The Movement - The Movement (Original TC Review)

Arista: 1992

(2014 Update:
When I wrote this, the notion of 'step' as a jokey descriptor was long thought dead, a relic of '90s drum 'n' bass genre splintering. Then dubstep started getting popular, and soon we saw 'step' for any damn variation of music adding a half-step beat. Chillstep, brostep, trancestep, psystep, popstep, drumstep, whalestep, and so on. I wonder if anyone is bold enough to try hipnostep.

This review was fun to write, though filled with a ton of awful grammar, some of which I've cleaned up for this posting. I think it captures the guiltless giddiness one can still experience when listening to old school rave music, no matter how absurd some of it came off. Jump! remains good stupid fun in a way that's rare in today's stupid-fun music. You're damn straight I'm wearing Nostalgia Headphones for this!)


IN BRIEF: Aaaaaarrrrreeee yyoooooooouuuuuuu reeeeaaaaaaadddddyyyyy!!??

You gotta love the cheekiness of some groups. Hardly content at being lumped into the same category of rave hardcore tearing up parties across the Atlantic, Los Angeles based act The Movement came forth with their own style. Comprised of the blistering beats and hoover-rific hooks of Belgian raves, and adding hip-hop influences from rhythms to MCing, this brand new form of techno would burst forth from the southern California scene as they promoted their own brand of L.A. P.L.U.R. And this new revolutionary genre’s name? Hipno!

Yes, you read that right. Hipno. Never heard of it? If so, don’t feel bad; you’re not alone in the confusion.

Hipno. It’s the kind of name folks bullshitting stupid genre names would come up with: like braindance, or progressive dub, or boomcore, or bassline-house, or speed speedcore, or chicstep, or indie techno, or vocal trance, or ‘rocktronica’, or no-step ambientcore, or hip-hop tripstep fallcore, or progressive stepcore, or anything with ‘progressive’, ‘step’, or ‘core’, or... well, you get the idea.

Yet, The Movement were so proud of their clever new genre name, they went and had it trademarked on their label, Sunshine Entertainment Corp. Yes, you read that right too. Trademarked! How, exactly, do you trademark a genre name?

Ah, it doesn’t matter. What does is whether The Movement’s sound was worth trademarking a name for it. In a nutshell, this is hipno: one part 2 Unlimited knock-off; one part ragga MCing ; one part hip-hop beat interludes; mixed in the L.A. rave scene’s jovial attitude.

And you know what? It actually works!

Lead track Jump! makes no bones about what it aims to do. The intro rhythms warm you up, then break down to let Hazze (the MC) give you a countdown. “5... 4... 3... You know the rest!” Then, boom! You’re right into the thick of it with thumping beats, shout-a-long “jump everybody jump”s, and vintage old school rave synths. While the riffs may sound stuck in 1992, the rhythms for Jump! still carry incredible weight to them even today. Eventually, the song calms down, hip-hop beats boppin’ about before picking the pace up again, head ing out for a big finish. Man, but is this track ever a lot of-

Eh? What’s that? Oh, I have them on right now? Sorry about that.

*Removes Nostalgia Headphones*

Okay, Jump! is fun, but that enjoyment is based on pure novelty: listen to it once in a sitting, get a silly grin on your face, go with the flow, and move on. Problem is, The Movement don’t. While some acts can milk a simple formula for an album’s worth of material, The Movement clearly lack that level of aptitude, and you quickly realize they’re a one-trick pony.

Aside from the ragga-influenced Tell Tú Mama (another fun track, true, but rather by the book), every other original track (and there’s only three) follows the exact same pattern as Jump!. Same beats, same MCing, same synths, hell even some of the same riffs! The only thing that really changes much is the topic of the track: instead of jumping, Shake That — encourages you to shake your ass; Don’t O.D. gives a quaint warning against overdosing on drugs, which I’m sure made BMG happier about signing a rave act; B.I.N.G.O.... um, you remember the song with the dog, right? There’s bits of charm at some points (I’m still a sucker for the ‘aah’ pads in Don’t O.D., even without Nostalgia Headphones) but equally annoying things too. Let’s just say I wasn’t sad to see whistles fall out of popular favor in rave music.

So, what about all those mixes in the second half of the album? Do they tamper with the formula much? Not really, as all but one are done by The Movement anyway. The Funky Hipno Remix of Jump! relies the hip-hop beats rather pumping rave ones, and the Tribal Mix of B.I.N.G.O. settles for brisk, unremarkable rhythms. The other two may as well be extended mixes.

The one non-Movement remix comes of something of a surprise when you look at the production credits: Holographic Jump! is a remix by none other than Jam el Mar. And, while not the most brilliant remix Jam’s ever done, it’s certainly a nice change of sound on the release. Sure enough, he does the old school trance thing with Jump!, as loops layer over each other with spacey pads and simple rhythms. Sounding more like a Dance 2 Trance production than a Jam & Spoon one, the main riff he uses is quite raw, but then what hasn’t on here?

In the end, hipno died before it ever got off the ground, after which The Movement went onto other things, some with better success (Richard “Humpty” Vission has had a decent run as a house DJ since). Because this ‘revolutionary’ genre is hardly revolutionary at all, this album isn’t even worth picking up as a historical artifact of failed genres: it bears far too much similarity to regular old school rave music to be treated as anything but.

However, there is still some fun to be had with this. The lead single Jump! was probably one of the better hits of this kind of music, and although there isn’t much else to be had here, the unapologetic silliness of some of these tracks is good for a laugh if you’re just chilling out with friends. If you ever see this in a bargain bin or used shop, and can’t get enough of that old school sound, you could do worse.

(Special thanks to the folks at Discogs for some of those genre names)

Various - Motion 2: A Six Degrees Dance Collection

Six Degrees Records: 2002

This alphabetical stipulation is a burden sometimes. Its fine when I enter a CD series that has some prestige behind it - Global Underground, Fabric, Fahrenheit Project (!) - but what of the obscure ones? I can't imagine folks were waiting with bated breath as I went through four volumes of Elemental Chill last year, and Lord knows I was running on fumes by the end of but two mega-volumes of Goa Trance: Psychedelic Flashbacks. Now we have Motion where despite containing another round of classy tracks, is likely destined to languish in the back corners of this blog once disappearing from front page rotation.

Trouble is there's so little to talk about these CDs beyond the nuts and bolts review fodder. I'm not versed enough in Six Degrees that I can provide a grand perspective on Motion 2's standing with the rest of the label, much less proper world beat at large (dear Lord, those New Sounds Of Brazil CDs look scary). And while I hope whatever readership I gain is open-minded enough about this music to not dismiss it out of hand, I suspect this is entirely too niche for all but the truly musically adventurous out there. Perhaps Six Degrees realized this, hence one of their ongoing slogans being “Everything Is Closer Than You Think”, hoping an occasional curious listenership found unsuspecting kinship with arts and culture seemingly so wildly distant.

That said, Six Degrees Records probably overshot their estimation of how many folks out there were gonna' dig their stylee. Motion only lasted two volumes, the remix culture none too interested in dance floor weapons from a deep world beat label. Heck, I only picked this one up out of a sense of completion when I saw it sitting in a used shop. Oh, alright, I also wanted a proper copy of that Jack Dangers Mix of Banco de Gaia’s How Much Reality Can You Take?. Don’t look at me like that, this remix is some skilled big beat action!

The rest of Motion 2 features more mint examples of house and breaks, though isn’t as dynamic as the first one. Good example is another remix of Bob Holroyd’s Drumming Up A Storm, this time handled by Bob himself. His go treads blissy nu-jazz vibes, which is fine for this sort of thing, but compared to the exhilarating tribal workout of Romanthony’s remix, it’s just not as fun. Of familiar names recognizable by even the most layman of clubbers, Chicago house don Ron Trent indulges himself in some Latin shuffle in Batidos’ Tengo Sed, and Josh Wink does the minimal techno thing on Tweaker’s Linoleum (the good kind!).

There’s more, but I sadly suspect my words would fall on dead eyes. Names like Faze Action, Q-Burns Abstract Message, and 95 North do command respect within their respective scenes, but something tells me their fans aren’t about to scope out a Six Degrees Records compilation with names like Euphoria, Hawke, and Monica Ramos on it.

Various - Motion: A Six Degrees Dance Collection

Six Degrees Records: 2001

I'd probably have never given Six Degrees Records much thought if Toby Marks hadn't joined them for State-side distribution. When I dug a bit further into Six Degrees' manifesto, however, I found the cut of their jib most intriguing. Electronic dance music fused with world beats and culturally-inclined jazz-folk; yet of a classier, underground sort, not that cheesy New Age stuff Deep Forest inspired. As it turned out, Six Degrees lured in plenty of significant names of this scene (Karsh Kale, State Of Bengal, Cheb I Sabbah, etc.), plus a number of breaks and house outliers who had similar interests (DJ Cam, King Britt, DJ Spooky).

To accommodate their growing roster and interests of dance music, Six Degrees started a few compilation series for promotion. Traveller was their main one with a focus on label exclusives, but as any good label knows, you need that remix series too. Enter Motion.

I better admit here that I’ve only gone ankle-deep into the Six Degrees waters. Maybe it was the shock of Cheb I Sabbah’s La Kahena’s pure traditionalism, as this is a label you don’t beat around the bush with. If you’re a house or breaks enthusiast, some acts are familiar enough in style that a few releases would sit nicely with well known names. Below that surface though, chances are you’ll continually be confounded by forms of world music you did not know exist, much less find the time to explore all their nuances. I’m sure there’s much rich diversity to discover with Six Degrees, but I simply haven’t dedicated any time towards doing so, content with Banco de Gaia’s content and whatever associated music he happens to drag along with.

Speaking of, here’s Motion, about as friendly an introduction to the label as any house head could hope for. A couple names should already be familiar to those well-versed in that scene, including Sylk 130 (a King Britt alias) and dZihan & Kamien. Some may remember the duo who were part of the early ‘00s resurgence of European flavoured deep house, yet weren’t of Nordic descent; instead, they lent an Eastern bit of flair to their sound, and thus were quite chummy with Kruder & Dorfmeister sorts. dZ&K also get the lone non-remixed tune on Motion, the exclusive B Movie which is all kinds of groovy shuffle and floaty bliss. Elesewhere, DJ Cam re-rubs his own DJ Cam Soundsystem into a disco dubby cut that DJ Sneak would nod approvingly for.

In the back end of Motion, things go more prog-house with The Light and PFN’s remix of Banco de Gaia’s Obsidian, while harpist Monica Ramos has her upbeat Ocean re-arranged for Balearic DJs, and Garry Hughes almost goes proper psy-dub with his take on Euphoria’s Delirium (no, not Delerium’s Euphoria - that’s something else).

Despite this CD’s age (geez, a decade-plus!), it remains a solid collection of Six Degrees sounds and an easy primer. Or a good collection of ethnically-tinged house music. Your choice.

Various - Mortal Kombat: Annihilation

TVT Records: 1997

The movie Mortal Kombat: Annihilation represented everything that sucked about being a teenager in the '90s: utter ruination of a popular franchise, clueless pandering with pointless character cameos, over-reliance of shit CGI, crap plotting, no campy charm, and generally just poo. It showcased how little corporate executives thought of the demographic, figuring we'd eat up any ol' slop. Okay, they were right on most occasions, but after the surprise quality of the first Mortal Kombat movie, we expected better. Man, fuck this movie.

Speaking of failures, let's talk about the soundtrack. Something feels totally off about Annihilation compared to the first, as though TVT Records were unwillingly sucked into the 'electronica' hype machine and forced to accommodate the rising bankable genre going forward. For a label known primarily for industrial rock, shoving in a pile of one-off breaks acts must have been frustrating for them. Or maybe not, and they truly were gung-ho about this turn.

Thing about the first soundtrack is it didn’t even come off like a soundtrack; rather, a mixtape from TVT staff, giving equal share and exposure to thrashy techno, industrial, and metal (plus a few original pieces from George S. Clinton). Annihilation, in contrast, is almost all ‘electronica’ of some form. KMFDM at least get a return spot, and I’m sure plenty were properly introduced to Rammstein by way of their classic Engel (for those who weren’t, Du Hast was just around the corner!). Elsewhere, industrial gets a spit more of attention with one-off act Urban Voodoo, and that’s it for the genre. Metal? Hah, don’t make me laugh. Megadeth’s Almost Honest is turned into a Spawn clone via Danny Saber, and that’s it – unless you count the thrashy guitars in Scooter’s Fire as metal, since that’s about as close as anything else gets to the genre on here. Yeah, I don’t think so.

It’s essentially generic ‘action-movie’ big beat making up the remaining two-thirds of Annihilation, surprisingly none produced by Junkie XL. Remember how Mortal Kombat had distinctive songs that perfectly fit with the scenes and characters? Forget that nonsense in Annihilation. Perfect example is the use of FSOL’s We Have Explosive, horribly shoe-horned in a lame fight between Lui Kang and Baraka, for barely thirty seconds! But hey, they got the rights to use it, so better shove it in somewhere. Think about it: Annihilation made the f’n FSOL sound pointless and inconsequential. Man, fuck this movie.

Just as a collection of tunes, then, does this CD hold up? Without the movie association or comparison with the first CD, only barely, and thanks largely in part to the inclusion of some choice material from those already mentioned (plus Psykosonik, Juno Reactor, Cirrus, and Lunatic Calm). Keep in mind though, the music’s so late ‘90s sounding, you can practically see the wire-fu action sequences as they play out. The good tunes can be found elsewhere, and the lesser cuts are forgotten by the end of a play-through. Annihilation’s pathetic legacy, as it were.

Various - Mortal Kombat

TVT Records: 1995

The movie Mortal Kombat represented everything awesome about being a teenager in the ‘90s. Based on the classic fighter that pissed off no end of mothers and sold a ton of Sega Genesis (“we got blood, yo!”), a film was inevitable despite a jaded gaming culture untrusting of such things. Yet against the odds, Mortal Kombat delivered about as good a movie as the demographic could have hoped (re: campy fun; didn’t outright suck). The original score was composed by long-time Warner studio hand George S. Clinton (who also went on to do the Austin Powersmovies), while several songs were licensed by TVT Records to give the movie that proper Gen-X feel. And hoo, what a soundtrack it is!

Mortal Kombat’s well regarded in how it exposed many to electronic music, despite techno making up barely one-third of the track list. TVT though, they had a few signed acts too, including many industrial groups. KMFDM’s biggest hit, Juke-Joint Jezebel, is featured in the opening couple cuts, leading right into ‘techno jihadists’ Psykosonik and Juno Reactor- whoops, I mean Traci Lords. If any metal-leaning teen felt ‘techno’ was “gay-ass shit”, Control’s a track that had them reconsidering, slamming beats and thrashing riffs galore. Additional industrial rock acts like Sister Machine Gun and Bile didn’t hurt in further cementing that connection. Also, this was the first soundtrack Orbital’s Halcyon + On + On was featured, beating Hackers by a month.

Then there’s the metal. Fear Factory’s Zero Signal was the standout of the bunch, mostly from acting as the backing score to Johnny Cage and Scorpion’s match (arguably the best scene of the whole movie). There’re old hands like G//Z/R (such grinding guitars!) and Napalm Death, and newer acts like Type O Negative and short-lived Mutha’s Day Out. A solid assortment of music for the metalheads, then, and an incredible eye-opener of the genre’s potential for the sorts who never gave it a chance before (*cough*).

And what discussion about the music of Mortal Kombat is complete without bringing up The Immortals? I’m certain Virgin only had a quick cash-in on mind when they approached Oliver Adams and Praga Khan for a techno album based on the game. It’s a testament to their skill, then, that what resulted not only became a surprise hit, but has endured as the definitive Mortal Kombat theme in all its incarnations. Techno Syndrome may be utilizing classic Belgian techno tropes to the nth degree, but it’s done so expertly, there’s not a Kombat soul alive that can resist its potent appeal. Heck, even the covers that emerged since, including the Utah Saints’ go at it on here, pales to the Immortals original.

Mortal Kombat wasn’t the first soundtrack at bringing metal, industrial, and techno together (Cool World has that honor, I believe), but definitely proved it could be commercially successful in doing so. Spawn, The Matrix, and many more ‘90s action movies followed its lead, an impressive legacy for something everyone was certain would fail.

Coldcut - More Beats + Pieces (2014 Update)

Ninja Tune: 1997

(Click here to read my original TranceCritic review and DJ Mag rant.)


Oh, that ‘review’. I almost feel obligated making a 2014 Update about the status of the DJ Mag poll over anything Coldcut related. But no, that’s not what these updates are about. They’re re-examinations of releases years from when I first reviewed them: how they’ve held up, whether a trend they were a part of is still relevant, and adding new thoughts and ideas about the music given the benefit of gained knowledge and wisdom. Also, if the original review was shite, I can make amends with a better one! So no, I will not be going on another DJ Mag tirade in this update. That settled, let’s see what’s new about Coldcut’s More Beats + Pieces EP, what tidbits of info I’ve gleaned all these years later.

Um… well… Let’s see, there’s… Oh, did you know there was a live version of More Beats + Pieces that’s even better than the one on here? Wait, you do know that? Ah, right, Masters Of 1 & 2. Then how about that… thing about… the stuff regarding Coldcut where, uh, you know, did things. Alright, there’s nothing worth adding to a fifteen year old EP that I hadn’t already exhaustively covered. And no, I’m still not listing all the samples. It’d ruin your trainspotting fun.

DJ Mag, then? Fine, DJ Mag, although there’s little to add here either. Some names have changed, but my rant of 2005 holds about as true as it did then - come to think of it, Armin’s fans are still whining when he’s not number one, including this past year’s results. The biggest change that occurred with the poll was running it through Facebook, thus diluting the trance-cracker purity it’d maintained throughout the ‘00s. As a result, David Guetta won, knocking Armin out of top spot and producing one of the all-time hilarious, saddest celebrations of a DJ winning an award ever witnessed. DJ Mag almost always has footage of it removed from YouTube, but if you do stumble upon it, enjoy the mirth.

In general though, DJ Mag’s relevance continues to dwindle despite all their efforts suggesting otherwise. A singular popularity poll no longer carries the weight it once did when Twitter followers, YouTube watches, Soundcloud downloads, and Facebook Likes are a better gauge of what DJ or producer is currently bankable. Sasha hasn’t been on the poll for two years running, yet I highly doubt his stock as a DJ has dwindled in that time.

What’s adorable about all this is DJ Mag knows how bullshit the results are (jokingly exemplified here). Despite running a poll that paints them as curators of EDM’s cheesiest, corporate interests, the editors insist they maintain a culturally relevant rag about electronic music as whole. Perhaps, but are you willing to shell out a few bones monthly to find out? I sure don’t give a rat’s ass what their articles have to say. Why should I, what with such a goofy poll their ongoing legacy?

Dance 2 Trance - Moon Spirits

Blow Up: 1992

The first trance album I ever owned, though I didn't buy it with that intent. Oh no, I was after a euro-dance album, and Dance 2 Trance was an act I recognized from a couple compilations. Throwing it on when I got home, the opening ambient-chant of Kayenta caught me off-guard – I wasn't expecting a Deep Forest clone! Then We Came In Peace played, and that's a cool melody, but why's this music so minimalistic and loopy? Wait, all these tracks are like this? That's weird, but not as weird as the lack of vocals. Ah well, I'm sure P.Ower Of A.Merican N.Atives will have Linda Rocco on- what the...! Nothing here either? Damn it, I must have gotten some bunk demo version of Moon Spirits. No wonder it was in a used shop. What a gyp.

It wasn’t long after when I clued in that Dance 2 Trance weren't euro-dance, but a number of years did pass before I understood their impact on electronic music at large. For these two guys, DJ Dag and Jam El Mar, invented trance. No, really, it was them. It’s right in their name, man!

Seriously though, their self-titled debut single was more of a New Beat thing, a popular mini-trend around mainland Europe of the early ‘90s. First released on Suck Me Plasma in early 1991, the B-side featured a curious little tune called We Came In Peace, stripping away New Beat’s aggressive EBM roots in favour of a hypnotic, space trip. Other Germans caught onto the sound, and soon labels were exclusively churning out the stuff. A genre and scene were born, enduring to this day despite many permutations since.

The clubbing success of that single and follow-ups like Where Is Dag? and Hello San Francisco got Dance 2 Trance onto a major label, Moon Spirits the inevitable LP that followed. I wonder if Dag and Jam were caught off guard by their success, because this is one raw album. We Came In Peace and P.o.A.N. are undeniable classics of the genre, but Sit Together, the Golden Gate Mix of Hello San Francisco, and even Where Is Dag? have the barest of musical ideas going for them, some synths and hooks outdated even by ’92 standards. Elsewhere, hazy downtempo cut Mr. Cannabis, prog-rocky Remember Exxon Valdez, and moody trance-grumbler Freaks have cool ideas running through them, yet too often sound muddy or half-baked. Compared to their following work like Take A Freefall (added to later editions of the album) much of this music lacks studio polish, as though rushed out to meet market demand.

Unfortunately, Moon Spirits isn’t an important album in trance’s history, totally skippable if you already have the singles off here. Dag and Mar would make better music following this, including as Dance 2 Trance. Check Moon Spirits out if you’re curious what an early-early crossover trance LP offered, but seeing as they were still trying to figure it out themselves, there’s a fair bit of miss with the hits.

Various - Montreal Mix Sessions Vol. 4 - Lafleche

Turbo: 2000

Montreal as a hub of innovative musical trends rivaled only by the hippest ‘burbs of New York City has been the indie narrative for years, but that wasn’t always the case. Despite being one step ahead of the rest of North America, general music journalism goes through periods of disinterest with the region, the ‘90s a particularly fallow period as I recall. Guess that’s what happens when all the sexy business is going down on the other side of the continent. Still, Montreal carried on doing its thing, continually inspired by the sounds of Europe, patiently waiting for the rest of North America to catch on.

It was about the time this CD came out that Turbo finally found its footing and spread its manifesto out from Montreal. Unfortunately for LaFleche Morin, a veteran DJ of that scene and one of the first chaps Tiga tapped for the Mix Sessions series, he released his second DJ set for the label just before things truly took off. While I'm sure his gig career remained as steady as it ever was, Lafleche's contribution to Turbo's been relegated to something of a footnote, a dutiful soldier who helped get things rolling but never got to bask in the lime-light that followed.

Even his mix, classy though it is, comes off over-familiar if you followed funky, disco house at the turn of the millennium. I know I’ve a few of these tracks on other CDs, though LaFleche does provide his own rubs for The Real Jazz and That Zipper Track. Plenty of recognizable names show up – Jamie Anderson, Trevor Rockcliffe, Sébastien Léger, DJ Sneak, Paranoid Jack, and Gene Farris the ones I’ve heard before. Unknowns to my eyes are DJ Maxhens, DJ Nekbath, Bert Dunk, John Kano, and Tomba Vira. These last two mark a small detour LeFleche indulges in late in the set, featuring Afro and Latin rhythms, capped off by a bit of tribal chant-stomp in Rockcliffe’s Love Music. Fast forward to the late ‘00s, and folks are praising the likes of Luciano for playing similar stuff, yet here’s LaFleche rinsing out the worldly rhythms nearly a decade earlier. I told you Montreal was ahead of the game!

That said, there’s little to recommend in Montreal Mix Sessions 4. It’s a fun set, sure, but unremarkable all things considered – Moonshine was hawking similar CDs around this time too, not to mention several other upstart labels emerging during those boom times for electronic music. If you were raw to house, your prior knowledge coming from Hed Kandi collections, then this was like opening a door to a whole new realm of funky rhythm hedonism. For the seasoned weekend warrior though, LaFleche’s offering would come off old-hat.

Perhaps Tiga realized this, as the final Montreal Mix Sessions, his own Mixed Emotions, saw a radical departure from house of this sort. Not to mention every Mix Sessions CD after featuring DJs from realms of non-Francophone origin. Change was definitely in the winds at Turbo.

Various - Montreal Mix Sessions Vol. 3: Dune (Double A & Twist)

Turbo: 1999

Without a doubt, this is among the strangest CDs in Turbo’s catalogue, if not the strangest. For a label that often prides itself on the quirky, that's quite an assumption to make, but keep in mind this DJ mix came out early in Turbo's life, when Tiga was still finding its identity. About all he had going for it was promotion of Montreal acts, and the occasional original production. As you were wont to do as a hip start-up, the Mix Sessions series focused on house and techno, almost unanimously with winning results. There's also a single, solitary drum 'n bass mix, because when you think of Tiga, Turbo, and even Montreal, jungle's always right up there with tech-house and electroclash. Or not.

I’m sure my fellow Canucks from the lands of French have just as vibrant a jungle scene as any major region of Canadaland, but you sure don’t hear much about it. Toronto’s got a huge following, Vancouver’s been respectable for many years, and even the Prairie Provinces earn props from semi-abroad. Quebec, though? Folksy music festivals and hipster dance-punk’s their thing, ain’it? Absolutely not, just ask Double A & Twist about it. Wait, are they still around? Damn you, Lord Discogs, and your occasional incompleteness!

Monsieurs Aaron Siegner and Oliver Sasse make up the duo, also going by the name Dune (no, not the happy hardcore act). Wait, is this the same Oliver Sasse of German trance Rodd-Y-Ler micro-fame? The Lord That Knows All suggests so, but I’m having my doubts, such wildly incompatible scenes they be. This Sasse, along with Siegner, were vital in developing what jungle scene Montreal had, produced a few tech-step singles for the legendary Reading label Basement Records, and even ran a short-lived label of their own. A decent run in the late ‘90s, then, though little that only the most ardent junglist will be familiar with. Or someone on the pulse of Montreal’s party scene.

So Tiga tapped Dune for the third volume of Montreal Mix Sessions, and the duo gives us a set of primarily tech-step sounds from acts like DJ Slip and Red One, names not exactly high on the minds of junglists even then, but decent enough offerings just the same. Midway through things go atmospheric and jazzsteppy, EZ Rollers’ Retro, PFM’s One And Only, and London Elektricity’s Song In The Key Of Knife sure to get any old-schooler’s nostalgia centres flaring. Dune returns us to the tech-step with a couple of their own tunes, then finishes out rough and nasty with Dom & Roland’s blinding darkstep cut Homicide. Oh, and a ‘classic call-back’ cut from Digital’s Spacefunk at the very end, because why not.

Montreal Mix Sessions 3’s decent enough for a d’n’b CD, though undoubtedly a victim of its surroundings. Turbo’s the last place junglists will look for music, and I can’t say Tiga’s typical following would find much use for Dune either. Best for local enthusiasts or Turbo completists, then.

Photek - Modus Operandi

Virgin Music Canada: 1997

Along with Goldie's Timeless and Roni Size/Reprazent's New Forms, Rupert Parkes' debut Photek LP Modus Operandi established itself among the first drum 'n bass albums you were supposed to have, even if you weren't a d'n'b fan. That was back in the mid-'90s though, when journalist interest in the scene was high, and LP options were low, Modus Operandi one of the few finding any sort of cross-over attention. It didn't hurt Photek's prospects that he signed to Virgin, at the height of 'electronica's promotion abroad. You couldn't miss this album on shelves because the mega-label paid good money for that space.

In hindsight, it's astounding someone saw mainstream marketability in Photek. His style, one of precision tech-step drum programming, spacious sound design, and bleak industrial imagery was so unique for the jungle scene, no one's come near replicating it – those drumfunk guys are heavily inspired by it though. There were far easier sub-sets of '90s d'n'b a casual listener could get into – jump-up, atmospheric, even ragga – so all the more amazing tunes like Ni-Ten-Ichi-Ryu and The Third Sequence got airtime on Amp or R U Receiving, much less Virgin’s blessing.

Also understandable, then, is why so many folks remain forlorn that Parkes hasn't seen much need to return to this style of music. I’m not sure there was anywhere left to go, though; even with an unparalleled sound, Modus Operandi soon runs thin on ideas. Opener The Hidden Camera gets things off on a chill, mysterious note, then we’re off to the sparse tech-step business for a long run of tracks, some of which are almost carbon copies of each other. Seriously, the difference between Smoke Rings and Trans 7 is marginal at best, but since they’re separated by half an album, you barely notice it on a play-through. Between the two tracks, there’s a lot of piercing synths, lean melodies, and cool drum work. Though not a slog, Minotaur, Aleph 1, groovier 124, and minimalist ‘sci-fi-step’ Axiom feels like you’re trapped in a dry, computer wasteland, a single glass of water always just on the horizon of sight. You keep pushing forward, the surrounding scenery at least fascinating as you traverse this desert of tech-step paranoia.

The titular cut offers a smooth slice of acid jazz, and KJZ shows Parkes getting his ambient-techno/braindance/IDM wonk on. The latter’s apparently a tribute to Kirk Degiorgio, an individual I haven’t the slightest clue about, though anyone who uses Beetlejuice as an alias is ace in my books. Then Modus Operandi ends on a limp note with The Fifth Column, the B-side to Ni-Ten-Ichi-Ryu, and nowhere near as interesting as that cut.

Which sums up this album, sadly. Most of Photek’s seminal work is left off here, and despite sounding unlike anything else, Parkes goes through the motions of this style just a bit too often throughout. If anything, it’s typical of most drum ‘n bass LPs of the time, only with a fuck-ton more promotion than his brethren ever received.