Neil Young - On The Beach

Reprise Records: 1974/2003

So, how's your day going? Good, you say? That's cool, peachy. I'm doing pretty good myself. Enjoying my new Sennheiser Momentum headphones very much, thank you. What's that, you found $20 on the ground? Wow, that's some swell luck. You know, I think everything's looking bright for us. I almost feel guilty feeling good about things and stuff right now. Hey, I know what will bring me right the fuck down, Neil Young's On The Beach. Few things depress you quicker than that ode to post-hippie '70s existential crisis of being!

Not that you could blame the poor guy. Sure, he was a commercial success and all that, but at what cost had that fame come? If his musician friends weren't dying from drug overdoses, they were getting lost up their needles and noses with the stuff. He could sell out concerts, but considering how often he felt compelled to flee his fanatical fans, what comfort was there in that? And everything else in Americana seemed to be going tits up, the prosperity of the '50s and counter-culture idealism of the '60s getting hit with hard, bitter, cold reality of events out of their control. Where else could Neil Young go but straight for the ditch, burning his bridge to fame (but not his fortune!) as he tried making sense of it all.

Thus, you get a track like Vampire Blues, condemning the Western world’s growing dependence on fossil fuels. There’s Revolution Blues, painting redneck culture as ever the jaded reactionary types as we’ve stereotyped them into today. For The Turnstiles paints a dour picture of other charming Americana like county fairs and baseball games. See The Sky About To Rain is more poetic, coming off like After The Goldrush material (I think it was written around that time anyway). Motion Pictures laments his fame, and Ambulance Blues flat out criticizes all that hippie optimism that accomplished squat in the ‘70s. “Pissing in the wind” indeed.

As those song titles suggest, there’s quite a bit of blues music here, though only the titular cut’s out-and-out blue-blues as you imagine. Revolution Blues is a basic southern rock out (that bass!), and Vampire Blues is the chipper version of blues rock, what with a cool shuffle percussion, a bit of organ action, and one of Shakey’s weirdest solos ever (is he trying to sound like bubbling crude?). For The Turnstiles, meanwhile, goes for a banjo duo, and Ambulance Blues sounds like a whiskey-soaked country jam, including a ...bass fiddle? Whatever it is, it sure sounds sad. I think Toby Marks used something similar on Big Men Cry.

Okay, this is a depressing album, but the music is quite creative and beautiful in its misery. It also helps that Young’s perspective on things got better a few years after, so a happy(ish) wrap to this story. On The Beach is best treated as a time-capsule, a period in Young’s life where he captured a despondent spirit of a generation.

Electronic Music Critic ACE TRACKS, Now As Spotify Playlists!

[2024 UPDATE!]
So looks like many of these playlists have gone the way of 404 oblivion. Can't say I'm surprised Spotify would delete them if I'm no longer subscribed, but man, what a bitch to have to go through every ACE TRACKS UPDATE post and replace those dead embeds with Deezer ones. At least all those Playlists transfered over there, and hey, even included a bunch of missing tracks! Keeping this post up as is for archival purposes. Yeah, those Amazon clips were the bunk, never playing much of anything and always the least interesting parts of the songs. Nay, ya'll want to hear these tunes in their full, glorious versions, and now that Spotify's finally gotten inside my Canadian borders, it's time to treat the ACE TRACKS Playlist properly. Thus, I'm putting together monthly playlists featuring every song, tune, or track within that period to earn ACE TRACK honors (provided it's on Spotify), and make it available here to enjoy. Sweetening the deal, I'll also arrange the tunes in a mixtapey sort of way, so it's not just chunks of single artists you're listening to. I mean, if you wanted to do that, you could listen to the albums in full, right?

The Playlist at the sidebar will be refreshed at the start of every month, and yes, I'm also making Month Playlists for every prior one too. Since that's two years worth though, I'm only making them when I have time, and will only post an update at this blog at the end of the month.

Since not everyone out there has a Spotify account, the reviews themselves will continue having Amazon clips and links for purchases, which I still encourage. Spotify's a cool service and all, but nothin' impresses the ladies like all d'em hard copies. (artists get better money out of it too...)

Aphex Twin - On

Warp Records/Sire: 1993/1994

Did you know there’s a new Aphex Twin album? Of course you do, because no one will shut up about the new Aphex Twin album. It’s such a novelty, a new Aphex Twin album being available, one that a new generation of electronic music lovers finally understanding the thrill of. Okay, new Aphex Twin albums weren’t as big a deal back in the day, because they weren’t so infrequent, you see. Anyhow, let’s forget about Syro for now, because I won’t get to talk about it until, oh, spring (I’ve a lot of albums with ‘S’ in the title). Let’s instead jump into Aphex Twin’s debut on Warp Records, the single On.

Truthfully, this wasn’t Richard D. James’ first appearance on the seminal label, having put out an album with them as Polygon Window the year before. The Aphex Twin moniker had bigger clout though, and I’m sure Warp believed they’d scored a winner in signing Mr. D. James to a long-term multi-album deal (that he’s still yet to complete, apparently). Maybe as a means of distancing the Aphex sound from its Apollo origins, On features quite a radical change of sound compared to prior works, many pointing to this EP as where ‘drill-n-bass’ got its beginnings.

Fun fact: On was one of the first Aphex Twin songs I ever heard. The other was Donkey Rhubarb, both appearing on ‘ambient’ compilations. I couldn’t understand why. Sure, Aphex Twin was some ambient-God at the time, his name always coming up in mid-‘90s Best Of lists, but if these tunes were indicative of Aphex ambient, then I clearly had a totally off idea of what ambient was. Right, On starts with a charming bell melody, soon joined by the crackling of thunder and rainfall. It’s brisk, but still in line with ambient’s calming tend- oh my God, what’s with that …kick? Bass? What even is that sound? And why are the hi-hats so sharp and piercing? This song makes no sense being on a CD titled Ambient Auras, no sense at all.

Of course, senselessness is part of Aphex Twin’s charm, and despite the bizarre rhythm, On remains a lovely little tune in his discography. In stark contrast, the drilling acid beats of 73-yips is great for pissing your neighbors off (and inspired a zillion copycat wonks in the process). Meanwhile, Xepha hints at the creepy-weird discordant-dream ambience that would encompass Selected Ambient Works 2, except with drill-kicks bouncing about like rubber demonites - it makes sense when you hear it, trust me. The American copy of On jettisoned D-scape in favor of the Reload Mix, a chipper ambient techno rub by the Global Communication chaps that ends the EP on a light note, but isn’t as interesting as Aphex’s material.

It’s academic whether you should get on, erm, On, if you haven’t already. Since it’s a career-transitional EP, it’s one of Aphex Twin’s more unique items. That’s saying something, considering the various musically obtuse paths he’s taken over the years.

AstroPilot - Here And Now

Altar Records: 2010

Dmitriy Redko was a busy body in 2010 – or rather, his new home on Altar Records was busy for him, releasing a whopping four LPs under the AstroPilot banner. Man, label head DJ Zen must have thoroughly enjoyed Fruits Of The Imagination to go all-in on whatever else the Siberian psy guy had stored up. Since this has a latter catalogue number following Solar Walk, Shamanium, and Mitra, I’ll assume Here And Now was the current stuff Redko was working on; the title’s a pretty safe hint too.

AstroPilot’s work ethic has earned him a solid reputation within the psy scene, capably flitting various sub-genres like few others. His tracks have found homes on ambient compilations, psy dub collections, progressive trance mixes, and even tech-plonk house showcases. Okay, not that last one, but it wouldn’t surprise me if Redko’s got some stored away, gathering digital dust on a harddrive untl he decides to go house (they all go house, eventually). While I wouldn’t put him quite on par with some of Ultimae’s Solar stars, he’s definitely up in their leagues, and might even have released LPs there if he hadn’t joined Altar. Well, that whole ‘not exclusively a chill-out producer’ part probably didn’t help either. That’s why you make multiple aliases, mang!

Anyhow, let’s focus on the here and now with Here And Now. Mr. Redko’s mostly taking on prog psy’s domain with this album, though he doesn’t limit himself there either, throwing in breaks and even ...glitch-step breakcore? Wha...? Oh, it’s a collaboration with another Russian psy guy named Pharmacore. Whichever style you call it, at least you can play it at both 88 and 176 bpm!

That’s just an outlier though, a bit of experimentation tacked on to album’s end. Like I said, prog psy’s the name of AstroPilot’s game on Here And Now, and he serves up a bevy of choice cuts for the synapses. I mean, geez, Karma Cleaner! What a lush sounding track this is! Solid pumping groove, glowing goa trance licks, evocative ethnic singing coming in from astral planes, and widescreen production that’s utterly bonkers in how expansive it makes this track sound. Prog psy’s not supposed to sound this big. Other tracks likeHiding Wings and Time Tides are equal to Karma Cleaner’s bar, though a bit more straight-forward where this style’s concerned.

Other tunes mix the formula further, with Memories Maze throwing in breaks at the start before unleashing some propulsive psy action; meanwhile Indigo goes for the full-on breakbeat action. And speaking of full-on, there’s bloody ‘buttrock’ guitar thrash in Variants, and when did this album suddenly get all fierce and nasty on us? The ramp in energy was so gradual, I hardly noticed it.

I knew AstroPilot was a good producer, but that was based off his Solar Walk material. I had no idea he could offer just as awesome yang to those albums’ yins. Get on Here And Now if you’ve even the slightest interest in psy music. Trust.

Androcell - Entheomythic

Celestial Dragon Records: 2009

Tyler Smith sure doesn’t seem hurried in putting out another Distant System album anytime soon, no matter how much I may wish for it. Guess I should check out his other project, Androcell, in the meantime, despite my hesitations. Hopefully it won’t turn out like other psy dub efforts, many talents squandered on erratic, middling compositions pointlessly copying the Shpongle template with nothing of consequence on offer. Why yes, I’ve been burned by too many of those said producers, making gambles on anyone other than trusted labels a self-defeating chore. Tyler Smith though, he delivered the goods with Spiral Empire. It wasn’t an album that was psy dub in the typical sense, true, but still a comparatively enthralling experience just the same. Surely those captivating sound-craft skills are found within Androcell as well.

I’ll have to answer that as a yes, if Entheomythic’s anything to go by. Okay, Mr. Smith’s only released three Androcell albums to date (with plans for a fourth soon), so it’s not like I have a huge sampling to choose from. I only went with this one to see if there might have been some residual Distant System stylee lurking here, since it came out a couple years after Spiral Empire. Maybe Efflorescence would have been the better option though, as that was about the time Androcell was getting chummy with Aes Dana, and some Ultimae rub-off may have-

Holy COW, am I ever stalling. Get to the bloody point already!

Unfortunately, there’s not much ‘point’ to be made with Entheomythic, and that’s kind of a problem where writing a review’s concerned. This is definitely a psy dub album, with ample indulgences of trippy world-beat and vibey mind-bendery, though thankfully never overstuffed with samples and sounds for psychedelic’s sake (I could do without some of the cornier ‘taking mind-altering drugs is good’ bits of dialog, but that’s personal quibble). Smith knows his way around a catchy groove, and finds quirky ways to make each track stand out just enough from genre tropes: a wobbly didgeridoo bassline in Ganja Baba, some punctual stutter effects at the peak of Desert Nomad, spacey trance pads in Synchromystic, robo-chants in Higher Circuit Experience, extended solos in Night Sorceress and Dub Gardens. Come to think of it, Dub Gardens reminds me a lot of mid-era Banco de Gaia, what with all those dubbed-out ethnic chants and lengthy organ builds. Neat-o!

Another plus is Androcell’s sense of atmosphere and mood, easily transplanting me to an outdoor party in the middle of the woods, sexy belly-dancers on a stage under summer night stars; also, hashish. And if I’m to interpret the track titles literally, he even executes a narrative of sorts: go on a journey, find a mystic woman, go on a mind-journey! Okay, as psy dub albums go, it’s not a unique story, but I appreciate the attempt. Entheomythic doesn’t seem interested in challenging psy dub expectations anyway. Music’s solid though – I gotta’ stop being so cynical with this genre.

The Bug - Angels & Devils

Ninja Tune: 2014

It wasn't fair. Kevin Martin's aim with London Zoo was showcasing the hot sounds of the UK capital's grime and dancehall scene, but the album ended up being critically hailed an instant classic that would be impossible to follow upon. So goes the journalistic narrative anyway, one which The Bug hadn't planned for. And all because London Zoo dropped at dubstep's flashpoint of crossover interest, thus any and all bass heavy music from the UK was re-purposed to fit the story arc of “This Is The Sound Of The Future!” by every two-bit writer of electronic music (guilty as charged). It was deemed a Very Important Record in the way it demonstrated dubstep’s exciting potential, even if the music within had only a tangential relationship with that scene’s growing dominance.

Point being, if journalists and folks were figuring The Bug would set out to produc another trend-defining LP for our current times, then they're in for some disappointment. I wasn’t though, perfectly content in knowing ol’ Kevin would deliver his music on his terms and not the expectations thrust upon him. He’s earned the respect to do whatever he wishes, even if he took his sweet time in figuring that out.

If you longed London Zoo never ended, the good news is Angels & Devils more or less carries on from that album. Mr. Martin found himself a solid groove then, and there’s little reason to upset that apple cart when he can still tinker with his winning formula of dancehall grime and crushing dub bass. For instance, he’s invited more female toasters to this LP, including ambient drone ma’am Liz Harris (aka: Grouper), Hype Williams member Inga Copeland, and relative newcomer Miss Red. They all make up an ethereal first half of the album, where Buggy gets to indulge in the chill side of his dub works. Also an added wrinkle to his sound are trap snares (especially in Void, Function, and Mi Lost), because of course there would be.

Let’s be honest though: The Bug’s ace in the hole remains dancehall demolishing tracks, and he delivers in the back half with his chosen devils. Flowdan’s back! Warrior Queen’s back! Death Grips’ now here (wait, didn’t they disband?)! And the bass... well naturally that’s here. There’s nothing subtle about these tracks, coming in ugly, primal, and as aggressive as the most ghetto-dank grime hole you could lose your sense of self in. More please!

Oh, wait, Angels & Devils is already over. Damn, that went by quick, and felt like it was missing something too. I can’t say it’s a lack of ‘album execution’, since it provides exactly what it says in the title: an LP of two halves, one light, the other dark. I guess the unenviable comparison to London Zoo’s too much to overlook, as that record had impeccable album narrative and flow from start to finish, whereas Angels & Devils just comes as it means to go (wha...?). Oh, what the heck, I’ll take it.

Souls Of Mischief - 93 'Til Infinity (20th Anniversary Edition)

Jive/Get On Down: 1993/2014

Damn, son, this ‘Deluxe Edition’ of Souls Of Mischief's 93 'Til Infinity ain't kidding about its deluxivenss. Packaged in a spiffy booklet, bundled with two CDs, including exhaustive liner notes and a lengthy essay detailing not only the making of this album, but nearly all the Hieroglyphics history to boot, it’s got everything covered. Then they went an extra mile by having a gatefold play a portion of the titular cut like a tinny music card. I've never seen one of those for a CD. Why hasn't Wu-Tang Clan's Enter The 36 Chambers ever gotten similar anniversary treatment? It was released the same year as 93 'Til Infinity, and that was a far bigger album than this one.

Talk to any discerning hip-hop head though, and they’ll point to this Oakland crew as equally worthy of critical praise. Can't say it's a fair comparison, considering the radically different career paths taken since their debuts - Wu-Tang became commercial juggernauts, while Souls Of Mischief (and the rest of Hieroglyphics) floundered in the underground as the '90s played out. Okay, 'floundered' is harsh, but when you drop an album as hot as 93 'Til Infinity, a long prosperous career should have been in the bag. Still, they maintained that all-important 'respect' thing hip-hop acts of all walks of the streets crave.

If you don’t know, Souls Of Mischief are A-Plus, Phesto, Opio, and Tajai of Hieroglyphics, the West Coast hip-hop crew that includes Del Tha Funkee Homosapien (I’ve mentioned him once or thrice). They appeared in namedrops on Del’s debut, and thanks to having Ice Cube’s blessing, the extended Hiero members got their chance to shine here - not a second’s wasted on their part. Whether taking lesser MCs to task in battle raps (Let ‘Em Know, That’s When Ya Lost, Never No More, Limitations, Make Your Mind Up), delivering cautionary street tales (Anything Can Happen, What A Way To Go Out ...dear God, this one’s nasty!), or getting a little ‘conscious’ about their future (Tell Me Who Profits, the titular cut), this album’s filled with insanely dense and vivid lyricism. And they’re not bashful in showing off their spittin’ swagger either, mixing in multi-syllable words with razor-sharp punch lines. Gander at this bit from Opio: “Eruptions, and rusting, when I'm thrusting, cuts men; Into microscopic particles, molecules, atoms; Attack 'em, hack 'em, never slow, never slack; I'm invincible...” Hell, I could post the whole verse, but self-limiting word-count forbids.

Then there’s all the ace beats, raiding plenty jazzy loops and samples that’d have DJ Premier turning his head, yet filtered into a stoned-out West Coast vibe. Honestly, it’s almost textbook ‘underground hip-hop’ production, but then Hieroglyphics helped popularize the sound in the first place.

CD2 has remixes and instrumentals, which only hardcore fans would care about. I’d stick with the original version of 93 ‘Til Infinity if you’re interested in taking the plunge, which I fully encourage. You’ll definitely wonder why you slept on this album so long after. *cough*

Omnimotion - Omnimotion

Waveform Records: 2002

The album that got me checking out Waveform Records again, for what that’s worth. It'd been a long absence by yours truly though, figuring the label had faded off forever. Then I saw Omnimotion sitting on the shelf, recognizing the distinctive Waveform logo on the jewel case spine. I had no idea who Omnimotion was, but the cover was intriguing, a widescreen picture of some long abandoned railway, buried beneath the dusty wastelands of a future apocalypse. Why yes I had been reading Stephen King's Dark Tower series at the time. Is it worth reading past the third book?

Anyhow, to say this album blew my mind is... not accurate, now that I think about it. There aren’t any big melodic moments or instantly earwormy hooks, few fresh synth sounds or clever sampling techniques; yet Omnimotion remains among one of the most captivating LPs I’ve ever listened to. It’s why I dread reviewing it, even skipping it when it popped up for one of my TranceCritic Random Reviews long ago - had no faith in my writing ability to justify my praises, you see. Hell, I still don’t know how to write about it, Omnimotion defying many genre conventions you'd expect of downtempo or chill-out music. It's got touches of dub, world beat, ambient, and smatterings of Omnimotion's (one Stephan Lundaahl) classically trained background thrown in for good measure, that comes off both totally familiar and utterly unique. What's remarkable about all this is how subdued the atmosphere is, like a meditative calm surrounds the generally sparse and desolate soundscapes our fine Swedish producer's created.

The best I can describe this album is by the feelings it imparts. Imagine your absolute worst Sketchy Sunday morning. You know the sort. The night out before (either Friday or Saturday) had started fine and fun, but something set you off on a bleak mood, and by the time you got home, you were feeling mighty low. It's not depression, but you can't quite escape this fog of being. When you wake up (and you can never go back to sleep), everything seems faded and grey. Yet, despite all this, a sense of peace permeates your soul, the gentle music of life easing you out of melancholy. It's not much to hear – quiet raindrops outside your window, mild rustle of a breeze through leaves, a whisper of a neighbour's wind chimes, the chant of a wise ancient culture, recollection of a nurturing mother's lullaby – but it's there, and enough to feel at peace with yourself. Existing isn’t so terrible after all.

Yeah, sorry about this ‘review’. I know its annoying reading interpretations of music when all you’re after is facts, opinions, and critiques. Like I said, I’ve got nothing, pathetically failing you in this endeavour, my friends. You’ll have to hear Omnimotion for yourself and form your own thoughts on the music. Maybe you’ll come to the same conclusions as I have, left in speechless tranquility.

Neil Young - Old Ways

Geffen Records: 1985/2000

Old Ways is regarded as one of Neil Young’s all-time worst albums. Don’t worry though, he’d probably admit it as such, the music within as much a protest album as it is a collection of throwback country jangles. David Geffen, growing annoyed by Young’s casual disregard for making chart-friendly music anymore, filed an actual lawsuit against him for not making music “representative of Neil Young”. Um, Mr. Geffen, have you heard his discography? Even before signing to your label, he’d been musically all over the place (rock, folk, blues, punk, art-house film). True, Trans and Everybody’s Rocking were new roads taken, but what else was he gonna’ do in the ‘80s? Big band jazz?

Anyhow, while faced with this lawsuit, ol’ Shakey reunited with his Nashville buddies, recorded some country-as-fuck jams intended for his new album, and if Geffen whined about it, he’d go so far as to make this his permanent new sound, essentially voiding the lawsuit. Man, that’s fighting dirty. What about your fans, Neil? All those who loved the Crazy Horse material? Or the heartfelt folk ditties? The three people fascinated by the synth-pop exploration? Forget it, this is about principle, and standing up against big corporate bullies who believe money and lawyers can get them anything they want. Taken with that context, Old Ways just might secretly be Neil Young’s most awesome album ever!

(note: I bought this album before I knew of its history; any of Young’s story, if I’m honest. I’d just gotten into his music, and figured everything would sound like either Ragged Glory or Harvest Moon. Definitely a crash course in discovering his erratic muse, this.)

But nay, this album’s about as country as the old West could twang. Opener The Wayward Wind even features a full orchestra, sounding like it belongs as in the opening credits to a Clint Eastwood movie where he talks to tree. Following that is Get Back To The Country, as silly a hoe-down jam as you’ll ever hear, including a Juice Harp! It’s my favorite ‘bad’ Neil Young song. Other songs like Misfits and Bound For Glory sound like they were intended as “everyday people” folk ditties, repurposed as western tunes here. The rest are pretty generic country tunes – does anyone really care if there are any more real cowboys?

Still, even if Old Ways was executed as a backhand against Geffen, Young seldom half-fasts his creative whims, fully embracing this ‘persona’ of rugged farmer and cowboy of the land. He even roped in country mainstays Waylon Jennings and Willie Nelson on harmony duties (to say nothing of the manure-ton of Nashville session musicians, including a few Stray Gator alums), with live shows that were a hootin’ good ol’ time if you were into that sort of thing. I honestly can’t give this album much of a recommendation though, as it’s incredibly genre-specific and the odds of anyone reading this on an electronic music blog being into country are zilch to none. Get out of here, Contrarian Sykonee.

Vitalic - OK Cowboy

[PIAS] Recordings: 2005

Electronic music was desperate for the Next Big Thing to manifest itself during the mid-‘00s and, thanks to the immense buzz behind his debut Poney EP, Vitalic was counted upon to deliver said all-time classic album that would define the decade. Instead, four years after, he released OK Cowboy, a solid LP with lots of fun music, perhaps one of the strongest albums to emerge from the dire year of 2005. However, because it leaned so heavily on Poney EP, it wasn't the classic folks expected, and considered a letdown. Oh well, back to propping up Mylo as EDM’s generational talent.

Now, how to follow that paragraph? Almost everything else I say about OK Cowboy from here on out will come off as hyperbolic gushing. Yes, I know this isn’t a perfect album, but as far as I’m concerned, it does everything it needs to smashingly well. You’ve got the old hits that made Mr. Arbez-Nicolas the talk of the underground, you got some new stuff that’s equally on par, you got ‘filler’ tracks putting several other electro-sleaze techno producers before and since to shame, and you have chill, artistic indulgences that not only prove ol’ Pascal’s far from a one-trick Poney EP, but help break up any album monotony in the process. What else can he do to make OK Cowboy more awesome? Well, maybe including You Prefer Cocaine somewhere, but three out of four Poney EP tracks probably was stretching things a little.

It’s nigh impossible to discuss this album without talking about what made ol’ Pascal’s first single such a revelation at the time. While DJ Hell’s International Deejay Gigolo print was already finding sexy new ways of combining EBM intensity with techno functionality, Vitalic added unabashed laser-kissed anthemage to the mix. The way Poney, Pt. 1’s synths and La Rock 01’s acid unceasingly build and build over pummelling rhythms were visceral reminders of techno’s raw potential energy (an attribute somehow forgotten by techno’s old guard of the time). Throw in bizarre, discordant vocals as though imagined in a David Lynch fever dream, and even the relatively subdued Poney, Pt. 2 stands out as a highlight among classics.

The other tracks, then. Could they hope to match those tunes? My Friend Dario says, “Oh Hell yeah!” with guitar riffage as infectious as any of hair metal’s best. Plus, one watch of the video, and you’ll forever be air guitaring along should you hear it play out. No Fun’s more of a typical electro-house take on the same idea, while Newman goes straight for the headbang thrash of the sound (it’s like Daft Punk’s Rock ‘N Roll, but great!). The hidden gem among all these is Repair Machines, a surprise electro-body workout that never got its due.

About the only thing that kept OK Cowboy from earning proper classic album status was a killer single near the end, but the final run of tunes are worth sticking out for. Marching drums to take us out, Vitalic? You so crazy!