(~): 2002
TRACK LIST:
1. Dido - Hunter (MJ Cole Mix)
2. Acquired Sound - Online
3. PPK - ResuRection
4. Jamie Anderson - Can't Stop
5. Chris Zander - Lord Of Sunshine (Christian Hornbostel Mix)
6. David James - A Permanent State (Superchumbo Mix)
7. Oliver Klein - Timeloop
8. Biosphere - Chromosphere
9. Justin Scott Dixon - Pure
10. Interflow - Storyreel (Extended Vox Dub)
11. Jamie Anderson - Black Sun (Total Eclipse Mix)
7? What happened to 6? Heck if I know. I can't even recall what was on it, made in an uncertain time where I still relied on P2P sources, but with diminishing returns. Shortly after this one, my financial situation hit an all-time low, and I was forced to pawn off my CD collection for ramen noodles just to get by. I wasn't too choked to see those discs go, but a few had assorted tracks I wanted to keep for future use in these compilations. And now they're lost as well, lost, lost...
Well, not quite. That Justin Scott Dixon track, Pure, ended up on a future Mixed Goods without me even realizing it, which is doubly-funny since I already had the track on Sasha & Digweed's Northern Exposure 3. In fact, I think this is an exact rip from that set. Why on Earth did I even want that track so much? Sure, it was one of the few tunes in the back pages of Muzik Magazine I could nab, but it's not that good out of context.
Ah, I'm sure most of ya'll haven't even noticed Pure in the track list above. Yes, that's ResuRection you see, and yes, I unashamedly adore that track! Overlong breakdown aside, it's such a deliciously old-school sounding tune, I was stunned it even became the hit it was. Maybe it would usher in a new dawn of classic trance, one no longer reliant on Dutch supersaws and- oh, you naive little darling, 2002 Sykonee!
Aside from MJ Cole’s remix of Dido’s Hunter (was curious to hear what the deal with MJ Cole was ...wasn’t impressed) and another classic Biosphere cut (please point me to affordable copies of his early albums!), Mixed Goods VII follows a similar structure to those that came before: mix of house, techno, and prog. This one’s mostly prog though, as it was often easiest to find on WinMX, what with all those prog DJ mixes coming out in 2002. Oh, and in case you’re wondering, that’s not psy-trance act Total Eclipse doing a rub on Jamie Anderson’s Black Sun; rather, a play on words for a darker version of the funky house original.
Mixed Goods VII is alright, but a cynical ear isn’t difficult to form playing this CD, much of it drab and plodding. For as much as I enjoyed ‘dark prog’, what came recommended and what I could find just wasn’t cutting it. Fortunately, things turned around by the time I got to gathering it again.
Wednesday, March 12, 2014
Tuesday, March 11, 2014
Various - Mixed Goods V
(~): 2002
TRACK LIST:
1. Jacob London - Slom Time
2. D.A.V.E. The Drummer - Strictly Underground
3. D.A.V.E. The Drummer - Implant (Acid Techno Is Alive)
4. Brancaccio & Aisher - It’s Gonna Be… (A Lovely Day)
5. Ubu - Pixels
6. The Bangin’ Drummer - To The Underground (Vox Mix)
7. Danny Tenaglia vs X-Press 2 - Elements Vs Smoke Machine (Mayor’s Mix)
8. Derler & Kitzling - Nuclear Device
9. BPT - Moody (Future Shock Mix)
10. D.A.V.E. The Drummer - Evil Acid
When I initially made all these burned CDs, they’d all go into a simple, thin jewel case with hand-written tracks lists. It wasn't until I got the dodge out of interior British Columbia poverty and hands on a decent printer that I could do any spiffy labeling. Being endlessly nostalgic for early '90s CGI art, I scoured the interwebs for such examples. Every cover for Mixed Goods was culled from online galleries, and I kind of wish I'd kept the original artists' credits for them, as some of them are damned good, even making the discs aesthetically better than they really are.
Like Mixed Goods V!
I had ‘underground’ in the track list twice, plus all sorts of pummeling acid techno and chugging, basement tribal house (prog!), so I figured something appropriately properly reflecting that sound was required. I was also getting better at developing these covers, placing text, toying with fonts, and all that. Mixed Goods V may not have the best tunes out of my series, but as a complete package, I think its tops. Heck, even the CD label has unique charm.
Music wise, there aren’t that many surprises, as I was only just re-gathering up new material. Unfortunately for broke-as-fuck music enthusiasts, AudioGalaxy had just recently shut down, and most were left scrambling for alternatives. WinMX sufficed at the time, though was leagues behind in finding the specialist stuff. Suddenly all those wonderful MP3 rips of Muzik Magazine recommendations were gone, left with tons of D.A.V.E. The Drummer instead. Huh, okay.
Well, ol’ D.A.V.E. wasn’t too bad for acid techno (Implan still kicks), but I’m sure you’re all more interested in that Elements/Smoke Machine mash-up. Ah, it’s totally a bust, the entirety of Elements playing in whole, immediately followed by the entirety of Smoke Machine played in whole. Oh look, someone noticed Smoke Machine uses part of the vocal of Elements in its track. You so clever, bootlegger! Ah well, it makes for a nice companion piece in this CD, coming off the Tenaglia inspired (rip-off?) To The Underground from Bangin’ Drummer and into the anthem techno (!?) of Nuclear Device. Funky house jams from Jacob London and Branaccacio & Aisher, plus fine prog slices from Ubu and BPT (yes, this is the best remix of Moody), and you have a surprisingly well rounded CD of underground flavoured tunes. In fact, of the Mixed Goods I still have, V hits the peak.
TRACK LIST:
1. Jacob London - Slom Time
2. D.A.V.E. The Drummer - Strictly Underground
3. D.A.V.E. The Drummer - Implant (Acid Techno Is Alive)
4. Brancaccio & Aisher - It’s Gonna Be… (A Lovely Day)
5. Ubu - Pixels
6. The Bangin’ Drummer - To The Underground (Vox Mix)
7. Danny Tenaglia vs X-Press 2 - Elements Vs Smoke Machine (Mayor’s Mix)
8. Derler & Kitzling - Nuclear Device
9. BPT - Moody (Future Shock Mix)
10. D.A.V.E. The Drummer - Evil Acid
When I initially made all these burned CDs, they’d all go into a simple, thin jewel case with hand-written tracks lists. It wasn't until I got the dodge out of interior British Columbia poverty and hands on a decent printer that I could do any spiffy labeling. Being endlessly nostalgic for early '90s CGI art, I scoured the interwebs for such examples. Every cover for Mixed Goods was culled from online galleries, and I kind of wish I'd kept the original artists' credits for them, as some of them are damned good, even making the discs aesthetically better than they really are.
Like Mixed Goods V!
I had ‘underground’ in the track list twice, plus all sorts of pummeling acid techno and chugging, basement tribal house (prog!), so I figured something appropriately properly reflecting that sound was required. I was also getting better at developing these covers, placing text, toying with fonts, and all that. Mixed Goods V may not have the best tunes out of my series, but as a complete package, I think its tops. Heck, even the CD label has unique charm.
Music wise, there aren’t that many surprises, as I was only just re-gathering up new material. Unfortunately for broke-as-fuck music enthusiasts, AudioGalaxy had just recently shut down, and most were left scrambling for alternatives. WinMX sufficed at the time, though was leagues behind in finding the specialist stuff. Suddenly all those wonderful MP3 rips of Muzik Magazine recommendations were gone, left with tons of D.A.V.E. The Drummer instead. Huh, okay.
Well, ol’ D.A.V.E. wasn’t too bad for acid techno (Implan still kicks), but I’m sure you’re all more interested in that Elements/Smoke Machine mash-up. Ah, it’s totally a bust, the entirety of Elements playing in whole, immediately followed by the entirety of Smoke Machine played in whole. Oh look, someone noticed Smoke Machine uses part of the vocal of Elements in its track. You so clever, bootlegger! Ah well, it makes for a nice companion piece in this CD, coming off the Tenaglia inspired (rip-off?) To The Underground from Bangin’ Drummer and into the anthem techno (!?) of Nuclear Device. Funky house jams from Jacob London and Branaccacio & Aisher, plus fine prog slices from Ubu and BPT (yes, this is the best remix of Moody), and you have a surprisingly well rounded CD of underground flavoured tunes. In fact, of the Mixed Goods I still have, V hits the peak.
Labels:
2002,
Burned CDs,
Compilation,
house,
prog,
techno
Monday, March 10, 2014
Various - Mixed Goods IV
(~): 2002
TRACK LIST:
1. BPT - Moody (Pete Heller's 'Stylus' Vocal Mix)
2. Quirk - Soft Focus (Hyperion Mix)
3. Quirk - Yebo
4. Funk D'Void - Diabla
5. Chris Carter - Plex
6. Andy C & Shimon - Body Rock (Live)
7. Matrix & Fierce - Tearaway
8. Psychick Warriors Ov Gaia - Dust
9. Soul Grabber - Release
10. Plank 15 - Strings Of Life (Pete Heller's Strings Of Dub)
11. Kosheen vs. DJ Tiësto - Hidden Flight (Windsidor Bootleg Mix)
The title Mixed Goods truly is awful grammatically, though intentionally so. Something of an inside joke among my old 'Rupert Raver' crew, we (mostly two or three chaps not me) had a tendency to invent slang almost on a daily basis. It definitely started well before I joined up with them (I was a drifter before finding musically like-minded peers), and Lord help me, did I ever endlessly crack up to some of the nonsense that'd come from their mouths. Their slang war grew incredibly competitive, always attempting to outwit the last clever comeback, and ofttimes rendering simple discussion an impenetrable haze of jargon. As I still had close ties to that crew while I was making these CDs, some of the lingo remained a part of mine own, “goods” such an example. Yeah, it's not terribly difficult deciphering that one, but then I figured only they would ever see these anyway.
Okay, I’m honestly just burning word count here because Mixed Goods IV is quite a mess. By the time I got to making it, I was down to leftovers for MP3 choices, most of the best stuff already burned to personal compilation series (this one, Klassic Kickbacks, Breakz & Bass, Chilled Kutz ...ooh, mint material there!) or feature discs, typically of a specific genre or artist. I likely could have waited for more Muzik Magazine recommendations, but I needed hard-drive space for more music (my old-old computer only had 2.6 GB!). So onto Mixed Goods IV these oddities went.
There’s a fair bit of prog on here, though seeing Pete Heller’s name shouldn’t surprise of that. Perhaps more surprising is psy-trance act Quirk also getting in on that prog action; guess it was a bid to stay relevant, and ultimately failed since the duo folded shortly after these were released. A few excess cuts from my Breakz & Bass series also show up, though only Matrix & Fierce’s Tearaway is any good (and kinda’ stuck in post-Bad Company dark-neuro-step-funk-whatever sound). Chris Carter’s Plex is a weird nu-school breaks thing, and everyone knows Body Rock; all I could find was a crummy internet rip to sate my curiosity over the ‘clownstep classic’.
I guess the rest of these tracks were gathered to sate curiosity too; obviously so the Kosheen/Tiësto mashup, but also Funk D’Void’s nasty techno beast Diabla. Bet that track would scare the piss out of today’s festival circuit. Also, I really ought to hunt down proper copies of Pychick Warriors Ov Gaia’s music, shouldn’t I?
TRACK LIST:
1. BPT - Moody (Pete Heller's 'Stylus' Vocal Mix)
2. Quirk - Soft Focus (Hyperion Mix)
3. Quirk - Yebo
4. Funk D'Void - Diabla
5. Chris Carter - Plex
6. Andy C & Shimon - Body Rock (Live)
7. Matrix & Fierce - Tearaway
8. Psychick Warriors Ov Gaia - Dust
9. Soul Grabber - Release
10. Plank 15 - Strings Of Life (Pete Heller's Strings Of Dub)
11. Kosheen vs. DJ Tiësto - Hidden Flight (Windsidor Bootleg Mix)
The title Mixed Goods truly is awful grammatically, though intentionally so. Something of an inside joke among my old 'Rupert Raver' crew, we (mostly two or three chaps not me) had a tendency to invent slang almost on a daily basis. It definitely started well before I joined up with them (I was a drifter before finding musically like-minded peers), and Lord help me, did I ever endlessly crack up to some of the nonsense that'd come from their mouths. Their slang war grew incredibly competitive, always attempting to outwit the last clever comeback, and ofttimes rendering simple discussion an impenetrable haze of jargon. As I still had close ties to that crew while I was making these CDs, some of the lingo remained a part of mine own, “goods” such an example. Yeah, it's not terribly difficult deciphering that one, but then I figured only they would ever see these anyway.
Okay, I’m honestly just burning word count here because Mixed Goods IV is quite a mess. By the time I got to making it, I was down to leftovers for MP3 choices, most of the best stuff already burned to personal compilation series (this one, Klassic Kickbacks, Breakz & Bass, Chilled Kutz ...ooh, mint material there!) or feature discs, typically of a specific genre or artist. I likely could have waited for more Muzik Magazine recommendations, but I needed hard-drive space for more music (my old-old computer only had 2.6 GB!). So onto Mixed Goods IV these oddities went.
There’s a fair bit of prog on here, though seeing Pete Heller’s name shouldn’t surprise of that. Perhaps more surprising is psy-trance act Quirk also getting in on that prog action; guess it was a bid to stay relevant, and ultimately failed since the duo folded shortly after these were released. A few excess cuts from my Breakz & Bass series also show up, though only Matrix & Fierce’s Tearaway is any good (and kinda’ stuck in post-Bad Company dark-neuro-step-funk-whatever sound). Chris Carter’s Plex is a weird nu-school breaks thing, and everyone knows Body Rock; all I could find was a crummy internet rip to sate my curiosity over the ‘clownstep classic’.
I guess the rest of these tracks were gathered to sate curiosity too; obviously so the Kosheen/Tiësto mashup, but also Funk D’Void’s nasty techno beast Diabla. Bet that track would scare the piss out of today’s festival circuit. Also, I really ought to hunt down proper copies of Pychick Warriors Ov Gaia’s music, shouldn’t I?
Labels:
2002,
breaks,
Burned CDs,
Compilation,
jungle,
prog,
techno
Sunday, March 9, 2014
Various - Mixed Goods III
(~): 2002
TRACK LIST:
1. Noiseshaper - The Only Redeemer (Flag Finger Mix)
2. Frankie Knuckles - Keep On Moving (The One Mix)
3. Sven Van Hees - Psychedelic Bellydancing
4. Wally Lopez & Dr. Kucho - Patricia Never Leaves The House
5. DJ GoGo - Sayna (Version 1)
6. Sven Van Hees - Serrano Anthem
7. Nigel Hayes - Que Pasa
8. Mateo Murphy - Love Express
9. Tom Wax & Jan Jacarta - Wormhole
10. Glenn Wilson - Release
11. Mateo Murphy - Impact
12. Tom Wax - …And Then It Hit Me
This was my stab at making a Balearic compilation. It didn’t quite work out, mainly because I ran out of Balearic music far too soon. It actually still makes for a decent ‘night out at Ibiza’ themed CD; at least I assume since I’ve never been to the tourist trap of an island. Laid back deep house to start, moving onto groovier, upbeat stuff like tech-house (no, it really was groovier back in the day!), some culturally tinged tunes as you wander the terrace to the next club, and finally settling on pummeling 4am techno to finish the night off.
If anyone’s paid attention to the previous burned CD’s I’ve ‘reviewed’, you’ll notice a couple familiar names already. Noiseshaper’s The Only Redeemer makes another appearance, a single that was heavily promoted during Quango Records’ re-launch in 2001. This Flag Finger mix, a short version of the reggae-dub house tune, doesn’t appear anywhere at Lord Discogs. Man, did P2P programs return some odd results back in the day. There’s also DJ GoGo’s Sayna again, though this version isn’t as mundane as the Dark Prog one – there’s an actual synth hook near the end, though minor. And here’s Sven van Hees, whom I raided quite a bit from Audio Galaxy for, almost entirely based on the cool track names. Most of the music I got from him went on chill-out CDs I made, Serrano Anthem is definitely in this vein (a mid-CD bliss-out moment), but Psychedelic Bellydance is… tribal-reggae techno? Awesome, is what it is; just awesome.
Nigel Hayes’ Que Pasa also has an upbeat, Balearic vibe going for it, though with a few jazzy guitar and saxophone licks thrown in. After that, techno, man, all techno. Well, not quite. Wormhole is definitely not techno, in fact rather out of place as a ’97 slice of trance surrounded by Mateo Murphy and Glenn Wilson tracks. I do recall stumbling across it when searching for Tom Wax’s …And Then It Hit Me, a tune I just had to hear after learning it was another ‘storytime techno’ tune (think The Horrorist’s One Night In N.Y.C.). Oh yeah, I’ve definitely been where this narrator’s been… once.
Listening back on this, Mixed Goods III has held up remarkably well, if I do say so myself. Shame hardly any of these tunes are available at Amazon’s MP3 store. Who knew this music would turn out so rare a decade on.
TRACK LIST:
1. Noiseshaper - The Only Redeemer (Flag Finger Mix)
2. Frankie Knuckles - Keep On Moving (The One Mix)
3. Sven Van Hees - Psychedelic Bellydancing
4. Wally Lopez & Dr. Kucho - Patricia Never Leaves The House
5. DJ GoGo - Sayna (Version 1)
6. Sven Van Hees - Serrano Anthem
7. Nigel Hayes - Que Pasa
8. Mateo Murphy - Love Express
9. Tom Wax & Jan Jacarta - Wormhole
10. Glenn Wilson - Release
11. Mateo Murphy - Impact
12. Tom Wax - …And Then It Hit Me
This was my stab at making a Balearic compilation. It didn’t quite work out, mainly because I ran out of Balearic music far too soon. It actually still makes for a decent ‘night out at Ibiza’ themed CD; at least I assume since I’ve never been to the tourist trap of an island. Laid back deep house to start, moving onto groovier, upbeat stuff like tech-house (no, it really was groovier back in the day!), some culturally tinged tunes as you wander the terrace to the next club, and finally settling on pummeling 4am techno to finish the night off.
If anyone’s paid attention to the previous burned CD’s I’ve ‘reviewed’, you’ll notice a couple familiar names already. Noiseshaper’s The Only Redeemer makes another appearance, a single that was heavily promoted during Quango Records’ re-launch in 2001. This Flag Finger mix, a short version of the reggae-dub house tune, doesn’t appear anywhere at Lord Discogs. Man, did P2P programs return some odd results back in the day. There’s also DJ GoGo’s Sayna again, though this version isn’t as mundane as the Dark Prog one – there’s an actual synth hook near the end, though minor. And here’s Sven van Hees, whom I raided quite a bit from Audio Galaxy for, almost entirely based on the cool track names. Most of the music I got from him went on chill-out CDs I made, Serrano Anthem is definitely in this vein (a mid-CD bliss-out moment), but Psychedelic Bellydance is… tribal-reggae techno? Awesome, is what it is; just awesome.
Nigel Hayes’ Que Pasa also has an upbeat, Balearic vibe going for it, though with a few jazzy guitar and saxophone licks thrown in. After that, techno, man, all techno. Well, not quite. Wormhole is definitely not techno, in fact rather out of place as a ’97 slice of trance surrounded by Mateo Murphy and Glenn Wilson tracks. I do recall stumbling across it when searching for Tom Wax’s …And Then It Hit Me, a tune I just had to hear after learning it was another ‘storytime techno’ tune (think The Horrorist’s One Night In N.Y.C.). Oh yeah, I’ve definitely been where this narrator’s been… once.
Listening back on this, Mixed Goods III has held up remarkably well, if I do say so myself. Shame hardly any of these tunes are available at Amazon’s MP3 store. Who knew this music would turn out so rare a decade on.
Labels:
2002,
Balearic,
Burned CDs,
Compilation,
deep house,
prog,
tech-house,
techno,
trance
Saturday, March 8, 2014
Various - Mixed Goods II
(~): 2002
TRACK LIST:
1. Space Frog - (X-Ray) Follow Me (Funky Mix)
2. Dance 2 Trance - Power Of American Natives ’98 (DJ Scot Project Remix)
3. Komakino - Man On Mars
4. Tilt featuring Maria Nayler - Headstrong (Blades G. Remix)
5. Jam & Spoon - Be Angeled (Paul van Dyk Club Mix)
6. Final Fantasy - Controlling Transmission 2001
7. Psychick Warriors Ov Gaia - Exit (Drum Club Mix)
8. Biosphere - Novelty Waves
9. Slam - Alien Radio
10. Skylab 2000 - Higher
11. Space Frog - (X-Ray) Follow Me (Pants & Corset Remix)
No, really, I still had a touch of the trancecracker in me even by 2002. It was a very, very, very small amount lurking, probably hiding behind the spleen with any post-’96 euro-dance, hoping the invading electroclash couldn’t flush it out, but it was there. Well damn it, I had to purge it somehow, and if making my second volume of Mixed Goods a total cheese-trance fest was the only way to do it, so be it!
Okay, this isn’t that cheesy. I’d gathered an odd assortment of euro-trance though, and definitely knew I wanted some of the most shameless stuff on Mixed Goods II. Balancing it out at the other end were some ‘proper-trance’ tunes like Exit from PWoG (more of a dub tribal thing) and Biosphere’s classic bleep-techno tune Novelty Waves. Slam’s Alien Radio had more in common with techno (with spa-a-a-ace sounds!), but I liked the tune, so in it went as well. After that, Skylab2000…
Okay, anyone remember these guys? This track Higher is more of an old-school rave tune, and for the life of me I can’t recall where I got it from. My best guess is MP3.com, but I also recall some mass MP3 giveaway from a new electronic music magazine with a website tie in. Oh, early ‘00s, with your wacky internet gimmicks. I wish I could recall that one better.
Back to Mixed Goods II, the first half of this CD isn’t as corny as you might expect. Space Frog’s Follow Me was an undeniable hit in anthem loving circles, few able to resist that ‘call to arms’ vocal and stomping synth hook, and was regular weapon in Oakenfold’s Cream days. Naturally with any trance-associated hit, a pile of pointless remixes came out 2002, the Pants & Corset one the best of the lot; the Funky Mix is mislabeled, but I like it enough as an introduction to the forthcoming cheese. Amazingly, Scot Project’s remix of P.oA.N. is quite restrained from what you’d expect of the hard trance DJ – there’s pounding kicks and overlong builds, sure, but no blaring synths, my friends. As for a 2001 remix of Final Fantasy’s Controlling Transmission, well hey, it’s me. Not as good as the original though.
And that’s the end of this one. Honestly, about the only thing memorable about Mixed Goods II is the cover. I’d have bought more Trance Divas if they’d come packaged like that!
TRACK LIST:
1. Space Frog - (X-Ray) Follow Me (Funky Mix)
2. Dance 2 Trance - Power Of American Natives ’98 (DJ Scot Project Remix)
3. Komakino - Man On Mars
4. Tilt featuring Maria Nayler - Headstrong (Blades G. Remix)
5. Jam & Spoon - Be Angeled (Paul van Dyk Club Mix)
6. Final Fantasy - Controlling Transmission 2001
7. Psychick Warriors Ov Gaia - Exit (Drum Club Mix)
8. Biosphere - Novelty Waves
9. Slam - Alien Radio
10. Skylab 2000 - Higher
11. Space Frog - (X-Ray) Follow Me (Pants & Corset Remix)
No, really, I still had a touch of the trancecracker in me even by 2002. It was a very, very, very small amount lurking, probably hiding behind the spleen with any post-’96 euro-dance, hoping the invading electroclash couldn’t flush it out, but it was there. Well damn it, I had to purge it somehow, and if making my second volume of Mixed Goods a total cheese-trance fest was the only way to do it, so be it!
Okay, this isn’t that cheesy. I’d gathered an odd assortment of euro-trance though, and definitely knew I wanted some of the most shameless stuff on Mixed Goods II. Balancing it out at the other end were some ‘proper-trance’ tunes like Exit from PWoG (more of a dub tribal thing) and Biosphere’s classic bleep-techno tune Novelty Waves. Slam’s Alien Radio had more in common with techno (with spa-a-a-ace sounds!), but I liked the tune, so in it went as well. After that, Skylab2000…
Okay, anyone remember these guys? This track Higher is more of an old-school rave tune, and for the life of me I can’t recall where I got it from. My best guess is MP3.com, but I also recall some mass MP3 giveaway from a new electronic music magazine with a website tie in. Oh, early ‘00s, with your wacky internet gimmicks. I wish I could recall that one better.
Back to Mixed Goods II, the first half of this CD isn’t as corny as you might expect. Space Frog’s Follow Me was an undeniable hit in anthem loving circles, few able to resist that ‘call to arms’ vocal and stomping synth hook, and was regular weapon in Oakenfold’s Cream days. Naturally with any trance-associated hit, a pile of pointless remixes came out 2002, the Pants & Corset one the best of the lot; the Funky Mix is mislabeled, but I like it enough as an introduction to the forthcoming cheese. Amazingly, Scot Project’s remix of P.oA.N. is quite restrained from what you’d expect of the hard trance DJ – there’s pounding kicks and overlong builds, sure, but no blaring synths, my friends. As for a 2001 remix of Final Fantasy’s Controlling Transmission, well hey, it’s me. Not as good as the original though.
And that’s the end of this one. Honestly, about the only thing memorable about Mixed Goods II is the cover. I’d have bought more Trance Divas if they’d come packaged like that!
Friday, March 7, 2014
Various - Mixed Goods 1
(~): 2002
TRACK LIST:
1. Jam & Spoon - Be Angeled (Tweaker Mix)
2. Tendroid - Trendication To House
3. 2 Unlimited - Get Ready For This 2001 (Robbie Rivera White Label Mix 1)
4. Mark Ambrose - Destiny Angel
5. FPU - Crockett’s Theme (Tiga’s White Linen Remix)
6. Bushwacka! - Chorus
7. 2 Unlimited - No Limit 2000 (Razor & Guido Dub Remix)
8. Noiseshaper - The Only Redeemer (Needs Mix)
9. Mondo Grosso - Star Suite (Shelter Vocal Mix)
Mixed Goods was my main burned CD series; essentially where I shoved my current house, techno, trance, prog, and a few other assorted additions. I tried maintaining specific stylistic themes with each CD, and sometimes it worked out, but as I began running out of material, the later volumes turned incredibly hodgepodge. Just as well I lost a bunch of those. Out of sixteen Mixed Goods I made, only ten survive now, and even then half the CDs have oxidized (why didn’t anyone tell us these things about CDRs?). Most of the tunes I got for these were nabbed off AudioGalaxy or WinMX, typically after reading the back pages of Muzik Magazine and seeing what I could even find from their chart lists. Clearly I have no need for such antics now, but back then, I was broke, on the dole, and living nowhere near decent music shops. It was all I had to stay current on electronic music, so you’ll forgive a little sentimentality on my part as I now review my collection of Mixed Goods. Wait, where are you going?
Ah, forget those guys. Those that stayed, thanks man! Eh, what’s with the tracklist above? Well, wouldn’t you know it, quite a few of the tunes I gathered up for these collections are difficult to find now. Something like a (pre-shit) Robbie Rivera white label remix of 2 Unlimited, that makes sense, but dang, I had no idea Bushwacka!’s bouncy Afro-house Chorus would be too. Since the odds of making any respectable Amazon Playlist out of these tracklists is unlikely for music so old, I’m offering up the tracklist for these if you’re interested enough to scour the web for the tunes yourselves.
Okay, enough pre-amble. Mixed Goods 1 was my stab at a ‘funky, deep, classy house’ collection. Yes, even with a pair of 2 Unlimited tracks on it, though admittedly the Razor & Guido remix is more of an anthem house thing. Tracks like Mark Ambrose’s Destiny Angel and Tendroid’s Trendication To House Music are likely forgotten now, but house legend Blaze’s go at Mondo Grosso’s Star Suite’s a classic; sixteen minutes of groovy, shuffly jazz-garage with a never-ending empowerment monolog. Yeah, that’s some classy shit, mofos. Makes you even forget the CD opened with the corny Be Angeled from Jam & Spoon. Why would that even be made into a house track anyway? Jam & Spoon’s trance, no matter how pop they were going at the time. Give that track to Paul van Dyk or something.
TRACK LIST:
1. Jam & Spoon - Be Angeled (Tweaker Mix)
2. Tendroid - Trendication To House
3. 2 Unlimited - Get Ready For This 2001 (Robbie Rivera White Label Mix 1)
4. Mark Ambrose - Destiny Angel
5. FPU - Crockett’s Theme (Tiga’s White Linen Remix)
6. Bushwacka! - Chorus
7. 2 Unlimited - No Limit 2000 (Razor & Guido Dub Remix)
8. Noiseshaper - The Only Redeemer (Needs Mix)
9. Mondo Grosso - Star Suite (Shelter Vocal Mix)
Mixed Goods was my main burned CD series; essentially where I shoved my current house, techno, trance, prog, and a few other assorted additions. I tried maintaining specific stylistic themes with each CD, and sometimes it worked out, but as I began running out of material, the later volumes turned incredibly hodgepodge. Just as well I lost a bunch of those. Out of sixteen Mixed Goods I made, only ten survive now, and even then half the CDs have oxidized (why didn’t anyone tell us these things about CDRs?). Most of the tunes I got for these were nabbed off AudioGalaxy or WinMX, typically after reading the back pages of Muzik Magazine and seeing what I could even find from their chart lists. Clearly I have no need for such antics now, but back then, I was broke, on the dole, and living nowhere near decent music shops. It was all I had to stay current on electronic music, so you’ll forgive a little sentimentality on my part as I now review my collection of Mixed Goods. Wait, where are you going?
Ah, forget those guys. Those that stayed, thanks man! Eh, what’s with the tracklist above? Well, wouldn’t you know it, quite a few of the tunes I gathered up for these collections are difficult to find now. Something like a (pre-shit) Robbie Rivera white label remix of 2 Unlimited, that makes sense, but dang, I had no idea Bushwacka!’s bouncy Afro-house Chorus would be too. Since the odds of making any respectable Amazon Playlist out of these tracklists is unlikely for music so old, I’m offering up the tracklist for these if you’re interested enough to scour the web for the tunes yourselves.
Okay, enough pre-amble. Mixed Goods 1 was my stab at a ‘funky, deep, classy house’ collection. Yes, even with a pair of 2 Unlimited tracks on it, though admittedly the Razor & Guido remix is more of an anthem house thing. Tracks like Mark Ambrose’s Destiny Angel and Tendroid’s Trendication To House Music are likely forgotten now, but house legend Blaze’s go at Mondo Grosso’s Star Suite’s a classic; sixteen minutes of groovy, shuffly jazz-garage with a never-ending empowerment monolog. Yeah, that’s some classy shit, mofos. Makes you even forget the CD opened with the corny Be Angeled from Jam & Spoon. Why would that even be made into a house track anyway? Jam & Spoon’s trance, no matter how pop they were going at the time. Give that track to Paul van Dyk or something.
Thursday, March 6, 2014
Thievery Corporation - The Mirror Conspiracy
4AD: 2000
Not to sound too up my own ass, but I was always a little smug around my peers in discovering Thievery Corporation before most of them. I shouldn’t be that smug, since I only found out about the Washington downtempo duo when 4AD, of all labels, redistributed their classic Sound From The Thievery Hi-Fi two years after it’d already come out on Thiev-Corp’s own Eighteenth Street Lounge Music. Dammit though, I was the first in my circle to find it, and it wasn’t until their sophomore album, The Mirror Conspiracy, that the duo broke out from underground-darling status with chill-out crossover potential. And for that, I… kinda lost the plot with them.
Not that I blame Garza and Hilton for refining the dubby, hip-hop groove they made for themselves - adopting Latin and jazz elements into a genre already filled with Jamaican and urban influences was a fine idea. They certainly proved capable of pulling it off, with tunes like Lebanese Blonde and So Come Voce getting tons of rotation on every loungey chill-out compilation that mattered (and then some).
The Mirror Conspiracy isn’t just some nifty bossa nova for smoky basements though, as oodles of ethnically diverse music finds its way throughout the album. Indra gets its bhangra on at points, plenty of Arabic nods crops up (Illumination,), the Hong Kong Triad sounds like it could have fit snuggly in a ‘60s mod movie, and even that Afro-Brazillian percussion style batacuda gets its nod in Air Batacuda …hehe, ‘batucada’. Nearly every track features some unique stylistic origin while always maintaining a distinct dubbed-out cool vibe that’s wholly the Thievery Corporation’s. It’s just a shame so many of them are too damned short.
Perhaps I was spoiled by the lengthier tunes on their first album, but longer running time would make the songs on The Mirror Conspiracy so much more immersive. I want to get lost in Samba Tranquille’s blissy shuffle for longer than three minutes. I want to forever float on rivers of funky dub with Tomorrow. And what the Hell, Bebel Gilberto doesn’t even get three minutes at providing a soulful croon in So Com Voce? A few cuts do offer reasonable length – tribal Illumination, jazzy Focus On Sight clock in over four minutes, and Indra gets a whopping five-plus to strut her stuff (whoa, what is this, prog?). Considering, at thirteen tracks, the The Mirror Conspiracy runs well less of an hour, there wasn’t any reason for Garza and Hilton to indulge themselves a little - unless these were intended as radio-friendly versions, trotted out for easy licensing. Given how many songs did end up on compilations and chill-out mixes, maybe so.
I won’t go so far as to call Thiev-Corp’s newer style ‘pop’, but it is far more accessible for mass audiences compared to many other downtempo artists of similar ilk. Fair enough if that’s their goal (and judging by their follow-up albums, it was), but it wasn’t for me. Solid live shows though!
Not to sound too up my own ass, but I was always a little smug around my peers in discovering Thievery Corporation before most of them. I shouldn’t be that smug, since I only found out about the Washington downtempo duo when 4AD, of all labels, redistributed their classic Sound From The Thievery Hi-Fi two years after it’d already come out on Thiev-Corp’s own Eighteenth Street Lounge Music. Dammit though, I was the first in my circle to find it, and it wasn’t until their sophomore album, The Mirror Conspiracy, that the duo broke out from underground-darling status with chill-out crossover potential. And for that, I… kinda lost the plot with them.
Not that I blame Garza and Hilton for refining the dubby, hip-hop groove they made for themselves - adopting Latin and jazz elements into a genre already filled with Jamaican and urban influences was a fine idea. They certainly proved capable of pulling it off, with tunes like Lebanese Blonde and So Come Voce getting tons of rotation on every loungey chill-out compilation that mattered (and then some).
The Mirror Conspiracy isn’t just some nifty bossa nova for smoky basements though, as oodles of ethnically diverse music finds its way throughout the album. Indra gets its bhangra on at points, plenty of Arabic nods crops up (Illumination,
Perhaps I was spoiled by the lengthier tunes on their first album, but longer running time would make the songs on The Mirror Conspiracy so much more immersive. I want to get lost in Samba Tranquille’s blissy shuffle for longer than three minutes. I want to forever float on rivers of funky dub with Tomorrow. And what the Hell, Bebel Gilberto doesn’t even get three minutes at providing a soulful croon in So Com Voce? A few cuts do offer reasonable length – tribal Illumination, jazzy Focus On Sight clock in over four minutes, and Indra gets a whopping five-plus to strut her stuff (whoa, what is this, prog?). Considering, at thirteen tracks, the The Mirror Conspiracy runs well less of an hour, there wasn’t any reason for Garza and Hilton to indulge themselves a little - unless these were intended as radio-friendly versions, trotted out for easy licensing. Given how many songs did end up on compilations and chill-out mixes, maybe so.
I won’t go so far as to call Thiev-Corp’s newer style ‘pop’, but it is far more accessible for mass audiences compared to many other downtempo artists of similar ilk. Fair enough if that’s their goal (and judging by their follow-up albums, it was), but it wasn’t for me. Solid live shows though!
Labels:
2000,
4AD,
album,
downtempo,
dub,
nu-jazz,
Thievery Corporation,
world beat
Wednesday, March 5, 2014
Various - min2MAX (Original TC Review)
M_nus: 2006
(2014 Update:
If this music is so minimal, then why is this review so maximal, AMIRITE!!?? Wow... I mean, just wow. How did I ever manage 1,200 words for this one? Right, a good four-hundred is spent at the start getting TranceCritic's reader-base caught up on what the whole minimal craze was about. We were just under a year late in doing so, but it needed addressing, and I was lucky enough to spot an eye-catching cover in the local HMV megastore that had a bunch of the music on it. Besides, it was a fresh stylistic movement that deserved some attention. Surely something like minimal would remain just a short-term fad though, one kept in underground, off-road events; nothing this gimmicky could endure and infest nearly every other genre and club for too long, right? Haha ha.
Ah well, 2006 was the honeymoon year, and as such saw occasional clever works being put out. There's a few on here too, but Hawtin's iron-clad manifesto of what his assembled M_nus roster should sound like is incredibly apparent on this compilation. While Magda, Wink, and Heartthrob break free of his shackles, it's apparent the rest struggled to meet his standards, coming out with relatively forgotten works now. Except that JPLS track - its suckiness is forever burned upon my poor ears.)
IN BRIEF: More than meets the ear.
Now here’s a style of music that’s sparked some debate. Minimal techno, in all its unassuming-yet-pretentious history, has dug deeper trenches in the Genre Wars than nearly any other genre out there. By listening and even getting something out of minimal, you’re considered far more cultured in music than the commoners of the pop world; a worthy gauge to test your sonic intellect. If you can’t comprehend it, then you simply must be a simpleton, so why not just go scurry on back to your Scooter albums, Junior, while the grown-ups enjoy their forward-thinking music.
Truthfully, the minimal crowds have a point when they make such outlandish claims. This music is not going to hold your hand and lead you to insta-melodies or pummeling percussion. Instead, it demands your undivided attention to pick out its nuances; those with short-attention spans need not apply. A slight change in pitch or rhythmic variation can have the same impact as a sputtering synth in epic trance or roaring bassline in jungle. This is music mostly for the head rather than the body or soul.
Of course, there’s always the trap of trying to be too clever, and this is often where minimal stumbles with a casual fanbase. Like other kinds of head music (psy dub, nu-jazz, drone), the old cliché of ‘rewards paying attention’ is suited, but minimal has the annoying habit of never anteing up such a reward. Too often what you hear is what you get, and this can be frustrating for those who want something out of the music they listen to, even if it’s subtle.
Richie Hawtin has bridged the gap between party hedonism and stubborn pretensions better than anyone, and has become the poster boy for minimal’s mission to bring a sense of class back to clubland without losing the fun along the way. I can’t say for sure whether he’s succeeding or not, but hanging out with Sven Väth certainly seems to have lightened up the Windsor native. In the process, Plastikman has gone ahead and started a label, Minus, promoting his manifesto.
min2MAX showcases a bevy of Minus producers, each giving us their take on the minimal sound. I suppose if you’re new to this music, such an idea sounds frightfully dull. Who has the time to sit through an entire compilation of minute beats and sound? Actually, further listening on min2MAX revels a decent amount of diversity within minimal’s structure.
Heartthrob’s Baby Kate gets this show on the road with a simple groover as bleepy sounds and bouncy bass bobble about. It’s all very subtle sounding, but bits of volume tweaks and reverb tricks do keep things ever-shifting. Similarly, follow-up Scatter from Gaiser pulls the same stunt on its percussion while a deep bassline grumbles about and sparse, static sounds do weird things in the background. Listening to these, it’s pretty apparent these tracks are more interested in creating atmosphere than anything else. In this, it does succeed, but your enjoyment of it will probably stem from whether you like mechanical mood music.
However, even mood music can use some melodic substance at times, and Magda gives us it with Staring Contest. Yeah, the rhythms are slight, and there still aren’t any major hooks to be had, but with twinkling sounds echoing in the background, there’s still an air of benevolence to be had. It’s the kind of stuff you might expect to hear on a Drexciya release, as it contains that ‘underwater resonance’ the group was known for. Of course, it also helps Magda has crafted a rhythm that is actually rather funky for something so minimal.
Unfortunately, Konrad Black’s offering here shows what’s so wrong with this genre. You get some bobbling bass sounds and sparse rhythms, and that’s it for the duration. Sure, a couple effects or percussion switch-ups occur at points, but none of which do anything remotely interesting, causing the track to loop along uneventfully. At least Troy Pierce’s GVRL retains some of that lost interest with an acidy bassline that’s nicely tweaked as it loops, all the while bleepy sound effects and better percussion fill in the surroundings. It’s still not terribly enduring, but a better effort in creating some of that moody atmosphere that was apparent early in this compilation.
Now here’s an individual that’s made the most out of the least. Wink’s Higher State from back in the 90s was pretty much just a funky electro beat, time-stretched vocals, and an acid line that got tweaked and distorted like a rockin’ guitar solo. So what’s he got in store for us here? Maintaining min2MAX’s theme, it seems. Have To Get Back is yet another dark, moody excursion into minimal sounds and layered loops. However, Wink does keep the tension on a continuous climb, letting layers overlap each other with increasing frequency. Eventually, some danceable tribal rhythms make an appearance via distorted percussion, but it never erupts the way you might hope the name Wink would lead you to believe. Still, it’s an interesting track while it lasts.
Marc Houle and Niederflur provide a ‘minimal-at-opposite-ends’ segment with these next two tracks. The former’s kind of similar to Pierce’s go, with a wobbly acid bassline and housey rhythms that groove you as plinky electronic noises work their way around them; probably the most energetic song thus far (although that isn’t saying much). Meanwhile, z.B. goes the other way, getting as minimal as minimal gets. The bassline is a mere pulse, synth stabs break the gloom infrequently, and clicky noises worm about, creating a rather choking atmosphere. Actually, this is closer to dub techno than minimal, but the two aren’t that dissimilar when you break them down. Is it any good though? Not bad at all, provided you don’t get distracted from all the yummy mechanical resonance. Yeah, yeah... I likes me some dubby resonance.
“But enough with all this dark, moody, serious stuff,” you say. “Can’t minimal get its head out of its ass long enough to at least have a sense of humour?” Look no further than Tractile’s Unquenchable then. The sounds used here, plinky-plonky electronic stuff sounding like some sort of dwarf-sized factory, end up taking a goofier slant on things compared to what we’ve heard so far, and it’s certainly a welcome relief to see some fun injected into this compilation, even if it’s only just this once.
With that out of the way, min2MAX gets back to business as usual for the final stretch, with two good tracks of groovey, deep techno sounds (Victoria Station and Orchidee), and an utterly horrible track lodged between the two of them. Seriously, this... Twilite 7; what on Earth is this? It takes the plinky-plonk sounds of Unquenchable and puts them in the sparse production of z.B., with none of the charm of either. It shows off everything that minimal gets mocked about in spades, and is an unfortunate blemish on a rather decent compilation in general.
Yeah, this is a decent compilation, and I’m sure fans of this stuff will love it. The bigger question, though, is whether there’s enough substance here to sway the anti-minimal crowd to switch sides. Frankly, it all depends on whether you buy into the agenda min2MAX sets out to accomplish. As mentioned, the music on here is more for your mood rather than to make you move; it’s far better suited to sitting back and listening to despite a few booty-shakin’ worthy moments. Although I’m not a big indulger of the minimal sounds of techno, I have to admit I still found myself occasionally getting lost in the murky atmosphere of these tracks.
min2MAX gives a suitable balance of sounds for the curious. If you want to hear what the fuss regarding minimal is, this is a safe purchase.
(2014 Update:
If this music is so minimal, then why is this review so maximal, AMIRITE!!?? Wow... I mean, just wow. How did I ever manage 1,200 words for this one? Right, a good four-hundred is spent at the start getting TranceCritic's reader-base caught up on what the whole minimal craze was about. We were just under a year late in doing so, but it needed addressing, and I was lucky enough to spot an eye-catching cover in the local HMV megastore that had a bunch of the music on it. Besides, it was a fresh stylistic movement that deserved some attention. Surely something like minimal would remain just a short-term fad though, one kept in underground, off-road events; nothing this gimmicky could endure and infest nearly every other genre and club for too long, right? Haha ha.
Ah well, 2006 was the honeymoon year, and as such saw occasional clever works being put out. There's a few on here too, but Hawtin's iron-clad manifesto of what his assembled M_nus roster should sound like is incredibly apparent on this compilation. While Magda, Wink, and Heartthrob break free of his shackles, it's apparent the rest struggled to meet his standards, coming out with relatively forgotten works now. Except that JPLS track - its suckiness is forever burned upon my poor ears.)
IN BRIEF: More than meets the ear.
Now here’s a style of music that’s sparked some debate. Minimal techno, in all its unassuming-yet-pretentious history, has dug deeper trenches in the Genre Wars than nearly any other genre out there. By listening and even getting something out of minimal, you’re considered far more cultured in music than the commoners of the pop world; a worthy gauge to test your sonic intellect. If you can’t comprehend it, then you simply must be a simpleton, so why not just go scurry on back to your Scooter albums, Junior, while the grown-ups enjoy their forward-thinking music.
Truthfully, the minimal crowds have a point when they make such outlandish claims. This music is not going to hold your hand and lead you to insta-melodies or pummeling percussion. Instead, it demands your undivided attention to pick out its nuances; those with short-attention spans need not apply. A slight change in pitch or rhythmic variation can have the same impact as a sputtering synth in epic trance or roaring bassline in jungle. This is music mostly for the head rather than the body or soul.
Of course, there’s always the trap of trying to be too clever, and this is often where minimal stumbles with a casual fanbase. Like other kinds of head music (psy dub, nu-jazz, drone), the old cliché of ‘rewards paying attention’ is suited, but minimal has the annoying habit of never anteing up such a reward. Too often what you hear is what you get, and this can be frustrating for those who want something out of the music they listen to, even if it’s subtle.
Richie Hawtin has bridged the gap between party hedonism and stubborn pretensions better than anyone, and has become the poster boy for minimal’s mission to bring a sense of class back to clubland without losing the fun along the way. I can’t say for sure whether he’s succeeding or not, but hanging out with Sven Väth certainly seems to have lightened up the Windsor native. In the process, Plastikman has gone ahead and started a label, Minus, promoting his manifesto.
min2MAX showcases a bevy of Minus producers, each giving us their take on the minimal sound. I suppose if you’re new to this music, such an idea sounds frightfully dull. Who has the time to sit through an entire compilation of minute beats and sound? Actually, further listening on min2MAX revels a decent amount of diversity within minimal’s structure.
Heartthrob’s Baby Kate gets this show on the road with a simple groover as bleepy sounds and bouncy bass bobble about. It’s all very subtle sounding, but bits of volume tweaks and reverb tricks do keep things ever-shifting. Similarly, follow-up Scatter from Gaiser pulls the same stunt on its percussion while a deep bassline grumbles about and sparse, static sounds do weird things in the background. Listening to these, it’s pretty apparent these tracks are more interested in creating atmosphere than anything else. In this, it does succeed, but your enjoyment of it will probably stem from whether you like mechanical mood music.
However, even mood music can use some melodic substance at times, and Magda gives us it with Staring Contest. Yeah, the rhythms are slight, and there still aren’t any major hooks to be had, but with twinkling sounds echoing in the background, there’s still an air of benevolence to be had. It’s the kind of stuff you might expect to hear on a Drexciya release, as it contains that ‘underwater resonance’ the group was known for. Of course, it also helps Magda has crafted a rhythm that is actually rather funky for something so minimal.
Unfortunately, Konrad Black’s offering here shows what’s so wrong with this genre. You get some bobbling bass sounds and sparse rhythms, and that’s it for the duration. Sure, a couple effects or percussion switch-ups occur at points, but none of which do anything remotely interesting, causing the track to loop along uneventfully. At least Troy Pierce’s GVRL retains some of that lost interest with an acidy bassline that’s nicely tweaked as it loops, all the while bleepy sound effects and better percussion fill in the surroundings. It’s still not terribly enduring, but a better effort in creating some of that moody atmosphere that was apparent early in this compilation.
Now here’s an individual that’s made the most out of the least. Wink’s Higher State from back in the 90s was pretty much just a funky electro beat, time-stretched vocals, and an acid line that got tweaked and distorted like a rockin’ guitar solo. So what’s he got in store for us here? Maintaining min2MAX’s theme, it seems. Have To Get Back is yet another dark, moody excursion into minimal sounds and layered loops. However, Wink does keep the tension on a continuous climb, letting layers overlap each other with increasing frequency. Eventually, some danceable tribal rhythms make an appearance via distorted percussion, but it never erupts the way you might hope the name Wink would lead you to believe. Still, it’s an interesting track while it lasts.
Marc Houle and Niederflur provide a ‘minimal-at-opposite-ends’ segment with these next two tracks. The former’s kind of similar to Pierce’s go, with a wobbly acid bassline and housey rhythms that groove you as plinky electronic noises work their way around them; probably the most energetic song thus far (although that isn’t saying much). Meanwhile, z.B. goes the other way, getting as minimal as minimal gets. The bassline is a mere pulse, synth stabs break the gloom infrequently, and clicky noises worm about, creating a rather choking atmosphere. Actually, this is closer to dub techno than minimal, but the two aren’t that dissimilar when you break them down. Is it any good though? Not bad at all, provided you don’t get distracted from all the yummy mechanical resonance. Yeah, yeah... I likes me some dubby resonance.
“But enough with all this dark, moody, serious stuff,” you say. “Can’t minimal get its head out of its ass long enough to at least have a sense of humour?” Look no further than Tractile’s Unquenchable then. The sounds used here, plinky-plonky electronic stuff sounding like some sort of dwarf-sized factory, end up taking a goofier slant on things compared to what we’ve heard so far, and it’s certainly a welcome relief to see some fun injected into this compilation, even if it’s only just this once.
With that out of the way, min2MAX gets back to business as usual for the final stretch, with two good tracks of groovey, deep techno sounds (Victoria Station and Orchidee), and an utterly horrible track lodged between the two of them. Seriously, this... Twilite 7; what on Earth is this? It takes the plinky-plonk sounds of Unquenchable and puts them in the sparse production of z.B., with none of the charm of either. It shows off everything that minimal gets mocked about in spades, and is an unfortunate blemish on a rather decent compilation in general.
Yeah, this is a decent compilation, and I’m sure fans of this stuff will love it. The bigger question, though, is whether there’s enough substance here to sway the anti-minimal crowd to switch sides. Frankly, it all depends on whether you buy into the agenda min2MAX sets out to accomplish. As mentioned, the music on here is more for your mood rather than to make you move; it’s far better suited to sitting back and listening to despite a few booty-shakin’ worthy moments. Although I’m not a big indulger of the minimal sounds of techno, I have to admit I still found myself occasionally getting lost in the murky atmosphere of these tracks.
min2MAX gives a suitable balance of sounds for the curious. If you want to hear what the fuss regarding minimal is, this is a safe purchase.
Front Line Assembly - Millennium
Roadrunner Records: 1994
Bill Leeb swears it wasn’t a bandwagon jump, but it’s hard not to suspect so. Industrial rock was gaining traction within the rock world at large, an intriguing alternative for those burned out by grungey alternative rock clogging up the airwaves. It also didn’t hurt all those weird, piercing electronic noises made perfect soundtracks to cyberpunk movies and CD-ROM games (oh, early ‘90s…), a perfect bridge for the technologically savvy and metal-head types out there. Still, I’m willing to give him the benefit of doubt, he and Rhys Fulber taking Front Line Assembly out of the realms of pure EBM and closer to proper-rock territory. Their sound was due for a shake up, EBM coming off a tad dated in the wake of Nine Inch Nails’ The Downward Spiral.
Oops, I’m getting ahead of myself. Just in case you aren’t aware (hi, post-Silence Delerium fans!), Front Line Assembly was Bill Leeb’s main music project for a good decade before a side project of his grew even more popular. Along with Skinny Puppy (of whom he was once a member), Front 242, and Nitzer Ebb, he was instrumental in developing electronic body music as a dancier, purely electronic off-shoot of industrial. It gained popularity in underground clubs and the seedier side of dance culture, but as all things born of the ‘80s, the scene eventually fizzled out in the ‘90s as bands moved onto industrial rock or aggrotech (industrial techno!). Front Line Assembly were no exception, Millennium being their own take on guitar-infusion body music.
Only they kinda cheated in the process, sampling and replaying heavy metal riffs from Pantera, Sepultera, and Ministry as a complement to their EBM rhythms. Well, if that’s the way they’re gonna do it, may as well take from musically compatible sources. Ministry were already considered an industrial group (though more heavy rock than EBM or thrashing metal), while Pantera and Sepultera were incredibly groove-orientated with their riffage; a perfect complement, then.
It doesn’t always work, as tracks like Vigilante and Division Of A Criminal are too far outside of Front Line’s EBM comfort zone to sound like anything other than wonky attempts at industrial rock on their part (and let’s not get into the woeful go at ‘industrial-rap’ on Victim Of A Criminal). Nay, this fusion truly flies when we’re still dealing with good ol’ soaring synths, blistering electronics, thrilller movie samples, and those gloriously over-the-top, operatic, ear-wormy melodic passages; the cathartic bliss in the mechanized rage. I honestly can’t take it seriously (am I supposed to?), but it sure is fun getting swept into Leeb’s distorted, menacing singing in This Faith, Search And Destroy, and Liquid Separation. Plus, those chugging, funky guitars sound great in Surface Patterns, Plasma Springs, and titular cut Millennium.
At best, this album’s an experiment on Front Line’s part at taking their sound in a different direction. It doesn’t always hit (God, Victim is so stupid), but when it does, it ranks high among anything Leeb and Fulber’s made over the years.
Bill Leeb swears it wasn’t a bandwagon jump, but it’s hard not to suspect so. Industrial rock was gaining traction within the rock world at large, an intriguing alternative for those burned out by grungey alternative rock clogging up the airwaves. It also didn’t hurt all those weird, piercing electronic noises made perfect soundtracks to cyberpunk movies and CD-ROM games (oh, early ‘90s…), a perfect bridge for the technologically savvy and metal-head types out there. Still, I’m willing to give him the benefit of doubt, he and Rhys Fulber taking Front Line Assembly out of the realms of pure EBM and closer to proper-rock territory. Their sound was due for a shake up, EBM coming off a tad dated in the wake of Nine Inch Nails’ The Downward Spiral.
Oops, I’m getting ahead of myself. Just in case you aren’t aware (hi, post-Silence Delerium fans!), Front Line Assembly was Bill Leeb’s main music project for a good decade before a side project of his grew even more popular. Along with Skinny Puppy (of whom he was once a member), Front 242, and Nitzer Ebb, he was instrumental in developing electronic body music as a dancier, purely electronic off-shoot of industrial. It gained popularity in underground clubs and the seedier side of dance culture, but as all things born of the ‘80s, the scene eventually fizzled out in the ‘90s as bands moved onto industrial rock or aggrotech (industrial techno!). Front Line Assembly were no exception, Millennium being their own take on guitar-infusion body music.
Only they kinda cheated in the process, sampling and replaying heavy metal riffs from Pantera, Sepultera, and Ministry as a complement to their EBM rhythms. Well, if that’s the way they’re gonna do it, may as well take from musically compatible sources. Ministry were already considered an industrial group (though more heavy rock than EBM or thrashing metal), while Pantera and Sepultera were incredibly groove-orientated with their riffage; a perfect complement, then.
It doesn’t always work, as tracks like Vigilante and Division Of A Criminal are too far outside of Front Line’s EBM comfort zone to sound like anything other than wonky attempts at industrial rock on their part (and let’s not get into the woeful go at ‘industrial-rap’ on Victim Of A Criminal). Nay, this fusion truly flies when we’re still dealing with good ol’ soaring synths, blistering electronics, thrilller movie samples, and those gloriously over-the-top, operatic, ear-wormy melodic passages; the cathartic bliss in the mechanized rage. I honestly can’t take it seriously (am I supposed to?), but it sure is fun getting swept into Leeb’s distorted, menacing singing in This Faith, Search And Destroy, and Liquid Separation. Plus, those chugging, funky guitars sound great in Surface Patterns, Plasma Springs, and titular cut Millennium.
At best, this album’s an experiment on Front Line’s part at taking their sound in a different direction. It doesn’t always hit (God, Victim is so stupid), but when it does, it ranks high among anything Leeb and Fulber’s made over the years.
Tuesday, March 4, 2014
Fehrplay - Meow
Ministry Of Sound America: 2010
It’s a given that the PR blurbs that come with new singles are ridiculous. If you were to take them at face value, you’d swear every new tune was the greatest composition ever created. Of course, that ain’t true, but it can make for some hilarious reading whenever they overshoot. Sometimes, they’re so bold in their ambition that they’ll bestow ‘classic’ status upon a track well before it’s even had a chance to get properly rinsed out. Like this one.
Oh, Meow definitely has the potential to become a hit, even if it’s ballsy to declare it a WMC anthem nearly a month before the event even starts. Thing is Ferhplay has checked off (re: style-bitten) many of the things that has made many an Eric Prydz track a hit. The hook is instantly likeable, the beats have quality bounce, the supporting ‘piano’ chords will bob heads, and all the whooshy effects are tastefully done; then, it’s arranged such that the vibe never falters. There’s no new ground being broken here but with a track this shamelessly fun, does it matter? Certainly not, so Meow looks primed to be at least a minor hit for the main room crowds.
The B-side of this digital promo is
Then I stopped typing, stared at the computer screen, and asked myself, “Why am I still doing this? Nothing I write matters and all these free digi-EP promos I’m being sent won’t have any lasting impact upon electronic music. Fuck it. Fuck everything.”
Yes indeed, it was cynicism towards over-zealous PR that finally broke me, despite managing a few more reviews before truly quitting. It didn’t help I was suffering from multiple bouts of work and college related stress, relationship and financial depression, and just generally feeling poo at the time, but there it is - the honest-to-God impetus for giving up writing reviews about new music. I’m feeling better now, thankfully.
I imagine it’s a self-defeating, futile and sick, sick, sick environment, the world of promo-PR. How many times do copy-writers hype a track to the high ends of the Earth, only for said track to get completely passed by without a notice or care. Hell, Fehrplay’s Meow was one of the best ones of at least a dozen digi-promos I went through, hence why I tried writing a review for it, plus got picked up by Ministry Of Sound and Hed Kandi for compilation duty on all their major releases (Annual, Clubber’s Guide …Miami Fashion District?). Nor was I the only one to make the Prydz connection, as Jonas von der Fehr released his second single, Incognito, on Pryda Friends. Meow truly could have been a major hit like the promo guys claimed. Yet, do you remember this tune? For that matter, did you even know it existed, because Amazon.com sure doesn't.
Anyhow, to finish this four year aborted review, the B-side is titled Meow Again. It’s an electro-house version, and not as good as the original Meow. Yay, done, finished.
It’s a given that the PR blurbs that come with new singles are ridiculous. If you were to take them at face value, you’d swear every new tune was the greatest composition ever created. Of course, that ain’t true, but it can make for some hilarious reading whenever they overshoot. Sometimes, they’re so bold in their ambition that they’ll bestow ‘classic’ status upon a track well before it’s even had a chance to get properly rinsed out. Like this one.
Oh, Meow definitely has the potential to become a hit, even if it’s ballsy to declare it a WMC anthem nearly a month before the event even starts. Thing is Ferhplay has checked off (re: style-bitten) many of the things that has made many an Eric Prydz track a hit. The hook is instantly likeable, the beats have quality bounce, the supporting ‘piano’ chords will bob heads, and all the whooshy effects are tastefully done; then, it’s arranged such that the vibe never falters. There’s no new ground being broken here but with a track this shamelessly fun, does it matter? Certainly not, so Meow looks primed to be at least a minor hit for the main room crowds.
The B-side of this digital promo is
Then I stopped typing, stared at the computer screen, and asked myself, “Why am I still doing this? Nothing I write matters and all these free digi-EP promos I’m being sent won’t have any lasting impact upon electronic music. Fuck it. Fuck everything.”
Yes indeed, it was cynicism towards over-zealous PR that finally broke me, despite managing a few more reviews before truly quitting. It didn’t help I was suffering from multiple bouts of work and college related stress, relationship and financial depression, and just generally feeling poo at the time, but there it is - the honest-to-God impetus for giving up writing reviews about new music. I’m feeling better now, thankfully.
I imagine it’s a self-defeating, futile and sick, sick, sick environment, the world of promo-PR. How many times do copy-writers hype a track to the high ends of the Earth, only for said track to get completely passed by without a notice or care. Hell, Fehrplay’s Meow was one of the best ones of at least a dozen digi-promos I went through, hence why I tried writing a review for it, plus got picked up by Ministry Of Sound and Hed Kandi for compilation duty on all their major releases (Annual, Clubber’s Guide …Miami Fashion District?). Nor was I the only one to make the Prydz connection, as Jonas von der Fehr released his second single, Incognito, on Pryda Friends. Meow truly could have been a major hit like the promo guys claimed. Yet, do you remember this tune? For that matter, did you even know it existed, because Amazon.com sure doesn't.
Anyhow, to finish this four year aborted review, the B-side is titled Meow Again. It’s an electro-house version, and not as good as the original Meow. Yay, done, finished.
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