for new stars. Every whiff of commercial success gets jumped on by the media, proclaiming many a producer with some unique wrinkle or clever idea as the next big thing. Many of them die quick deaths though, most of the time due to the over-hype that comes with such desperation. Audio Bullys, Markus Schulz, Fischerspooner, Dirty Vegas: just a few names that could never have hoped to meet the expectations placed on them. So, it’s been with a degree of caution many have approached Anders Trentemøller as yet another possible candidate for Breakout Star status.
Already a prolific and accomplished remixer in the ‘minimal’ scene, his underground credibility has substantially grown with each project. His music, though usually sparse, tends to surround you in a mesmerizing atmosphere of dark, dubby, glitchy soundscapes while groovy tech house rhythms play out. And while such music has been known to get lost up its own ass, Trentemøller balances it out with playful human qualities. Quite often when listening to a ‘minimal’ set, the track that will eventually snag you into actually paying attention to the music will have Anders’ touch on it.
With the underground positively buzzing and other media types picking up on it (Trentemøller has already become a punch-line for dance music pretentiousness in some circles, although it’s hardly warranted), Anders’ star was definitely on the rise. Many wondered if he’d live up to the potential many expected of him when he finally dropped his first album, or if he’d flop like other hyped producers.
I suppose the outcome of this has already been settled, as many reviews of The Last Resort have come and gone since the album was released this past October. And they have been good. Very good. In fact, Trentemøller’s debut exceeded many expectations in that he delivered a release that defied what you were supposed to get out of ‘minimal.’ Having finally managed to sit down and listen to it (living on the other side of the world often means delays... well, at least if you want to remain honest about getting albums), I must say I’m inclined to agree.
The opening track, Take Me Into Your Skin, gives us clear indication of the kind of eclecticism to expect on The Last Resort. Yes, you have your usual radio transistor drones and beluga whale clicks and micro beats that you’d expect from the minimal camps. However, Trentemøller uses such sounds as window dressing - the meat and potatoes of this track are the orchestral swells and building percussion, much of which caps off in a cacophony of sound. Easing us through it all are warm melodic tones that tenderly embrace you, like a reassuring friend guiding you down a dark path.
And with that sentence, we come to the reason for Trentemøller’s success as a musician: his songs demand metaphorical representation for description, as he creates mental imagery with his stark soundscapes. As such, the music on The Last Resort can be very personal for the listener. I could detail at great length the sort of things Anders’ music touches my psyche with but part of the charm of music in general is how it affects everyone individually, so I’ll leave that part up to you to discover for yourself.
Genres are skillfully hopped and blended without a care whether they fit into convention. Anders definitely displays a love for dub, as tracks like Evil Dub, Nightwalker, and Chameleon show. However, he doesn’t limit himself to what is expected of such music, having no problem throwing in a few glitchy squelches or dark ambient drones should it warrant it.
Other times, an affinity for score work becomes apparent, and will come as a surprise to long-time Trentemøller fans used to his club friendly output. The duo combo of Like Two Strangers and The Very Last Resort showcases just how adept at it he is. Amongst orchestral swells and pleasant bells, the former maintains a tender, if uncertain, atmosphere. Sliding into The Very Last Resort though (and tracks on here do slide into one another with ease, as any good album does), a gripping desolate feeling overcomes you. Paranoid guitars, choking sound effects, and uncertain, wandering melodies surround you with unease. It’s like The Future Sound Of London at their darkest moments.
There are other dark moments as well, such as tracks like the minimal Snowflake, but Anders does exhibit an occasional sense of fun too. Vamp in particular is a welcome jazzy romp, and the glitchy quirkiness breaking up the pleasant orchestral moments of While The Cold Winter Waiting are cute. Those aching for a club beat will find the dub techno excursion of Into The Trees satisfying.
Amongst all these various emotions Trentemøller tugs at with his music, he is most effective when he touches the tender side of sound. No matter the general feeling of a track, throughout The Last Resort you have a sense of hopeful longing, and that finally pays off towards the album’s end. Moan and Miss You are quiet, contemplative songs with comforting melodies, always a classy way to cap off an album.
Hmm. In spite of all this glowing praise, I still detect a smattering of doubt out there. I suppose Trentemøller’s association with ‘minimal’ won’t go away any time soon, and those who fear that style of techno are worried The Last Resort will be nothing more than monotonous droning, no matter what anyone says. While big riffs and boshing beats and screaming synths definitely aren’t to be found here, this shouldn’t keep you from getting this album. Even if you don’t have the patience to sit down and just listen to music, The Last Resort works just as easily as a background soundtrack - there are more than enough intriguing sounds throughout which will draw your attention, no matter how distracted by other tasks you may be.
Is Anders the potential star electronic music could use? The Last Resort certainly makes a strong claim in his favor. He’s displayed the ability of a producer who doesn’t feel constrained by what is expected of him and the skill to pull it off expertly. Trentemøller’s debut should stand up as one of the few classics of this decade future releases will be compared to. Believe this hype.
Note: You’ve probably noticed this review doesn’t contain coverage of the second CD that came with the initial release. Although I have heard it, because it was merely a limited edition bonus it’s rather pointless to discuss it at this point. This version is now the official release. However, I will mention should I have had the chance to cover it, the double-disc version of The Last Resort would have secured a rare five star rating from me. Yes, it’s that good too.
(2013 Update:
Oh my God, I thought ugly, bloated reviews like this one were a thing of my past by late '06. Way too much preamble about 'the state of the musics' in the early going, some of which is hilariously dated now. Mylo pushing "musical innovation"? Markus Schulz in the same sentence as Dirty Vegas and Audio Bullys? Save that kind of material for blog posts, guy, none of it has anything to do with Trentemøller. Right, I was attempting a segue into the notion of Anders becoming a proper breakout electronic music star, but even that angle is moot at this point. Despite earning all the accolades for The Last Resort, Trentemøller's faded off into the realms of indie rock, shoegaze, and other assorted music unfriendly for clubbers the world over. Hardly anyone speaks of his output anymore, at least in the same reverential tone as his mid-'00s breakout.
We should have seen it coming though. This album has all the hallmarks of an electronic music producer with more on his mind than straight-forward club cuts for DJs to rinse out, for which Trentemøller was heralded for, a successful risk taken and accomplished. Even the following tour with a live band was met with kudos. Had anyone known that road would lead to the realms of indie rock, however, I wonder if those same folks would have been so eagre to sing his praises.)
IN BRIEF: A light in the dark.
In a recent discussion with fellow writer J’, our discourse led to the topic a few troubles afflicting electronic music lately. We by no means felt it was in dire straits, mind, but when compared to the critical, popular, and creative highs seen in the 90s, this decade’s certainly falling behind. While there are a number of contributing factors for this, a major one we agreed upon was the lack of breakout star producers pushing musical innovation. Sure, we have our Felix da Housecats and Vitalics and Mylos and Stuart Prices, but that’s small compared to what the 90s gave us (The Future Sound Of London, Underworld, BT, Orbital... I could go on forever). And, most likely, it was the unfortunate fact electronic music’s marketing power decided to push DJs more than producers which caused this gap, leaving many potential talented new kids on the block buried underneath the hype behind the guy who plays their records.
With the idea of superstar DJs growing passé and some of the old guard moving on, electronic music is starved for new stars. Every whiff of commercial success gets jumped on by the media, proclaiming many a producer with some unique wrinkle or clever idea as the next big thing. Many of them die quick deaths though, most of the time due to the over-hype that comes with such desperation. Audio Bullys, Markus Schulz, Fischerspooner, Dirty Vegas: just a few names that could never have hoped to meet the expectations placed on them. So, it’s been with a degree of caution many have approached Anders Trentemøller as yet another possible candidate for Breakout Star status.
Already a prolific and accomplished remixer in the ‘minimal’ scene, his underground credibility has substantially grown with each project. His music, though usually sparse, tends to surround you in a mesmerizing atmosphere of dark, dubby, glitchy soundscapes while groovy tech house rhythms play out. And while such music has been known to get lost up its own ass, Trentemøller balances it out with playful human qualities. Quite often when listening to a ‘minimal’ set, the track that will eventually snag you into actually paying attention to the music will have Anders’ touch on it.
With the underground positively buzzing and other media types picking up on it (Trentemøller has already become a punch-line for dance music pretentiousness in some circles, although it’s hardly warranted), Anders’ star was definitely on the rise. Many wondered if he’d live up to the potential many expected of him when he finally dropped his first album, or if he’d flop like other hyped producers.
I suppose the outcome of this has already been settled, as many reviews of The Last Resort have come and gone since the album was released this past October. And they have been good. Very good. In fact, Trentemøller’s debut exceeded many expectations in that he delivered a release that defied what you were supposed to get out of ‘minimal.’ Having finally managed to sit down and listen to it (living on the other side of the world often means delays... well, at least if you want to remain honest about getting albums), I must say I’m inclined to agree.
The opening track, Take Me Into Your Skin, gives us clear indication of the kind of eclecticism to expect on The Last Resort. Yes, you have your usual radio transistor drones and beluga whale clicks and micro beats that you’d expect from the minimal camps. However, Trentemøller uses such sounds as window dressing - the meat and potatoes of this track are the orchestral swells and building percussion, much of which caps off in a cacophony of sound. Easing us through it all are warm melodic tones that tenderly embrace you, like a reassuring friend guiding you down a dark path.
And with that sentence, we come to the reason for Trentemøller’s success as a musician: his songs demand metaphorical representation for description, as he creates mental imagery with his stark soundscapes. As such, the music on The Last Resort can be very personal for the listener. I could detail at great length the sort of things Anders’ music touches my psyche with but part of the charm of music in general is how it affects everyone individually, so I’ll leave that part up to you to discover for yourself.
Genres are skillfully hopped and blended without a care whether they fit into convention. Anders definitely displays a love for dub, as tracks like Evil Dub, Nightwalker, and Chameleon show. However, he doesn’t limit himself to what is expected of such music, having no problem throwing in a few glitchy squelches or dark ambient drones should it warrant it.
Other times, an affinity for score work becomes apparent, and will come as a surprise to long-time Trentemøller fans used to his club friendly output. The duo combo of Like Two Strangers and The Very Last Resort showcases just how adept at it he is. Amongst orchestral swells and pleasant bells, the former maintains a tender, if uncertain, atmosphere. Sliding into The Very Last Resort though (and tracks on here do slide into one another with ease, as any good album does), a gripping desolate feeling overcomes you. Paranoid guitars, choking sound effects, and uncertain, wandering melodies surround you with unease. It’s like The Future Sound Of London at their darkest moments.
There are other dark moments as well, such as tracks like the minimal Snowflake, but Anders does exhibit an occasional sense of fun too. Vamp in particular is a welcome jazzy romp, and the glitchy quirkiness breaking up the pleasant orchestral moments of While The Cold Winter Waiting are cute. Those aching for a club beat will find the dub techno excursion of Into The Trees satisfying.
Amongst all these various emotions Trentemøller tugs at with his music, he is most effective when he touches the tender side of sound. No matter the general feeling of a track, throughout The Last Resort you have a sense of hopeful longing, and that finally pays off towards the album’s end. Moan and Miss You are quiet, contemplative songs with comforting melodies, always a classy way to cap off an album.
Hmm. In spite of all this glowing praise, I still detect a smattering of doubt out there. I suppose Trentemøller’s association with ‘minimal’ won’t go away any time soon, and those who fear that style of techno are worried The Last Resort will be nothing more than monotonous droning, no matter what anyone says. While big riffs and boshing beats and screaming synths definitely aren’t to be found here, this shouldn’t keep you from getting this album. Even if you don’t have the patience to sit down and just listen to music, The Last Resort works just as easily as a background soundtrack - there are more than enough intriguing sounds throughout which will draw your attention, no matter how distracted by other tasks you may be.
Is Anders the potential star electronic music could use? The Last Resort certainly makes a strong claim in his favor. He’s displayed the ability of a producer who doesn’t feel constrained by what is expected of him and the skill to pull it off expertly. Trentemøller’s debut should stand up as one of the few classics of this decade future releases will be compared to. Believe this hype.
Note: You’ve probably noticed this review doesn’t contain coverage of the second CD that came with the initial release. Although I have heard it, because it was merely a limited edition bonus it’s rather pointless to discuss it at this point. This version is now the official release. However, I will mention should I have had the chance to cover it, the double-disc version of The Last Resort would have secured a rare five star rating from me. Yes, it’s that good too.
Sunday, December 1, 2013
Moby - Last Night (Original TC Review)
Mute: 2008
(2013 Update:
Not much to add to this review, as it holds up just as fine as it did when it first came out, though calling it "his most accomplished album since Everything Is Wrong" is a bit of a stretch on my part. Kind of a shame this was just a one-off return to early club music on Moby's part, but it was only ever intended to be as such. I wonder if we might see another one though, what with classic house again back in vogue after a couple-year gap of not. Man, was 2008 ever a weird year for house music.)
IN BRIEF: The Moby ravers enjoyed returns.
I don’t think anyone expected Moby returning to dance music in such a fashion, if at all. Granted, he tested the waters a few years back with a Voodoo Child album, but for the most part everyone figured Mr. Hall’s most recognizable project had forever gone the way of quaint bittersweet pop-rock. Still, it’s not like the mainstream readily accepted Moby. Although they enjoyed the music off Play (if anything because you couldn’t escape it) and the odd tune here and there if it fit the times, Moby remained the butt-end of numerous jokes, an all-too easy target of ridicule.
Perhaps it isn’t surprising, then, that as he nears mid-life, Moby has begun reflecting, recalling a time and place one was accepted no matter who you were or what you did. The second Summer Of Love certainly was such a time, and thanks to anthems such as Go and Next Is The E, Mr. Hall emerged as an underground darling of the early American rave scene. So if such fond thoughts have been on his mind lately, producing an album which captures those free-wheeling hedonistic years in sixty-five minutes is an intriguing idea; the fact this comes at a point when classic house music is seeing something of a revival just so happens to be a bonus for both parties.
Still, there have already been plenty of question marks, accusations and critical responses to such an endeavor. Cynically, you have to wonder why Moby would go back to a sound he hasn’t touched on in over a decade, especially when his last Best Of release ignored nearly all of his pre-Play output. Also, will his current fanbase even be willing to accept such blatant romanticizing of early ‘90s dance music when it hasn’t been in vogue since Madonna’s Vogue? And does Moby even have much chance of standing toe-to-toe with admittedly much trendier revivalists like Hercules & Love Affair or Dixon?
Last Night will probably fly right over your head if you’ve been fussing over such thoughts. On this new album, Moby doesn’t seem to care whether the popular press or the bloggers or even the current crop of EDM followers accept his retro-direction; it’s primarily the old-schoolers whom enjoyed his early output that will dig on this. As much as he says this is a love-letter to New York City of the late 80s, Last Night is equally a love-letter to all those fans that gave Mr. Hall his big break, with the giddy rave vibes oozing from every sonic corner.
Were I allowed to wear my Nostalgia Headphones while reviewing Last Night, it’d easily earn high marks. Even without them, though, there is some gosh-darned good music to be had on here. Take Everyday Is 1989: it’s an incredibly simple track on paper, consisting of rolling pianos, soul-sista’ samples, and string stabs looping over vintage house beats. It should sound old, it should sound dated, it should sound like a bygone relic. Yet every time those pianos emerge - and I do mean every time - my head can’t help but bobble along. There’s a groove to be had here, my friends, and it’s more infectious than most of what’s come out from the house camps in the last few years.
Much of Last Nights works in this regard. Moby keeps things simple and to the point, doesn’t get bogged down in fancy gimmicks or overproduction, and maintains the old-school uplifting spirit throughout much of the album. And while the house cuts like Everyday Is 1989, Disco Lies, and I’m In Love received most of the pre-album buzz, there’s plenty of other EDM genres dabbled in as well. The Stars and 257.Zero tackles the rave end of the spectrum, while I Love To Move In Here adds some hip-house flavor. The latter portion of the album provides an ambient-house touch; however, aside from Sweet Apocalypse, these offerings aren’t nearly as interesting as the rest of Last Night, coming off as mere sonic doodles compared to some of Moby’s more famous downtempo tunes.
For as much as Last Night honors his roots, though, Moby hasn’t completely neglected some of the fresher influences of his discography. Material like the titular track, Ooh Yeah, Live For Tomorrow, and Hyenas finds blending of melancholic pop and lounge, especially so with the hidden bit of jazz tagged on at the end of the finale. Trumping it all though - and even the retro stuff - is Alice, which melds a whole pile of Moby-isms into a single track: blues-shuffle rhythms, squawking guitar licks, guest raps from Nigerian based group 419 Squad, catchy pop hooks... Lodging it smack in the middle of the album definitely helps prevent the whole of it from sounding like too much of a nostalgia love-in.
Ultimately, Moby’s latest is quite probably his most accomplished album since Everything Is Wrong. He may not be doing anything new on here but that’s beside the point - Last Night is the sound of a musician finding himself quite comfortable with his roots again, and proving he is more than capable of producing a song that remains just as timeless as the era it draws influence from. The mainstream media may not understand it (but, oh, they certainly do when R.E.M. does the same thing); long-time fans of electronic dance music will.
(2013 Update:
Not much to add to this review, as it holds up just as fine as it did when it first came out, though calling it "his most accomplished album since Everything Is Wrong" is a bit of a stretch on my part. Kind of a shame this was just a one-off return to early club music on Moby's part, but it was only ever intended to be as such. I wonder if we might see another one though, what with classic house again back in vogue after a couple-year gap of not. Man, was 2008 ever a weird year for house music.)
IN BRIEF: The Moby ravers enjoyed returns.
I don’t think anyone expected Moby returning to dance music in such a fashion, if at all. Granted, he tested the waters a few years back with a Voodoo Child album, but for the most part everyone figured Mr. Hall’s most recognizable project had forever gone the way of quaint bittersweet pop-rock. Still, it’s not like the mainstream readily accepted Moby. Although they enjoyed the music off Play (if anything because you couldn’t escape it) and the odd tune here and there if it fit the times, Moby remained the butt-end of numerous jokes, an all-too easy target of ridicule.
Perhaps it isn’t surprising, then, that as he nears mid-life, Moby has begun reflecting, recalling a time and place one was accepted no matter who you were or what you did. The second Summer Of Love certainly was such a time, and thanks to anthems such as Go and Next Is The E, Mr. Hall emerged as an underground darling of the early American rave scene. So if such fond thoughts have been on his mind lately, producing an album which captures those free-wheeling hedonistic years in sixty-five minutes is an intriguing idea; the fact this comes at a point when classic house music is seeing something of a revival just so happens to be a bonus for both parties.
Still, there have already been plenty of question marks, accusations and critical responses to such an endeavor. Cynically, you have to wonder why Moby would go back to a sound he hasn’t touched on in over a decade, especially when his last Best Of release ignored nearly all of his pre-Play output. Also, will his current fanbase even be willing to accept such blatant romanticizing of early ‘90s dance music when it hasn’t been in vogue since Madonna’s Vogue? And does Moby even have much chance of standing toe-to-toe with admittedly much trendier revivalists like Hercules & Love Affair or Dixon?
Last Night will probably fly right over your head if you’ve been fussing over such thoughts. On this new album, Moby doesn’t seem to care whether the popular press or the bloggers or even the current crop of EDM followers accept his retro-direction; it’s primarily the old-schoolers whom enjoyed his early output that will dig on this. As much as he says this is a love-letter to New York City of the late 80s, Last Night is equally a love-letter to all those fans that gave Mr. Hall his big break, with the giddy rave vibes oozing from every sonic corner.
Were I allowed to wear my Nostalgia Headphones while reviewing Last Night, it’d easily earn high marks. Even without them, though, there is some gosh-darned good music to be had on here. Take Everyday Is 1989: it’s an incredibly simple track on paper, consisting of rolling pianos, soul-sista’ samples, and string stabs looping over vintage house beats. It should sound old, it should sound dated, it should sound like a bygone relic. Yet every time those pianos emerge - and I do mean every time - my head can’t help but bobble along. There’s a groove to be had here, my friends, and it’s more infectious than most of what’s come out from the house camps in the last few years.
Much of Last Nights works in this regard. Moby keeps things simple and to the point, doesn’t get bogged down in fancy gimmicks or overproduction, and maintains the old-school uplifting spirit throughout much of the album. And while the house cuts like Everyday Is 1989, Disco Lies, and I’m In Love received most of the pre-album buzz, there’s plenty of other EDM genres dabbled in as well. The Stars and 257.Zero tackles the rave end of the spectrum, while I Love To Move In Here adds some hip-house flavor. The latter portion of the album provides an ambient-house touch; however, aside from Sweet Apocalypse, these offerings aren’t nearly as interesting as the rest of Last Night, coming off as mere sonic doodles compared to some of Moby’s more famous downtempo tunes.
For as much as Last Night honors his roots, though, Moby hasn’t completely neglected some of the fresher influences of his discography. Material like the titular track, Ooh Yeah, Live For Tomorrow, and Hyenas finds blending of melancholic pop and lounge, especially so with the hidden bit of jazz tagged on at the end of the finale. Trumping it all though - and even the retro stuff - is Alice, which melds a whole pile of Moby-isms into a single track: blues-shuffle rhythms, squawking guitar licks, guest raps from Nigerian based group 419 Squad, catchy pop hooks... Lodging it smack in the middle of the album definitely helps prevent the whole of it from sounding like too much of a nostalgia love-in.
Ultimately, Moby’s latest is quite probably his most accomplished album since Everything Is Wrong. He may not be doing anything new on here but that’s beside the point - Last Night is the sound of a musician finding himself quite comfortable with his roots again, and proving he is more than capable of producing a song that remains just as timeless as the era it draws influence from. The mainstream media may not understand it (but, oh, they certainly do when R.E.M. does the same thing); long-time fans of electronic dance music will.
Saturday, November 30, 2013
Juno Reactor - Labyrinth
Metropolis: 2004
Labyrinth feels like the culmination of years of experimentation coming together, talent finally reaching the vision Juno Reactor saw possible (holy shit, what a pretentious way to open a review...). There were early glimmers of Ben Watkins breaking his project out from bog-standard psy trappings, but it wasn't until Shango where he took his first proper risky steps. It was regarded as... well, I'll get to that eventually. It must have given Watkins a strong shot of confidence though, as Labyrinth goes full bore outside the psy comfort zone as anyone could get.
Right, so part of that was likely getting more soundtrack opportunities, and the success of The Matrix franchise didn’t hurt in giving Juno Reactor more exposure (not to mention greenbacks). It got Watkins thinking bigger and bolder while putting together Labyrinth, as there’s quite a cinematic tone to the whole album. The opening salvo of Conquistador I & II may as well be your first act – the former dark, quiet and moody as the atmosphere of some desolate Spanish landscapes reveals itself, the latter erupting into a big action set piece with those galloping beats, tribal drums, and snarling lyrics (Danny Trejo stars). It’s basically what the opening two cuts off Shango would sound like if they sexed it up and downed LSD-soaked tequila afterwards. Awesome!
The rest of Labyrinth plays out in similar fashion, tracks jamming various genres into a blender, and everything coming out tasty. Want a little more thrash in your Juno? Try Giant, but stay for the operatic vocals too. Still hanker for the old psy? Mona Lisa Overdrive’s got you covered, but with more tribal fusion than you got on Bible Of Dreams. One of the few folks that found Watkins’ best ever single was Pistolero? Here’s War Dogs for your fix, now with backing orchestra! Prefer the mellow moments on prior albums? The one-two soft-punch of Mutant Message and Angels And Men should serve you fine, though the former uses its calm as a prelude to a musical eruption mid-song.
All this is fine and dandy, but everyone knows you save your best for the climax at the end, and Navaras serves as a perfect capper to Labyrinth. Apocalyptic choir, piercing industrial synths and beats, orchestral swells, tribal chants, and a meditative breather in the middle before erupting with the bedlam at the end again. Wait, how am I fighting the final boss of a Final Fantasy game all of a sudden here?
I can see why Mr. Watkins felt compelled to explore ever further deviations from the psy sound he grew popular with on Gods & Monsters - how could he top Labyrinth? Whether it’s the best Juno Reactor album remains open to discussion, as many still prefer the older sound to the genre exploration found in the post-Shango albums, which admittedly continues to be hit or miss. Labyrinth finds the mark about as close to flawless as he’s gotten though, and is definitely worth your time and pennies.
Labyrinth feels like the culmination of years of experimentation coming together, talent finally reaching the vision Juno Reactor saw possible (holy shit, what a pretentious way to open a review...). There were early glimmers of Ben Watkins breaking his project out from bog-standard psy trappings, but it wasn't until Shango where he took his first proper risky steps. It was regarded as... well, I'll get to that eventually. It must have given Watkins a strong shot of confidence though, as Labyrinth goes full bore outside the psy comfort zone as anyone could get.
Right, so part of that was likely getting more soundtrack opportunities, and the success of The Matrix franchise didn’t hurt in giving Juno Reactor more exposure (not to mention greenbacks). It got Watkins thinking bigger and bolder while putting together Labyrinth, as there’s quite a cinematic tone to the whole album. The opening salvo of Conquistador I & II may as well be your first act – the former dark, quiet and moody as the atmosphere of some desolate Spanish landscapes reveals itself, the latter erupting into a big action set piece with those galloping beats, tribal drums, and snarling lyrics (Danny Trejo stars). It’s basically what the opening two cuts off Shango would sound like if they sexed it up and downed LSD-soaked tequila afterwards. Awesome!
The rest of Labyrinth plays out in similar fashion, tracks jamming various genres into a blender, and everything coming out tasty. Want a little more thrash in your Juno? Try Giant, but stay for the operatic vocals too. Still hanker for the old psy? Mona Lisa Overdrive’s got you covered, but with more tribal fusion than you got on Bible Of Dreams. One of the few folks that found Watkins’ best ever single was Pistolero? Here’s War Dogs for your fix, now with backing orchestra! Prefer the mellow moments on prior albums? The one-two soft-punch of Mutant Message and Angels And Men should serve you fine, though the former uses its calm as a prelude to a musical eruption mid-song.
All this is fine and dandy, but everyone knows you save your best for the climax at the end, and Navaras serves as a perfect capper to Labyrinth. Apocalyptic choir, piercing industrial synths and beats, orchestral swells, tribal chants, and a meditative breather in the middle before erupting with the bedlam at the end again. Wait, how am I fighting the final boss of a Final Fantasy game all of a sudden here?
I can see why Mr. Watkins felt compelled to explore ever further deviations from the psy sound he grew popular with on Gods & Monsters - how could he top Labyrinth? Whether it’s the best Juno Reactor album remains open to discussion, as many still prefer the older sound to the genre exploration found in the post-Shango albums, which admittedly continues to be hit or miss. Labyrinth finds the mark about as close to flawless as he’s gotten though, and is definitely worth your time and pennies.
Thursday, November 28, 2013
Cheb i Sabbah - La Kahena
Six Degrees Records: 2005
Okay, I needed that break from this blog. Juggling it with near full-time work and scholastic endeavors was just too much to deal with. Brain drain on the job, coupled with necessary research and study for essays, there was nothing left in the think-tank for music reviews, even ones as concise as the ones I write here. This semester’s over now, so let’s get back to electronic music criticism. What’s next in my alphabetical list, then? Cheb i Sabbah’s La Kahena? Uh, what the heck is this? Traditional Middle Eastern music? I don’t know a damn thing about this stuff. I… need to research some of this. Oh, God, no! I beg of you, no more researching! My brain can’t take- *grey matter implodes*
Right, I should have known Six Degrees Records would release just as much proper 'world music' as their world beat offerings, but how was I to know Cheb i Sabbah would put together a project of this nature? I've only known of the chap through his DJ gigs (almost primarily at hippie trance parties), and few scattered productions on regular world dub-beat compilations. It was enough to pique my curiosity enough to pick up La Kahena blind, and hoo, was this something I was not expecting in the slightest.
I won't deny enjoying the music here, but it’s on a 'dumb' level, the sort of basic musical appreciation that comes with most things of a rhythmic, melodic, or harmonic nature. Despite the use of drum programming and synth effects, La Kehena is about as traditional as this music gets. Which tradition, you ask? I... honestly don't know. I'm guessing it's Middle Eastern, though maybe North African too, given it was recorded in Morocco. Bottom line is I have no cultural connection to this album (much less able to understand the language it's sung in), so any significance of content beyond “cool beat, neat sounds, heartfelt passion; me like” is utterly lost on my way-Western sensibilities. Maybe if I do a little resear- *grey matter implodes*
Mr. Sabbah must have strongly believed in the potential of this album, as he rounded up tons of musicians to perform on it (how much he contributes, I haven't a clue). Oh, there's Bill Laswell again, doing bass. Karsh Kale, a Six Degrees alum, also shows up. I don't recognize anyone else here. Hell, I don't even recognize some of the instruments they play. An oud? A ney? You got me, names sounding about as foreign as I'm sure a dobro sounds to folks of Yemen. Whatever they are, I bet they sound good on this 5.1 Dolby mixdown I sadly cannot enjoy (damn paper-thin apartment walls).
Is La Kehena worth your time? Sure, I guess. At worst, it'll expose you to a form of music that's just as lively as anything you'll hear in a club, perhaps more so by tapping into the communal nature of such performances. In the end, it's a great educa- *grey matter implodes*
Okay, I needed that break from this blog. Juggling it with near full-time work and scholastic endeavors was just too much to deal with. Brain drain on the job, coupled with necessary research and study for essays, there was nothing left in the think-tank for music reviews, even ones as concise as the ones I write here. This semester’s over now, so let’s get back to electronic music criticism. What’s next in my alphabetical list, then? Cheb i Sabbah’s La Kahena? Uh, what the heck is this? Traditional Middle Eastern music? I don’t know a damn thing about this stuff. I… need to research some of this. Oh, God, no! I beg of you, no more researching! My brain can’t take- *grey matter implodes*
Right, I should have known Six Degrees Records would release just as much proper 'world music' as their world beat offerings, but how was I to know Cheb i Sabbah would put together a project of this nature? I've only known of the chap through his DJ gigs (almost primarily at hippie trance parties), and few scattered productions on regular world dub-beat compilations. It was enough to pique my curiosity enough to pick up La Kahena blind, and hoo, was this something I was not expecting in the slightest.
I won't deny enjoying the music here, but it’s on a 'dumb' level, the sort of basic musical appreciation that comes with most things of a rhythmic, melodic, or harmonic nature. Despite the use of drum programming and synth effects, La Kehena is about as traditional as this music gets. Which tradition, you ask? I... honestly don't know. I'm guessing it's Middle Eastern, though maybe North African too, given it was recorded in Morocco. Bottom line is I have no cultural connection to this album (much less able to understand the language it's sung in), so any significance of content beyond “cool beat, neat sounds, heartfelt passion; me like” is utterly lost on my way-Western sensibilities. Maybe if I do a little resear- *grey matter implodes*
Mr. Sabbah must have strongly believed in the potential of this album, as he rounded up tons of musicians to perform on it (how much he contributes, I haven't a clue). Oh, there's Bill Laswell again, doing bass. Karsh Kale, a Six Degrees alum, also shows up. I don't recognize anyone else here. Hell, I don't even recognize some of the instruments they play. An oud? A ney? You got me, names sounding about as foreign as I'm sure a dobro sounds to folks of Yemen. Whatever they are, I bet they sound good on this 5.1 Dolby mixdown I sadly cannot enjoy (damn paper-thin apartment walls).
Is La Kehena worth your time? Sure, I guess. At worst, it'll expose you to a form of music that's just as lively as anything you'll hear in a club, perhaps more so by tapping into the communal nature of such performances. In the end, it's a great educa- *grey matter implodes*
Friday, November 22, 2013
Vector Lovers - iPhonica
Soma Quality Recordings: 2013
I had no idea Martin Wheeler was still making music. Part of that's my fault, as I failed to keep tabs on his output during the late '00s. For as much I enjoyed his debut album, there was a sense the themes explored would be a one-time shot, interviews for subsequent albums claiming he was in a different frame of mind than before. Yeah, that's musician code-speak for “if you liked my old work, chances are you won't like this newer stuff.” I only glanced at Afterglow and Capsule For One, with little giving me reason to spring for the albums proper. Maybe I will sometime down the road, but as Afterglow came out way back in 2007, I figured the Vector Lovers story was concluded, the 2011 singles collection Electrospective being the final chapter.
Maybe that release generated renewed interest and fresh listeners, because iPhonica came out just this year – it would explain the similar covers. Is it all original material since Electrospective, or had Wheeler been sitting on it unreleased? Indications seem to suggest the former, but there's something very reminiscent of his earliest work on this album, a similar melancholic tone that also ran through Vector Lovers.
His debut was a wonderful excursion through electro-anime ambient and cool robot funk, which interestingly gets linked to acts like Boards Of Canada on its page with Lord Discogs. I never associated Vector Lovers with such music, but I can see why the Lord That Knows All would. There’s a similar feeling of nostalgia in their music, of times past and memories hazily reminisced. Boards Of Canada often recall childhood innocence, Burial of those post-clubbing 5am ventures in deserted urban neighbourhoods; Vector Lovers, especially on iPhonica, conjures up wistful longing for earliest, heartfelt intimacy in a world grown more isolated by technology. With titles like Yesterday Is Gone, Big City Loner, and Sender To Nowhere, how could one not picture mournful glances in city park fountains at twilight (probably with cherry blossom petals billowing in the background)? The aesthetic of Vector Lovers’ music may come off simple and even youthfully naïve at times, but damn if it doesn’t seductively draw you back to those years when youthful naivety was a common, welcome occurrence.
That said, iPhonica comes off rather slight as an album. Most of the tracks are simple little pieces, often finishing just as you're getting warmed to them. And while it does flow reasonably well from beginning to end, it doesn't have the narrative strength prior Vector Lovers albums have, the back end almost drifting by without much notice. Plus, I cannot deny wishing for a few more uptempo numbers, but that's just personal bias (Electrosuite was such a mint tune).
If you're new to Martin Wheeler's project, iPhonica may not be the best diving off point. On the other hand, there's enough musical merit here to at least draw in a few curious listens. Let's hope there's more from Vector Lovers in the near future too.
I had no idea Martin Wheeler was still making music. Part of that's my fault, as I failed to keep tabs on his output during the late '00s. For as much I enjoyed his debut album, there was a sense the themes explored would be a one-time shot, interviews for subsequent albums claiming he was in a different frame of mind than before. Yeah, that's musician code-speak for “if you liked my old work, chances are you won't like this newer stuff.” I only glanced at Afterglow and Capsule For One, with little giving me reason to spring for the albums proper. Maybe I will sometime down the road, but as Afterglow came out way back in 2007, I figured the Vector Lovers story was concluded, the 2011 singles collection Electrospective being the final chapter.
Maybe that release generated renewed interest and fresh listeners, because iPhonica came out just this year – it would explain the similar covers. Is it all original material since Electrospective, or had Wheeler been sitting on it unreleased? Indications seem to suggest the former, but there's something very reminiscent of his earliest work on this album, a similar melancholic tone that also ran through Vector Lovers.
His debut was a wonderful excursion through electro-anime ambient and cool robot funk, which interestingly gets linked to acts like Boards Of Canada on its page with Lord Discogs. I never associated Vector Lovers with such music, but I can see why the Lord That Knows All would. There’s a similar feeling of nostalgia in their music, of times past and memories hazily reminisced. Boards Of Canada often recall childhood innocence, Burial of those post-clubbing 5am ventures in deserted urban neighbourhoods; Vector Lovers, especially on iPhonica, conjures up wistful longing for earliest, heartfelt intimacy in a world grown more isolated by technology. With titles like Yesterday Is Gone, Big City Loner, and Sender To Nowhere, how could one not picture mournful glances in city park fountains at twilight (probably with cherry blossom petals billowing in the background)? The aesthetic of Vector Lovers’ music may come off simple and even youthfully naïve at times, but damn if it doesn’t seductively draw you back to those years when youthful naivety was a common, welcome occurrence.
That said, iPhonica comes off rather slight as an album. Most of the tracks are simple little pieces, often finishing just as you're getting warmed to them. And while it does flow reasonably well from beginning to end, it doesn't have the narrative strength prior Vector Lovers albums have, the back end almost drifting by without much notice. Plus, I cannot deny wishing for a few more uptempo numbers, but that's just personal bias (Electrosuite was such a mint tune).
If you're new to Martin Wheeler's project, iPhonica may not be the best diving off point. On the other hand, there's enough musical merit here to at least draw in a few curious listens. Let's hope there's more from Vector Lovers in the near future too.
Subscribe to:
Posts (Atom)
Things I've Talked About
...txt
10 Records
16 Bit Lolita's
1963
1965
1966
1967
1968
1969
1970
1971
1972
1973
1974
1975
1976
1977
1978
1979
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2 Play Records
2 Unlimited
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
2022
2023
2024
20xx Update
2562
3 Loop Music
302 Acid
36
3FORCE
3six Recordings
4AD
6 x 6 Records
75 Ark
7L & Esoteric
808 State
A Perfect Circle
A Positive Life
A-Wave
a.r.t.less
A&M Records
A&R Records
Abandoned Communities
Abasi
Above and Beyond
abstract
Abstrakce Records
AC/DC
Ace Trace
Ace Tracks Playlists
Ace Ventura
acid
acid house
acid jazz
acid techno
acid trance
acoustic
Acroplane Recordings
Adam Beyer
Adam Ellis
Adam Freeland
Adham Shaikh
ADNY
Adrian Younge
adult contemporary
Advanced UFO Phantom
Aegri Somnia
AEI Music
Aes Dana
Aesthetical
Afgin
Afrika Bambaataa
Afro-house
Afterhours
Agoria
Aidan Casserly
Aira Mitsuki
Airwaves
Ajana Records
Ajna
AK1200
Akshan
album
Aldrin
Alex Smoke
Alex Theory
Alice In Chains
Alien Community
Alien Project
Alio Die
All Saints
Alpha Wave Movement
Alphabet Zoo
Alphaxone
Altar Records
Alter Ego
alternative rock
Alucidnation
Ambelion
Ambidextrous
ambient
ambient dub
ambient techno
Ambient World
Ambientium
Ametsub
Amon Amarth
Amon Tobin
Amplexus
Anabolic Frolic
Anatolya
Andrea Parker
Andrew Heath
Androcell
Anduin
Andy C
anecdotes
Aniplex
Anjunabeats
Annibale Records
Anodize
Another Fine Day
Antares
Antendex
anthem house
Anthony Paul Kerby
Anthony Rother
Anti-Social Network
Anzio Green
Aoide
Aphasia Records
Aphex Twin
Apócrýphos
Apollo
Apollo 440
Apple Records
April Records
Aqua
Aquarellist
Aquascape
Aquasky
Aquila
Arcade
Architects Of Existence
Archives
Arctic Hospital
Arcturus
arena rock
Arista
Armada
Armin van Buuren
Arpatle
Artifact303
Arts & Crafts
As If
ASC
Ashtech
Asia
Asian Dub Foundation
Astral Engineering
Astral Projection
Astral Waves
Astralwerks
AstroPilot
AstroPilot Music
Asura
Asylum Records
ATB
ATCO Records
Atlantic
Atlantis
atmospheric jungle
Atom Heart
Atomic Hooligan
Atomine Elektrine
Atrium Carceri
Attic
Attoya
Audiobulb Records
Audion
AuroraX
Autechre
Autistici
Autumn Of Communion
Auxilary
Auxiliary
Avantgarde
Avatar Records
Aveparthe
Avicii
Axiom
Axs
Axtone Records
Aythar
B.G. The Prince Of Rap
B°TONG
B12
Babygrande
Balance
Balanced Records
Balearic
ballad
Bålsam
Banco de Gaia
Bandulu
Barker & Baumecker
Battle Axe Records
battle-rap
Bauri
Beastie Boys
Beat Buzz Records
Beat Pharmacy
Beatbox Machinery
Beats & Pieces
bebop
Beck
Bedouin Soundclash
Bedrock Records
Beechwood Music
Ben Sims
Benny Benassi
Bent
Benz Street US
Berlin-School
Beto Narme
Beyond
bhangra
Bicep
big beat
Big Boi
Big Dada Recordings
Big L
Big Life
Bill Hamel
Bill Laswell
Bill Leeb
BIlly Idol
BineMusic
BioMetal
Biophon Records
Biosphere
Bipolar Music
BKS
Black Hole Recordings
black metal
black rebel motorcycle club
Black Swan Sounds
Blanco Y Negro
Blasterjaxx
Bleep
Blend
Blood Music
Blow Up
Blue Amazon
Blue Hour
Blue Öyster Cult
blues
blues rock
Bluescreen
Bluetech
BMG
Boards Of Canada
Bob Dylan
Bob Marley
Bobina
Bogdan Raczynzki
Bombay Records
Bone Thugs-N-Harmony
Boney M
Bong Load Records
Bonobo
Bonzai
Boogie Down Productions
Booka Shade
Boom Boom Satellites
Botchit & Scarper
Bows
Boxed
Boys Noize
Boysnoize Records
BPitch Control
braindance
Brandt Brauer Frick
Brasil & The Gallowbrothers Band
breakbeats
breakcore
breaks
Brian Eno
Brian Wilson
Brick Records
Britpop
Brodinski
broken beat
Brooklyn Music Ltd
brostep
Bryan Adams
BT
Bubble
Buffalo Springfield
Bulk Recordings
Burial
Burned CDs
Bursak Records
Bush
Busta Rhymes
Buttertones
bvdub
C.I.A.
Calibre
calypso
Canibus
Canned Resistor
Canopy Of Stars
Capitol Records
Capsula
Captain Hollywood Project
Captured Digital
Carbon Based Lifeforms
Caribou
Carl B
Carl Craig
Carlos Ferreira
Carol C
Caroline Records
Carpe Sonum Novum
Carpe Sonum Records
Castroe
Casual
Cat Sun
CD-Maximum
Ceephax Acid Crew
Celestial Dragon Records
Cell
Celtic
Centaspike
Cevin Fisher
Cheb i Sabbah
Cheeky Records
chemical breaks
Chihei Hatakeyama
Children Of The Bong
chill out
chill-out
chiptune
Chris Duckenfield
Chris Fortier
Chris Korda
Chris Liebing
Chris Sheppard
Chris Witoski
Christmas
Christopher Lawrence
Chromeo
Chronos
Chrysalis
Ciaran Byrne
cinematic soundscapes
Circle of Pines
Circular
Ciro Berenguer
Cirrus
Cities Last Broadcast
City Of Angels
CJ Stone
Claptone
classic house
classic rock
classical
Claude VonStroke
Claude Young
Clear Label Records
Clementz
Cleopatra
Cloud 9
Club Culture
Club Cutz
Club Tools
Cocoon Recordings
Cold Spring
Coldcut
Coldplay
coldwave
Colette
collagist
Columbia
Com.Pact Records
Coma Eye
comedy
Compilation
Comrie Smith
Congo Natty
Conjure One
Connect.Ohm
conscious
Control Music
Convextion
Cooking Vinyl
Cor Fijneman
Corderoy
Cosmic Gate
Cosmic Replicant
Cosmo Cocktail
Cosmos Studios
Cottonbelly
Council Estate Electronics
Council Of Nine
Counter Records
country
country rock
Covert Operations Recordings
Craig Padilla
Craig Richards
Crazy Horse
Cream
Creamfields
Creedence Clearwater Revival
Crockett's Theme
Crosby Stills And Nash
Crossing Mind
Crosstown Rebels
crunk
Cryo Chamber
Cryobiosis
Cryogenic Weekend
Cryostasis
Crystal Moon
Cube Guys
Culture Beat
Curb Records
Current
Curve
cut'n'paste
CYAN
Cyan Music
Cyber Productions
CyberOctave
Cyclic Law
Cygna
Cymphonica
Cypher 7
Cypress Hill
Cyril Secq
Czarface
D York
D-Bridge
D-Fuse
D-Topia Entertainment
Daar
Dacru Records
Daddy G
Daft Punk
Dag Rosenqvist
Damian Lazarus
Damon Albarn
Damon Wild
Dan Terminus
Dan The Automator
Dance 2 Trance
Dance Pool
Dance With The Dead
dancehall
Daniel Heatcliff
Daniel Lentz
Daniel Pemberton
Daniel Wanrooy
Danny Howells
Danny Tenaglia
Dao Da Noize
Daphni
dark ambient
dark disco
dark psy
darkcore
darkside
darkstep
darksynth
darkwave
Darla Records
Darren Emerson
Darren McClure
Darren Nye
DAT Records
Databloem
dataObscura
David Alvarado
David Bickley
David Bridie
David Cordero
David Guetta
David Morley
DDR
De-tuned
Dead Coast
Dead Melodies
Deadmau5
Death Grips
death metal
Death Row Records
Decimal
Deconstruction
Dedicated
Deejay Goldfinger
Deep Dish
Deep Forest
deep house
deep tech
Deeply Rooted House
Deepwater Black
Deetron
Def Jam Recordings
Del Tha Funkee Homosapien
Delerium
Delsin
Deltron 3030
Denshi Danshi
Depeche Mode
Der Dritte Raum
Derek Carr
Detroit
Deviant Records
Devin Underwood
Devroka
Deysn Masiello
DFA
DGC
diametric.
Dido
Dieselboy
Different
DigiCube
Dillinja
Dirk Serries
dirty house
Dirty South
Dirty Vegas
Dis Fig
disco
Disco Gecko
disco house
Disco Pinata Records
disco punk
Discover (label)
Disky
Disques Dreyfus
Distant System
Distinct'ive Breaks
Disturbance
Divination
DJ 3000
DJ Brian
DJ Craze
DJ Dag
DJ Dan
DJ Dean
DJ Gonzalo
DJ Heather
DJ John Kelley
DJ John Storm
DJ Merlin
DJ Mix
DJ Moe Sticky
DJ Observer
DJ Premier
DJ Q-Bert
DJ Shadow
DJ Soul Slinger
DJ-Kicks
Djen Ajakan Shean
DJMag
DMC
DMC Records
Doc Scott
Dogon
Dogwhistle
Dooflex
Doom Poets
Dopplereffekt
Dossier
Dousk
downtempo
dowtempo
Dr. Alban
Dr. Atmo
Dr. Dre
Dr. Hook & The Medicine Show
Dr. Octagon
Dragon Quest
dream house
dream pop
Dreamworks
DreamWorks Records
Drexciya
drill 'n' bass
Dronarivm
drone
Dronny Darko
drum 'n' bass
DrumNBassArena
drumstep
drunken review
dub
Dub Pistols
dub techno
Dub Trees
Dubfire
dubstep
Dubtribe Sound System
DuMonde
Dune
Dusted
Dyadik
Dynatron
E-Mantra
E-Z Rollers
Eardream Music
Earth
Earth Nation
Earthling
Eastcoast
Eastcost
Eastern Dub Tactik
EastWest
Eastworld
Eat Static
EBM
Echodub
Ed Rush & Optical
Editions EG
EDM World Weekly News
Ektoplazm
Electric Universe
electro
Electro House
Electro Sun
electro-funk
electro-pop
electroclash
Electronic Dance Essentials
Electronic Music Guide
Electrovoya
Elektra
Elektrolux
Ellen Allien
em:t
EMC update
EMI
Emiliana Torrini
Eminem
Emmerichk
Emperor Norton
Empire
enCAPSULAte
Encym
Engine Recordings
Enigma
Enmarta
Ensiferum
Enya
EP
Epic
epic trance
EQ Recordings
Equal Stones
Erased Tapes Records
Eric Borgo
Erik Vee
Erol Alkan
Erot
Escape
Esko Barba
Esoteric Reactive
Espacio Cielo
ethereal
Etic
Etnica
Etnoscope
Euphoria
euro dance
eurodance
eurotrance
Eurythmics
Eve Records
Everlast
Ewan Pearson
Exitab
experimental
Eye Q Records
Ezdanitoff
F Communications
Fabric
Facture
Fade Records
Faex Optim
Faint
Faithless
Falcon Reekon
Fallen
False Mirror
fanfic
Fantastisizer
Fantasy Enhancing
faru
Fatboy Slim
Fax +49-69/450464
Fear Factory
Fedde Le Grand
Fehrplay
Feist
Fektive Records
Felix da Housecat
Fennesz
Ferry Corsten
FFRR
Fictivision
field recordings
Filter
Filteria
filters
Final Fantasy
Firescope
Five AM
Fjäder
Flashover Recordings
Floating Points
Flowers For Bodysnatchers
Flowjob
Fluke
Fluxion
Flying Lotus
folk
Fontana
footwork
Force Intel
Fountain Music
Four Tet
FPU
Frame
Frame Of Mind
Francis M Gri
Franck Vigroux
Frank Bretschneider
Frankie Bones
Frankie Knuckles
Frans de Waard
Fred Everything
freestyle
French house
Front Line Assembly
Frou Frou
fsoldigital.com
Fugees
full-on
Fun Factory
Function
funk
future garage
Future Sound Of London
Futuregrapher
futurepop
g-funk
G-Prod
gabber
Gabriel Le Mar
Gaither Music Group
Galaktlan
Galati
Gang Starr
gangsta
garage
Gareth Davis
Gary Martin
Gas
Gasoline Alley Records
Gee Street
Geffen Records
Gel-Sol
Genesis
Geometry Combat
George Issakidis
Gerald Donald
Gerd
Get Physical Music
GGGG
ghetto
Ghostface Killah
Ghostly International
Glacial Movements Records
glam
Gliese 581C
glitch
Glitch Hop
Global Communication
Global Underground
Globular
goa trance
Goasia
God Body Disconnect
God's Groove
Gorillaz
gospel
Gost
goth
Grammy Awards
Gravediggaz
Green Bay Wax
Green Day
Grey Area
Greytone
Gridlock
grime
Groove Armada
Groove Corporation
Grooverider
grunge
Guru
Gustaf Hidlebrand
Gusto Records
GZA
H:U:M
H2O Records
Haddaway
Halgrath
happy hardcore
hard house
hard rock
hard techno
hard trance
hardcore
Hardfloor
Hardly Art
hardstyle
Harlequins Enigma
Harmless
Harmonic 33
Harmonic Resonance Recordings
Harold Budd
Harthouse
Harthouse Mannheim
Havoc
Hawtin
Headphone
Hearts Of Space
Hed Kandi
Hefty Records
Helen Marnie
Hell
Hercules And Love Affair
Hernán Cattáneo
Herne
Hexstatic
Hi-Bias Records
Hic Sunt Leones
Hide And Sequence
Hiero Emperium
Hieroglyphics
High Contrast
High Note Records
Higher Ground
Higher Intelligence Agency
Hilyard
hip-hop
hip-house
hipno
Hollywood Burns
Home Normal
Honest Jon's Records
Hooj Choons
Hope Records
horrorcore
Hospital Records
Hot Chip
Hotflush Recordings
house
Howie B
Huey Lewis & The News
Human Blue
Humanoid
Hybrid
Hybrid Leisureland
Hymen Records
Hyperdub
Hypertrophy
Hypnotic
Hypnoxock
I Awake
I-Cube
i! Records
I.F.
I.F.O.R.
I.R.S. Records
Iboga Records
Icarus Music
Ice Cube
Ice H2o Records
ICE MC
IDM
Iempamo
Ignis Fatum
Igorrr
Ikjoyce
illbient
ILUITEQ
Imba
Imogen Heap
Imperial Dancefloor
Imploded View
In Charge
In The Face Of
In Trance We Trust
Incoming
Incubus
Indica Records
indie rock
Indisc
Industrial
Infastructure New York
Infected Mushroom
Infinite Guitar
influence records
Infonet
Inhmost
Ink Midget
Inner Ocean Records
Innovative Leisure Records
Insane Clown Posse
Inspectah Deck
Instinct Ambient
Instra-Mental
Intellitronic Bubble
Inter-Modo
Interchill Records
Internal
International Deejays Gigolo
Interscope Records
Intimate Productions
Intuition Recordings
ISBA Music Entertainment
Ishkur
Ishq
Island Def Jam Music Group
Island Records
Islands Of Light
Italians Do It Better
italo disco
italo house
Item Caligo
J-pop
Jack Moss
Jackpot
Jacob Newman
Jafu
Jake Stephenson
Jam and Spoon
Jam El Mar
James Blake
James Holden
James Horner
James Lavelle
James Murray
James Zabiela
Jamie Jones
Jamie Myerson
Jamie Principle
Jamiroquai
Javelin Ltd.
Jay Haze
Jay Tripwire
Jaydee
jazz
jazz dance
jazzdance
jazzstep
Jean-Michel Jarre
Jeannine Sculz
Jefferson Airplane
Jerry Goldsmith
Jesper Dahlbäck
Jesse Rose
Jessy Lanza
Jimmy Van M
Jiri.Ceiver
Jive
Jive Electro
Jliat
Jlin
JMJ
Joel Mull
Joey Beltram
John '00' Fleming
John Acquaviva
John Beltran
John Digweed
John Graham
John Kelly
John O'Callaghan
John Oswald
John Shima
John Tejada
Johnny Cash
Johnny Jewel
Jon Hester
Jonny L
Jori Hulkkonen
Joris Voorn
Jørn Stenzel
Josh Christie
Josh Wink
Journeys By DJ™ LLC
Joyful Noise Recordings
Juan Atkins
juke
Jump Cut
jump up
Jumpin' & Pumpin'
jungle
Junior Boy's Own
Junkie XL
Juno Reactor
Jupiter 8000
Jurassic 5
Justin Timberlake
Ka-Sol
Kaico
Kay Wilder
KDJ
Keith Farrugia
Ken Ishii
Kenji Kawai
Kenny Glasgow
Keoki
Keosz
Kerri Chandler
Kevin Braheny
Kevin Yost
Kevorkian Records
Khetzal
Khooman
Khruangbin
Ki/oon
Kid Koala
Kiko
Killing Joke
Kinder Atom
Kinetic Records
King Cannibal
King Midas Sound
King Tubby
Kiphi
Kitaro
Klang Elektronik
Klaus Schulze
Klik Records
KMFDM
Koch Records
Koichi Sugiyama
Kolhoosi 13
Komakino
Kompakt
Kon Kan
Kontor Records
Kool Keith
Kozo
Kraftwelt
Kraftwerk
Krafty Kuts
Kranky
krautrock
Kriistal Ann
Krill.Minima
Kris O'Neil
Kriztal
KRS-One
Kruder and Dorfmeister
Krusseldorf
Krystian Shek
Kubinski
KuckKuck
Kulor
Kurupt
Kwook
L.B. Dub Corp
L.S.G.
L'usine
La Luz
Lab 4
Ladytron
LaFace Records
Lafleche
Lamb
Lange
Lantern
Large Records
Lars Leonhard
Laserlight Digital
LateNightTales
Latin
Laurent Garnier
Layer 3
LCD Soundsystem
Le Moors
Leaf
Leama and Moor
Lee 'Scratch' Perry
Lee Burridge
Lee Norris
Leftfield
Leftfield Records
Legacy
Legiac
Legowelt
Lemony Records
Leon Bolier
Les Disques Du Crépuscule
LFO
Life Enhancing Audio
Linear Labs
Lingua Lustra
Lionel Weets
Liquid Frog Records
liquid funk
Liquid Sound Design
Liquid Stranger
Liquid Zen
Literon
Live
live album
LL Cool J
lo fi
Loco Dice
Lodsb
LoFi
Logan Sama
Logic Records
London acid crew
London Classics
London Elektricity
London Records 90 Ltd
London-Sire Records
LongWalkShortDock
Loop Guru
Loreena McKennitt
Lorenzo Masotto
Lorenzo Montanà
loscil
Lost Language
Lotek Records
Loud Records
Louderbach
Loverboy
Lowfish
Luaka Bop
Lucette Bourdin
Luciano
Luke Slater
Lunarian Records
Lustmord
M_nus
M.A.N.D.Y.
M.I.K.E.
Mack 10
Madonna
Magda
Magicwire
Magik Muzik
Mahiane
Mali
Malignant Records
Mammoth Records
Mantacoup
Marc Simz
Marcel Dettmann
Marcel Fengler
Marco Carola
Marco V
Marcus Intalex
Mark Farina
Mark Norman
Mark Pritchard
Markus Schulz
Marshmello
Martin Allin
Martin Cooper
Martin Nonstatic
Märtini Brös
Martyn
Marvin Gaye
Maschine
Massimo Vivona
Massive Attack
Masta Killa
Master Margherita
Masterboy
Matthew Dear
Max Graham
maximal
Maxx
MCA
MCA Records
McProg
Meanwhile
Meat Loaf
Median Project
Medicine Label
Meditronica
Melusine Records
Memex
Menno de Jong
Mercury
Merr0w
Mesmobeat
metal
Metal Blade Records
Metamatics
Method Man
Metro Area
Metroplex
Metropolis
MF Doom
Miami Bass
Miami Beach Force
Miami Dub Machine
Michael Brook
Michael Jackson
Michael Mantra
Michael Mayer
Michael Stearns
Mick Chillage
micro-house
microfunk
Microscopics
MIG
Miguel Migs
Mike Saint-Jules
Mike Shiver
Miktek
Mille Plateaux
Millennium Records
Mind Distortion System
Mind Over MIDI
mini-CDs
minimal
minimal tech-house
minimalism
Ministry Of Sound
miscellaneous
Misja Helsloot
Miss Kittin
Miss Moneypenny's
Mistical
Mixmag
Mixmaster Morris
Mo Wax
Mo-Do
MO-DU
Moby
Model 500
modern classical
Modeselektor
Mohlao
Moist Music
Moljebka Pvulse
Moodymann
Moonshine
Morgan
Morphic Resonance
Morphology
Moss Covered Technology
Moss Garden
Motech
Motionfield
Motorbass
Mount Shrine
Move D
Moving Shadow
Mr. Scruff
Mujaji
Murk
Murmur
Mushy Records
Music link
Music Man Records
musique concrete
Mutant Sound System
Mute
MUX
Muzik Magazine
My Best Friend
Mystery Tape Laboratory
Mystica Tribe
Mystified
N-Trance
Nacht Plank
Nadia Ali
Nano Records
Napalm Records
Nas
Nashville
Natural Life Essence
Natural Midi
Nature Sounds
Naughty By Nature
Nav Bhinder
Nebula
Nebula Meltdown
Nebulae Records
Neil Young
Nelly Furtado
Neo Ouija
Neo-Adventures
Neogoa
Neon Droid
Neotantra
Neotropic
nerdcore
Nervous Records
Nettwerk
Neurobiotic Records
neurofunk
Neuropa Records
New Age
New Beat
New Jack Swing
New Order
new wave
Nic Fanciulli
Nick Höppner
Night Hex
Night Time Stories
Nightmares On Wax
Nightwind Records
Nimanty
Nine Inch Nails
Ninja Tune
Nirvana
nizmusic
No Mask Effect
Nobuo Uematsu
noise
Noise Factory Records
Nomad
Nonesuch
Nonplus Records
Nookie
Nordic Trax
Norken
Norman Cook
Norman Feller
North South
Northumbria
Not Now Music
Nothing Records
Nova
NovaMute
NRG
Ntone
nu-italo
nu-jazz
nu-metal
nu-skool
Nuclear Blast
Nuclear Blast Entertainment
Nulll
Nunc Stans
Nurse With Wound
NXP
Nyquist
Oasis
Ocelot
Octagen
Offshoot
Offshoot Records
Ol' Dirty Bastard
Olan Mill
Old Europa Cafe
old school rave
Ole Højer Hansen
Olga Musik
Olien
Oliver Lieb
Olivier Orand
Olsen
OM Records
Omni Music
Omni Trio
Omnimotion
Omnisonus
On Delancey Street
One Little Indian
Onyx
Oophoi
Oosh
Open
Open Canvas
Opium
Opus III
orchestral
Original TranceCritic review
Origo Sound
Orkidea
Orla Wren
Ornament
Ostgut Ton
Ott
Ottsonic Music
Ouragan
Out Of The Box
OutKast
Outmosphere Records
Outpost Records
Overdream
Owl
P-Ben
Pale Glow
Paleowolf
Pan Sonic
Pantera
Pantha Du Prince
Paolo Mojo
Parental Advisory
Parlaphone
Part-Sub-Merged
Pascal F.E.O.S.
Past Inside The Present
Patreon
Patrick Dream
Paul Moelands
Paul Oakenfold
Paul van Dyk
Pendulum
Pentatonik
Perfect Stranger
Perfecto
Perturbator
Pet Shop Boys
Petar Dundov
Pete Namlook
Pete Tong
Peter Andersson
Peter Benisch
Peter Broderick
Peter Gabriel
Peter Tosh
Phantogram
Phonothek
Photek
Phutureprimitive
Phynn
PIAS Recordings
Pinch
Pink Floyd
Pioneer
Pitch Black
PJ Harvey
Plaid
Planet Dog
Planet Earth Recordings
Planet Mu
Planetary Assault Systems
Planetary Consciousness
Plastic City
Plastikman
Platinum
Platipus
Pleq
Plump DJs
Plunderphonic
Plus 8 Records
PM Dawn
Poker Flat Recordings
Polar Seas Recordings
Pole Folder
politics
Polydor
Polytel
pop
Popular Records
Porya Hatami
positivesource
post-dubstep
post-punk
power electronics
Prince
Prince Paul
Prins Thomas
Priority Records
Private Mountain
Procs
Profondita
prog
prog metal
prog psy
prog rock
prog-psy
progress house
Progression
progressive breaks
progressive house
progressive rock
progressive trance
Prolifica
Proper Records
Prototype Recordings
protoU
Pryda
psy chill
psy dub
Psy Spy Records
psy trance
psy-chill
psy-dub
psychedelia
Psychick Warriors Ov Gaia
Psychomanteum
Psychonavigation
Psychonavigation Records
Psycoholic
Psykosonik
Psysolation
Public Enemy
Pulse-8 Records
punk
punk rock
Pureuphoria Records
Purl
Purple Soil
Push
PWL International
Q-Burns Abstract Message
Quadrophonia
Quality
Quango
Quantic
Quantum
Quinlan Road
R & S Records
R'n'B
R&B
Ra
Rabbit In The Moon
Radio Slave
Radioactive
Radioactive Man
Radiohead
Rae
Raekwon
ragga
Rainbow Vector
raison d'etre
Raja Ram
Ralf Hildenbeutel
Ralph Lawson
RAM Records
Randal Collier-Ford
Random Review
Rank 1
rant
Rapoon
RareNoise Records
Ras Command
Rascalz
Raster-Noton
Ratatat
Raum Records
rave
RCA
React
Rebecca & Nathan
Recycle Or Die
Red Fog
Red Jerry
Redman
Refracted
reggae
ReKaB
REKIDS
remixes
Renaissance
Renaissance Man
Rephlex
Reprise Records
Republic Records
Res
Resist Music
Restless Records
RetroSynther
Reverse Alignment
Reverse Pulse
Rhino Records
Rhys Fulber
Ricardo Villalobos
Richard Durand
Richard Stonefield
Riley Reinhold
Ringo Sheena
Rising High Records
RnB
Roadrunner Records
Robert Hood
Robert Miles
Robert Oleysyck
Robert Rich
Roc Raida
rock
rock opera
rockabilly
rocktronica
Roger Sanchez
ROIR
Rollo
Roman Ridder
Rough Trade
Rub-N-Tug
Ruben Garcia
Rudy Adrian
Ruffhouse Records
Rumour Records
Running Back
Ruptured World
Ruthless Records
RX-101
Rykodisc
RZA
S.E.T.I.
Saafi Brothers
Sabled Sun
Sacred Seeds
SadGirl
Saitoh Tomohiro
Sakanaction
Salt Tank
Salted Music
Salvation Music
Samim
Samora
sampling
Samurai Red Seal
Sanctuary Records
Sander van Doorn
Sandoz
Sandwell District
SantAAgostino
Saphileaum
Sarah McLachlan
Sash
Sasha
Saul Stokes
Scandinavian Records
Scann-Tec
sci-fi
Science
Scooter
Scott Grooves
Scott Hardkiss
Scott Stubbs
Scuba
Seán Quinn
Seaworthy
Segue
Sense
Sentimony Records
Sequential
Seraphim Rytm
Setrise
Seven Davis Jr.
Sghor
sgnl_fltr
Shackleton
Shaded Explorations
Shaded Explorer
Shadow Records
Sharam
Shawn Francis
shoegaze
Shpongle
Shuta Yasukochi
Si Matthews
Side Effects
SideOneDummy Records
Sidereal
Signature Records
SiJ
Silent Season
Silent Universe
Silentes
Silentes Minimal Editions
Silicone Soul
silly gimmicks
Silver Age
Simian Mobile Disco
Simon Berry
Simon Heath
Simon Posford
Simon Scott
Simple Records
Sinden
Sine Silex
single
Single Gun Theory
Sire Records Company
Six Degrees
Sixeleven Records
Sixtoo
ska
Skanfrom
Skare
Skin To Skin
Skua Atlantic
Slaapwel Records
Slam
Sleep Research Facility
Slinky Music
Slowcraft Records
Sly and Robbie
Smalltown Supersound
SME Visual Works Inc.
SMTG Limited
Snap
Sneijder
Snoop Dogg
Snowy Tension Pole
soft rock
Soiree Records International
Solar Fields
Solaris Recordings
Solarstone
Soleilmoon Recordings
Solieb
Solieb Digital
Solipsism
Soliquid
Solstice Music Europe
Solvent
Soma Quality Recordings
Songbird
Sony Music Entertainment
SOS
soul
Soul Temple Entertainment
soul:r
Souls Of Mischief
Sound Of Ceres
Sound Synthesis
Soundgarden
Sounds From The Ground
soundtrack
southern rap
southern rock
space ambient
Space Dimension Controller
space disco
Space Manoeuvres
space music
space synth
Spacetime Continuum
Spaghetti Recordings
Spank Rock
Special D
Specta Ciera
speed garage
Speedy J
SPG Music
Sphäre Sechs
Spicelab
Spielerei
Spinefarm Records
Spiritech
spoken word
Sport
Spotify Suggestions
Spotted Peccary
Spring Hill
SPX Digital
Spy vs Spice
Squarepusher
Squaresoft
Stacey Pullen
Stanton Warriors
Star Trek
Stardust
Statrax
Stay Up Forever
Stealth Sonic Recordings
Stephanie B
Stephen Kroos
Stereo Raptor
Stereolab
Steve Angello
Steve Brand
Steve Lawler
Steve Miller Band
Steve Porter
Steven Rutter
Stijn van Cauter
Stimulus Timbre
Stone Temple Pilots
Stonebridge
Stormloop
Stray Gators
Street Fighter
Stuart McLean
Studio K7
Stylophonic
Sub Focus
Subharmonic
Sublime
Sublime Porte Netlabel
Subotika
Substance
Subtle Shift
Suction Records
Suduaya
Suicide Squeeze
SUN Project
Sun Station
Sunbeam
Sunday Best Recordings
Sunscreem
Suntrip Records
Supercar
Superstition
surf rock
Susumu Yokota
Sven van Hees
Sven Väth
SVLBRD
Swayzak
Sweet Trip
swing
Switch
Swollen Members
Sykonee Survey
Sylk 130
Symmetry
Synaptic Voyager
Sync24
Synergy
Synkro
synth pop
synth-pop
synthwave
System 7
Taboo
Tactic Records
Take Me To The Hospital
Tall Paul
Tammy Wynette
Tangerine Dream
Tau Ceti
Taylor
Taylor Deupree
Tayo
tech house
Tech Itch Digital
Tech Itch Recordings
tech-house
tech-step
tech-trance
Technical Itch
techno
technobass
Technoboy
Tectonic
Telefon Tel Aviv
Telstar
Terminal Antwerp
Terra Ferma
Terror Cell
Terry Lee Brown Jr
Tetsu Inoue
Textere Oris
The 13th Sign
The Angling Loser
The B-52's
The Beach Boys
The Beatles
The Black Dog
The Boats
The Brian Jonestown Massacre
The Bug
The Chemical Brothers
The Circular Ruins
The Clash
The Council
The Cranberries
The Crystal Method
The Digital Blonde
The Dust Brothers
The Field
The Frozen Vaults
The Gentle People
The Glimmers
The Green Kingdom
The Grey Area
The Grid
The Hacker
The Herbaliser
The Human League
The Irresistible Force
The KLF
The Micronauts
The Misted Muppet
The Movement
The Music Cartel
The Null Corporation
The Oak Ridge Boys
The Offspring
The Orb
The Police
The Prodigy
The Real McCoy
The Roots
The Sabres Of Paradise
The Shamen
The Sharp Boys
The Sonic Voyagers
The Squires
The Stills-Young Band
The Stray Gators
The Tea Party
The Tragically Hip
The Velvet Underground
The Wailers
The White Stripes
The Winterhouse
themes
Thievery Corporation
Third Contact
Third World
Tholen
Thrive Records
Tiefschwarz
Tierro Cosmico
Tiësto
Tiga
Tiger & Woods
Tijuana Panthers
Timbaland
Time Life Music
Time Warp
Timecode
Timestalker
Tineidae
Tipper
Tobias
Tocadisco
Todd Terje
Toki Fuko
Tom Middleton
Tom Tom Club
Tomas Jirku
Tomita
Tommy '86
Tommy Boy
Ton T.B.
Tone Depth
Tony Anderson Sound Orchestra
Too Pure
Tool
tools
Topaz
Tosca
Toto
Touch
Touched
Tourette Records
Toxik Synther
Tracing Xircles
Traffic Entertainment Group
trance
Trancelucent
Tranquillo Records
Trans'Pact
Transcend
Transformers
Transient Records
trap
Trax Records
Trend
Trentemøller
Tresor
tribal
Tricky
Triloka Records
trip-hop
Triquetra
Trishula Records
Tristan
Troum
Troy Pierce
TRS Records
Tru Thoughts
Tsuba Records
Tsubasa Records
Tuff Gong
Tunnel Records
Turbo Recordings
turntablism
TUU
TVT Records
Twisted Records
Type O Negative
Týr
U-God
U-Recken
U2
U4IC DJs
Überzone
Ugasanie
UK acid house
UK Garage
UK Hard House
Ultimae Records
Ultra Records
Umbra
Underworld
Union Jack
United Dairies
United DJs Of America
United Recordings
Universal Motown
Universal Music
Universal Records
Universal Republic Records
UNKLE
Unknown Tone Records
Unusual Cosmic Process
UOVI
Upstream Records
Urban Icon Records
Urban Meditation
Utada Hikaru
V2
Vagrant Records
Valanx
Valiska
Valley Of The Sun
Vangelis
Vap
VAST
Vector Lovers
Venetian Snares
Venonza Records
Vermont
Vernon
Versatile Records
Verus Records
Verve Records
VGM
Vibrant Music
Vice Records
Victor Calderone
Victor Entertainment
Vidna Obmana
Viking metal
Vince DiCola
Vinyl Cafe Productions
Virgin
Virtual Vault
Virus Recordings
Visionquest
Visions
Vitalic
vocal trance
Vortex
Voxxov Records
Voyage
Wagram Music
Waki
Wanderwelle
Warmth
Warner Bros. Records
Warp Records
Warren G
Water Music Dance
Wave Recordings
Wave Records
Waveform
Waveform Records
Wax Trax Records
Way Out West
WC
WEA
Wednesday Campanella
Weekend Players
Weekly Mini-Review
Werk Discs
Werkstatt Recordings
WestBam
Westside Connection
White Cloud
White Swan Records
Wichita
Wiggle
Will Saul
William Orbit
Willie Nelson
Wintersun
world beat
world music
writing reflections
Wrong Records
Wu-Tang Clan
Wurrm
Wyatt Keusch
Xerxes The Dark
XL Recordings
XTT Recordings
Yahgan
Yamaoka
Yello
Yes
Ylid
Youth
Youtube
YoYo Records
Yul Records
zakè
Zenith
ZerO One
Zoharum
Zomby
Zoo Entertainment
ZTT
Zyron
ZYX Music
µ-Ziq