Psychick Warriors Ov Gaia - Ov Biospheres And Sacred Grooves

KK Records/Restless Records: 1992/1993

Way back in ye' golden age of 1992, the Psychick Warriors ov Gaia sound-system was developing into a fresh live techno act, infusing tribal and trance elements at a time when such ideas were strange and rare (strictly Detroit or rave, yo;', some 'intelligent' too). Their first single appeared in 1990, as Exit 23. Soon enough, this lengthy-titled LP emerged, gaining respectable plaudits from those who'd stumbled upon it. Unfortunately, being tied to industrial-leaning label KK Records limited their exposure within techno circles, adding to their mystique.

Of course, seeing phrases like “sacred grooves” and “new edge folk classics” likely has a few of you hesitant, figuring these Psychick Warriors lean deep into the sappier elements of world beat or, *gasp*, New Age even. I'll grant there is a meditative element to their work, but it's rather as TUU approached the craft, drawing out your primitive psyche, forcing withdrawal of the human ego. There is only sound, there is only rhythm. We've returned to the source of our being, as the Ancients intended. Or something.

I should point out there are a few different versions of Biospheres And Sacred Grooves. Being of the lands where the North Americans dwell, my copy comes from alt-rock/punk/metal label Restless Records, which is different from the other North American release of PWoG’s debut, on Canadian label Cargo Records (also alt-rock/punk/metal) – yes, I betrayed my brethren with this used-disc purchase. While each version merges most of the tracks into two twenty-plus minute compositions (single Obsidian stands alone), the Restless CD added Exit 23 as well. How nice of them.

Considering the cult-like following PWoG gained, you'd think Biospheres And Sacred Grooves was an all-time classic LP. Eh, not really. There’s quite a bit of downtime, ambient noodling, and experimental minimalism, much of which comes from the CD-only compositions of Anathema Ov Jean Jacques Derrillard and New Edge Mantra, book-ends of the second ‘long track’ that includes The Challenge (Part 2) and The Key (Version). Are we confused yet? Because I’ve gone cross-eyed just trying to figure out how everything’s sequenced on this CD.

Forget the track list – here’s what you need to know. The Challenge (Part One) is the sort of sound everyone identifies PWoG with: tribal-techno, with dub effects, acid groove, and dark ambience, played in a minimalistic way that’d make Hawtin weak in the knees. Obsidian is more melodic and funkier, The Key (Version) gets its reggae-house vibe on, The Tides (They Turn) goes on the downtempo trip (yay bongos), and Exit 23 is… just weird and meandering, save a killer, creaking bassline worming its way about desolate, primordial sounds. The rest of Biospheres And Sacred Grooves is extraneous fluff.

Honestly, I wouldn’t even call this album a Very Important One, as PWoG’s sound was incredibly niche, and remains so to this day. That does make it a unique offering in the annals of techno though, reason enough to spring for a copy if you enjoy diversity in your collection.

Faithless - Outrospective

Arista: 2001

Contention time: Outrospective isn’t a good album. There’s good music, sure, some of Faithless’ best compositions. There's also ample amounts of weak sauce; a sense of the group going through the motions (was Rollo saving his best new stuff for Dusted?). Not that it’s surprising if they had run out of ideas three albums in, having seemingly explored every facet of their inspirations on Reverence and Sunday 8pm. What need was there to rehash the same formula if the song-writing just wasn’t there though? They’d proved capable of free-wheeling genres, earning chart success and underground cred’ in the process – why not mix things up, go in an unexpected route? (erm, which they did with No Roots, but that’s another discussion)

First off, the club anthems on Outrospective are some of Faithless’ worst work ever. We Come 1 has its fans, but it sounds like a parody of the Rollo/Sister Bliss club banger stylee. The breakdown kills all momentum the track had going for it, the hook is one of the lamest farty noises I’ve ever heard for an ‘anthem’, and the build keeps teasing and halting and pulling back and for the love of God just get to the point already. It’s like El’ Rollie and Miss Bliss had finally hit their creative wall, stuck figuring out how to top God Is A DJ and failing miserably in the process. Compared to the club anthems they kicked out on the regular – even the unheralded b-sides remixes - We Come 1 is just sad. Tarantula’s at least better, not wasting as much time dithering about. Neither serves much purpose in the context of this album though; both come off like pandering, obligatory Faithless anthems because it’s what’s expected of the group. Small wonder such tunes were jettisoned in No Roots.

Still, Faithless albums held their own thanks to the downtempo, introspective moments, with either Maxi Jazz philosophizing about his youth and contemporary issues, or something more folksy with a guest vocalist. We get that with Outrospective too, but aside from the Mohammad Ali tribute, um, Mohammad Ali, little stands out the way prior songs did. Nothing delightfully daft as Baseball Cap and Dirty Old Man, nor anything gripping and tense like Bring My Family Back and Killer’s Lullaby (Giving Myself Away comes close as a tale of a destructive relationship). Elsewhere, Dido sings the chorus on One Step Too Far, which was a huge selling point for Outrospective given the massive star she’d attained by 2001, to the point her presence overshadows everything else about the track despite offering very little in the way of lyrics. That said, Zoë Johnston’s debut with the group is a nice addition, providing a more ethereal, British countryside element to her songs (Crazy English Summer, Evergreen).

Despite my general disappointment in Outrospective, the final run of tracks in Code, Evergreen, and Liontamer (now there’s a great build!) do make the album worth an occasional throw-on. Just not as often as other Faithless LPs.

Sykonee Surveys Spotify's Senseless Suggestions: Round 1

You’re always getting recommendations from them – Amazon, iTunes, Spotify, Songza (really…?) – but how often do they align with your actual tastes? Does it depend on how effective their data algorithms are, or how large a pool of information they have to work with? Simple shameless marketing? Not that I ever bothered following their suggestions, as I beat to my own drum, seeking out the music I want to hear, not what some other thinks is best for me. Hmph. *adjusts monocle*

So when Spotify sends me an email of their suggestions (geez, already, guys?), I’m ready to automatically send it to the Trash. “But wait,” says the little spider in my head, “why not turn this into an opportunity?” “How do you mean, little spider coiled around my cerebellum?” “Reviewing the music from your personal collection’s fine and all, but why not spice things up a little? Listen to the recommendations Spotify sends you, maybe discover some new acts while giving a chance to those you’ve casually dismissed in the past.”

The Spotify Spider makes a point. I really ought to mix my content up some, lest I burn myself out on standard reviews all too quickly again. Plus, I’m curious to see whether Spotify’s suggestions might improve, narrow in on my tastes as I sample their catalog more and more.

Here’s how this’ll work. Spotify sends me ten suggestions with each email (I don’t know how frequent these will be yet). I will sample the first two songs of that artist/band/act I see on Spotify and give a quick summation of what I hear, plus a ‘rating’ based on how close Spotify got it to my interest. Sounds good? Alright, no sense wasting time, let’s get onto the first round!


Cake - 1. The Distance / 2. Short Skirt/Long Jacket

Okay, this is unexpected. I think I’ve heard of Cake, a rock/funk/hop/etc. fusion band that’s been around since the early ‘90s. The second tune sounds like something that would have come about in the late ‘90s ska era (those trumpets…), which isn’t surprising as it came out in 2001. The Distance sound more punk-grungey, again unsurprising as it’s a mid-‘90s song. I’ve a feeling their discography’s far more eclectic than this though. It’s funky enough to pique my interest. Will check some later.

Odds I’ll Listen Again: 3/5

Jungle - 1. Time / 2. The Heat

Hey, I like me some jungle! Amazing Spotify would recommend a whole genre though. Oh, wait, the band’s name is Jungle. And they’re… another fusion band, though the electro/synth-pop/glam-funk vein. Jungle’s very new too, both these tracks coming from their self-titled debut album released this year; also signed to XL Recordings, which is why Spotify suggested them to me? Both tracks are rather similar, The Heat a tad slower and groovier. They’ve definitely got a nice sound, but come off a bit too fluff and hipster-bait. Not that it’s a bad thing, as Hercules & Love Affair proved.

Odds I’ll Listen Again: 3/5

Katy Perry - 1. This Is How We Do / 2. Dark Horse

Oh dear. This is going to mess up future suggestions, isn’t it. What else is there to say about Katy Perry? She’s hot, she got an annoying high pitch, and is somehow a pop music juggernaut, currently towering over every other female in the business. She seems like a nice enough lady, even if she’s constantly presenting herself as a total ditz. I don’t need to hear anything more from her on Spotify because every pop radio station won’t stop playing her songs. Ugh. Dark Horse, her weak jump on bass music, you’ve almost certainly been forced to hear at some point this year. Not sure why This Is How We Do was the first song though, as it’s a fairly generic dance tune, even by Perry standards.

Odds I’ll Listen Again: 0/5, at least on Spotify; there’s no escaping her radio presence.

Hybrid Minds - 1. Meant To Be / 2. Lost

Ah, here’s the jungle. Liquid funk to be exact, but these two tunes blend the blissy vibes of atmospheric jungle too. Hybrid Minds are another newish act, though the members have been players in the D’n’B scene for a while. Even with the standard, brisk 2-step in action, these are some lovely chill-out soul tunes. I can honestly say I haven’t heard much like it before, and I’m apparently not the only one, a quick scan of their PR praising them for an innovative direction in the liquid funk scene. Lord knows it could use it. Mmm, that Mountains album looks tantalizing…

Odds I’ll Listen Again: 4/5

Radiohead - 1. Creep / 2. No Surprises

Wait, I thought Radiohead wasn’t on Spotify! Ah, it’s just Thom Yorke that pulled his own material. Everything Radiohead released with the EMI group is here. Go figure. Also, I can’t say I’m eager to hear much more Radiohead. Creep I’ve heard plenty of times, especially at karaoke nights. I’m sated, thank you. OK Computer’s an album I’ve kinda-sorta thought about getting some day, but I’m in no rush. I totally forgot about No Surprises, those charming bells reminding me of Brian Wilson down in the mopes. I like that era of Radiohead better than their early work anyway. *gasp*

Odds I’ll Listen Again: 3/5

Angels & Airwaves - 1. Paralyzed / 2. The Adventure

Apparently a rock supergroup, comprised of members of bands that I’ve kinda liked (NIN, The Offspring), not at all liked (Blink-182), or never heard before (*shrug*). Paralyzed is their most recent single, sounding like a heavier arena rock anthem, but is over before it ever gets warmed up. Damn radio versions. The Adventure, on the other hand, instantly reminds me of jangly ‘80s U2, but with shouty vocals rather than Bono’s operatic bellow. I can see this being a favorite of folks growing too ‘mature’ for outright angst rock, but totally not for me, thanks.

Odds I’ll Listen Again: 1/5

Mayday Parade - 1. Stay / 2. Terrible Things

Another ‘punk-opera’ band? Why is Spotify recommending this to me? It says because its “popular in [my] area”, which may be true, but I haven’t a clue about that. This is a scene I don’t follow at all. A few of my old high-school friends living nearby might like it though. Actually, these two songs remind me more of emo’s more twee moments, especially so with Terrible Things, a simple piano ballad that erupts into an overblown arena-rock cry for emotion. Perfect for a teen drama. Pass.

Odds I’ll Listen Again: 1/5

Grateful Dead - 1. Friend Of The Devil / 2. Casey Jones

The Grateful Dead are a very important hippie jam band in the world of hippie jam bands. I remember seeing a cool video of theirs where the band members became skeleton puppets, but they’re not a group I’ve cared to dig into much. Not from a lack of interest, oh no! There’s just so damn much of it out there, and most claim their live material’s better than studio recordings anyway. I had no idea they had a blues-rock number named after a Ninja Turtles character (hur hur!). A Dead Dive could happen some day, if I’m in the mood for ‘70s folk rock again.

Odds I’ll Listen Again: 3/5

Snow Patrol - 1. Chasing Cars / 2. You Could Be Happy

Yay, another ‘inspired by Radiohead’ shoegazey rock band. I know I’ve seen Snow Patrol name-dropped before, almost certainly on indie sites eager for the next Radiohead to emerge. I feel like I’ve heard both these songs before too, though maybe the ‘gentle twee beginning into widescreen wall-of-rock’ song writing became so prevalent in the mid-‘00s, it all mushed together from my perspective. They probably have different songs, but I’m already bored by these Radiohead clones. Moving on.

Odds I’ll Listen Again: 2/5

The Strokes - 1. Reptilia / 2. Someday

Alright, real rock! Or revivalist garage rock - something with teeth at least. I still remember when The Strokes were being counted upon to save rock music from its current doldrums like it was a decade ago. Most had written them off when they went on a half-decade hiatus, but they’re back, making their same brand of unapologetically simplistic rock ‘n’ roll. I assume anyway, since these two songs are from their breakout years. Now I’m curious whether they have evolved as a band or not. Not dying to hear, mind you, but one of these days, perhaps.

Odds I’ll Listen Again: 3/5


And the final tally for this round of Spotify Suggests is 23/50. Oh dear, that’s not good at all. Then again, it is early in this experiment. We’ll see how things improve whenever I get another email.

The Police - Outlandos d'Amour

A&M Records: 1978/2003

Punk music’s emergence and growth has long been attributed to a youthful counter-reaction to rock’s growing pomposity within prog and jazz-fusion. Looking at some of the biggest bands of the era – The Ramones, Sex Pistols, The Clash, Black Flag, namedrop, namedrop, namedrop – the image that scene cultivated certainly supports the theory. Then you get a trio like The Police, also influenced by punk music, but fronted by musicians that had almost nothing to do with it. Okay, they did have a scrappy start, with financial and critical support so miniscule, you’d think they were a go-nowhere garage band. Plus, it was no secret Sting, Stewart Copeland, and Andy Summers came from the very same prog and jazz-fusion scenes the punk movement so vehemently railed against, seemingly bandwagon jumpers as the music hit its first crossover peak. All in all, The Police had everything working against them, except one key, critical attribute: insanely awesome talent.

They may not have been punk in the strictest sense, but they understood what made that music work. Even better, they could fuse it with other genres like reggae and, yes, jazz, such that it gave their songs remarkable depth for a three-piece act. Seriously, focus on how unique each member sounds – Sting's bass leads, Copeland's dynamic drumming, Summers' playful guitar work – and marvel how well they play off each other.

Of course, that skill initially worked against The Police, many dismissing the debut album Outlandos D'Amour as too slick and polished for a supposed punk band (even with a shoe-string budget and erratic studio time). Even more curiously, their lead singles of Roxanne and Can't Stand Losing You were banned from radio play, dealing with such taboo subjects like prostitution and suicide as they were. On the other hand, if you're ever to gain traction in a counter-culture music scene, being banned from prominent broadcasters was the best way of going about it, and sure enough The Police found their fame growing exponentially soon after. As if a capper on the point, Outlandos D'Amour is now regarded as one of the greatest rock albums of all time. So fickle, the music press.

A few killer singles does not a great album make, however, and you don't need me to tell you how these tunes sound – just turn on your classic rock radio station to hear them once or thrice a day. Instead, gander at some of these less-heralded tunes! Peanuts, a peppy-punk outing that hilariously has Sting shouting “Peanuts! Peanuts!” at the end. Be My Girl and Sally, one a mere pop-punk chorus interrupted by a goofy poem-and-piano bit about a blow-up doll. Masoka Tanga, a... ska jam? Oh, now you're just messing with us, Police man!

Outlandos D'Armour's a fun album, all said. The Police were as tight a band as any of the time, and were still all about having fun with their music, a few years off from getting all socially conscious and shit.

Sunbeam - Out Of Reality

Hypnotic: 1997

Even for the cheesier side of hard German trance, Sunbeam were a class of cheese all on their own. That’s not a knock on them though, at least from my perspective, for theirs was a fun cheese, fully in the know and unabashed with their earnestness. Along with Komakino, they helped set the standard for old-school hard trance, especially on singles Outside World and High Adventure. And even though Sunbeam’s early work was way under-produced, it’s a credit to their craft that they found strong hooks and memorable samples such that their tunes remained in discussion while so many better tunes by stronger acts fell by the wayside.

Okay, Sunbeam also features an attribute I’ll totally school-girl squee over: voice pad leads, especially with a multi-tap delay as they do in High Adventure. Obviously if you don’t care for them, we’re done here. No, wait, come back! Let me sell you on them some. I promise this won’t be boring.

See, there’s a timeless charm to them, like how modern space synth can sound exactly the same as its ‘80s lineage and remain all the better for it. It’s retro-futurism now, crafted with space and sci-fi in mind but coming off dated in our modern times - tell me you don’t feel like hopping into a Flash Gordon ship on High Adventure (even if the sample comes from Conan The Barbarian). Unless as a deliberate throwback, no one makes trance like this anymore, which is fine as there was little more that could be done with the formula. It's now an artifact of a bygone era, ripe for hipster reinvention (dear God, I hope not...).

Wait, there’s an actual review an actual album I’m supposed to do? Not sure what else I can say about Out Of Reality. Hypnotic had the rights to most of Sunbeam's early Suck Me Plasma singles and knocked this collection out around the time the duo gained exposure with an updated, (then) modern take on hard trance. Even for a 1997 CD, the tunes were sounding old, weak when stood shoulder-to-shoulder with the anthems of the day. That wouldn't be so bad if Hypnotic marketed Out Of Reality as a retrospective (or consolidated the tracks for a 'classics' collection of sorts), but I see no indication of that; rather, it was a quick way of capitalizing on Sunbeam's growing popularity.

Naturally, Outside World and High Adventure are here, including marginally different remixes each, plus a third remix of Outside World that sounds like a mash-up of the two. That's five tracks dedicated to two songs on a ten track CD. Yeah, overkill those anthems! The rest are rudimentary early trance tunes, though La Musique (C'est Notre Drogue), one of the B-sides to Outside World, tickles my fancy proper-like. Oddly, Are We Out Of Reality?, from which this album takes its title from, wasn't even originally released as a Sunbeam single, but a short-lived alias of Iron Wobble. Not that it's much different from the rest.

ACE TRACKS: June 2014

Told you making these playlists don’t take long. I could almost make posts like this a weekly thing, which would finally complete the whole backlog by about, oh, Spring Break. No rush. Anyhow, here’s ACE TRACKS: June 2014


Link to full tracklist on Deezer.

Missing Albums:
Bandulu - Guidance
Bandulu - Cornerstone
Psychick Warriors Ov Gaia - The Key
2 Unlimited - No Limits (Found!)

Hip-Hop Percentage: 6%
Neil Young Percentage: 25%
Most “WTF?” Track: Buffalo Springfield - I Am A Child (you'll know why when you hear it)

Bloody shame about Bandulu not being available – would love a little more attention thrown in their direction, even if it’s only on Spotify Deezer. But yes, June was dominated by that Neil Young: Archives collection, which made putting this playlist something of a challenge. That’s just way too much of a single artist to take in a single sitting, and I say this as an absolute fan of the guy! Wound up with half-a-dozen of his songs just lumped together at the end.

Complicating things further were the equal amounts of psy dub, ‘70s synth music, and poppy dance and trance. These styles of music do not mesh well at all, much less while shoehorning ‘60s folk and rock in the there. Hell, the tribal-dub-techno of Bandulu and PWoG actually help bridge them together. I kept things flowing as best I could with what I had to work with, but I wouldn’t be surprised if some feel compelled to hit that skip button.

Solar Fields - Origin # 02

Ultimae Records: 2013

Solar Fields put out a lot of music at a ridiculous rate in the ‘00s, averaging one full-length CD every two years (to say nothing of remix albums, collaborations, and compilation exclusives). What’s almost frightening about that work ethic is how there was nary a drop in quality in each release, as though Mr. Birgersson could offer stunning, thematic LPs on a whim. Of course, that’s never the case, great albums almost always the result of meticulous pruning and editing, such that what does make the final product is the absolute best that artist is capable of at that particular moment of inspiration. What’s left over often ends up as b-sides for singles, saved for better-served albums down the road, or simply forgotten until such time extended or re-issue editions of albums come about. It would seem Solar Fields has chosen the latter option for his back back-catalog, most recently coming to light in a series of Origin CDs. Since Origin # 01 is already out of print (damn), we’re jumping right into Origin # 02. Yay?

Yeah, such a release is a hard sell to casual consumers of music – after all, wouldn’t all of Solar Fields’ best material already be available elsewhere? What point is there getting an odds-n-sods ‘leftovers’ collection if you hadn’t already gotten albums like Blue Moon Station or Movements? Everything on Origin # 02 comes from that era of music making (2003-2009, for the record), and if this material never made it on those LPs, or even Origin # 01, then this CD must truly be scrapping the barrel for leftovers. How mediocre can this sound, then?

Not one damn bit, foo’. This is Solar F’n Fields we’re dealing with here – I don’t think ol’ Magnus could make a weak production if he tried! The first half Origin # 02 features all the lovely sonic textures, blissy-chill vibes, and widescreen ambience you’d expect coming into a Solar Fields album. Hell, even if you don’t expect it – because it’s your first Solar Fields experience, I guess – they’re still stunning tracks. About the only quibble here is the lack of album narrative, but wanting that on a collection like this is utterly pointless, yes?

Okay, quality music as expected from Solar Fields – is there anything actually unique on offer with Origin # 02, something that we haven’t heard before? I dunno about that, as I haven’t heard the entirety of Mr. Birgersson’s discography. What threw me for a loop, though, were the final three tracks: The Missing, Falling Shadows, and Asteroid (Time Machine Lullaby). Those crackly pads, childlike melodies on old keyboards (especially on Asteroid), sense of ‘70s synth nostalgia… Holy cow, this sounds like Boards Of Canada! True, in a Solar Fieldsy sort of way, but it totally does share like the enigmatic Scottish duo’s aesthetic. Whether Magnus wanted to take a stab at their sound or it’s just a coincidence, I don’t know, but that alone makes Origin # 02 worth the price of admission.

Various - Organism 02

Dossier: 1995

Dossier was one of the giants of the German industrial scene, harbouring such long-lasting acts like Psychic TV, Chrome, and Controlled Bleeding. It was also Delerium's early home, back when Bill Leeb and Rhys Fulber were better known by their EBM project Front Line Assembly. They must have gotten quite chummy with the reps of Dossier, because they were also commissioned for a brief run of compilations titled Organism. Judging by the names that cropped up on these discs (that I recognize), it was intended as a showcase of fellow Vancouver acts, put together for Leeb and Fulber’s own short-lived Esoteric Music, and distributed by Dossier. So obviously Delerium’s got a few tracks on these compilations. There’s also Keith Arem of Contagion (who did some score work for assorted PC games), and DV8R, who I feel like I recognize from somewhere, despite small Discogs presence. Oh, and Adham Shaikh’s prominently featured too, because when you think of industrial and dark ambient, you think ethnically-tinged meditation music. Wait, what?

Surprisingly, the Shaikh tracks fit with Organism 02’s general industrial aesthetic, probably because he made them specifically for this compilation (so sayeth The Discogs). Equilibrium is totally dark ambient, creepy pads and synths dripping with claustrophobic fear of shadows and alien abduction. Relativity has more of a primitive tribal-trance thing going for it, which would sound cool as a Pychick Warriors Ov Gaia remix, but rather odd for a Shaikh tune, especially considering Journey To The Sun came out around the same time as this compilation. Maybe these were older, unused tunes?

Delerium also got in on the exclusivity action, their track Infra Stellar only appearing on Organism 02. Until it showed up again on the Cleopatra’s Leeb collection Cryogenic Studios a few years later. And then on Nettwerk’s second Delerium collection Archives Vol. 2. Okay, so Organism 02 isn’t so tantalizing for Delerium completists anymore; maybe Shaikh completists though. The track itself? Eh, this was during the duo’s transitional phase, figuring things out in the sample-heavy world beat field while retaining their dark ambient goth sound. They’ve done better.

The other acts, then. Are they worth the inevitable fiver burning your loins should you happen across Organism 02 in a used shop? Virtual unknown Nigel provides a lovely bit of ambient techno in Anemone, while DV8R and Sect go the borderline-psy acid trance route. The Pilgrims Of The Mind’s Paramedilia sounds like it was inspired by early dub-house, though played far straighter than The Orb ever would. All of these are fine tunes for the price you’re likely to find them at, though your collection won’t suffer if you decide to skip on them either.

The Organism series lasted a couple years after this one, ending at 04, and about the time Delerium started their proper crossover push. Guess they couldn’t multi-task as before. It’s a nice snapshot of industrial’s early association with ambient and trance though, a relationship that often goes overlooked these days.

The Orb - Orbus Terrarum

Island Records: 1995

The trippy, goofy, psychedelic edge The Orb cultivated helped them develop a distinctive sound unlike any of their growing legion of contemporaries. You just knew they were indulging in the narcotics for their inspiration though, and one couldn't help but wonder if it'd get the better of them after awhile. Orbus Terrarum gave us the answer, an album full of weird experimentation for seemingly no better reason than its own sake. Most were ready to give up on The Orb after this one, wondering if their creativity had worn itself out. Oddly enough, Orbus Terrarum has gained more love in the ensuing years, folks now praising the bold attempts at such leftfield production, even if the actual results were sometimes tedious as a listening experience. Goes to show what a string of truly mediocre releases can do for one's back catalogue.

It starts out innocently enough with Valley and Plateau, two tracks that’d previously appeared on Live 93. Right off you can hear the group (re: whoever you believe to have done most of the production while others sat in and smoked blunts) is pushing their ideas of dub as far as they can. So many layers of sounds and effects are found in Valley - jangly rhythms, grumbly basslines, dreamy pads, samples of nature – that it creates an almost endless sense of space, one you can easily get lost in with good headphones. Plateau, meanwhile, is an utterly blissful piece of ambience, with shimmering cascade of warm strings and synths – an added groovy reggae-dub rhythm midway helps maintain a sense of progression in the track, that we’re not pointlessly meandering about in a flights of psychedelic fancy.

With its charming opening of classical piano, Oxbow Lakes looks primed for another memorable piece of music. Letting it morph into endless layers of jangly dub effects is all well and good, but it doesn’t go anywhere, save an ethereal return to the main melody as the track winds down. Even less focused is Montagne d’Or, at first seemingly a new take on Spanish Castles In Space with (then) current production chops. Then it starts building up tempo, eventually erupting into cavernous beats. It sure sounds cool, but what was the point, other than the guys in the studio wanting to try it out?

That sense of ‘music in service of experimentation’ carries through White River Junction and Occidental, nearly twenty-five minutes worth of sounds, effects, samples, and incoherence. Aside from brief bits (a bobbly bass sound here, a quirky dialog snippet there), hardly anything sticks in my head. Despite playing far too coy with a children’s tale about mischievous slugs eating juicy green lettuces, final track Slug Dub at least knocks off all the studio wankery for a simpler, though overlong, ambient dub outing.

Orbus Terrarum’s a love/hate album at this point. You’re either down for The Orb’s experimental excess, or not. When on point, it’s wonderful music – when not, it’s a waste your time (oh hi, Occidental).

The Orb - The Orb's Adventures Beyond The Ultraworld

Island Red Label: 1991

The only Orb album you're supposed to have, even if you're not much of an Orb fan. So the 'best of' collection U.F. Off doesn't count? And a double album is what you have to spring for a credible electronic music collection - such difficulties for those 'electronica bluffer' hipsters out there. The Orb's Adventures Beyond The Ultraworld cannot be overlooked though, oodles of sub-genres and scenes springing from the fruitful minds of Alex Paterson's musical conglomerate. It was inevitable that someone would bring ambient together with dub and house – the sampledelic nature of early ‘90s rave demanded it to happen – but The Orb got there first, therefore this album’s given all the plaudits for its influential wake.

And before you point to some other unheralded act that technically beat them to it, I’m talking about making the sound a chartable success, and thus trendy and marketable. Tunes like Little Fluffy Clouds and Perpetual Dawn, sure, those were perfectly executed pieces of ear-wormy dance music, but what of that Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld track? How did an eighteen-plus minute, sample heavy, ambient noodle-thon squeak into the charts? Such different times, those early rave days.

Probably the most remarkable thing about The Orb’s Fun-Times Over There In Superland is that it was released in its double-album form at all. LPs from ‘rave bands’ that weren’t singles collections remained a rarity, yet Island Music had enough faith in- it was the drugs, wasn’t it. Whatever the case, we got an overstuffed 2-CD collection of spacey ambient and groovy rhythms. Just, sshh, don’t let the kids know a lot of it is repurposed New Age mediation music, now with a Roland 909 drum machine. It’s funnier this way!

I’ll level with ya’: for all the claims of musical revolution and dynamic song craft, there are long stretches of floaty dithering and rudimentary beats too. Granted, Paterson and his new pals (Weston, Fehlmann, Glover, Hillage and assorted others) were all figuring things out as they went along, and it’s remarkable some tracks come off as coherent as they do – fifteen minutes of meandering bass guitar, plinky pianos, and country-side field recordings in Spanish Castles In Space shouldn’t work like it does. At times though, it sounds like they’re trying to one-up Jimmy Cauty’s improvisational work from that huge pulsating brain track, and never quite reach that mark. Man, the lost ‘proper’ Cauty/Paterson album remains a tantalizing ‘what-if’.

Okay, I’m probably being more of negative-nancy pants on Adventures In UltramanWorld than needed. I do enjoy this album, but like any ‘ground-zero’ LPs, it does come off dated compared to where the genre would grow, including The Orb’s follow-up U.F. Orb. It’s worth having to hear the roots of ‘hippie ambient meets counter-culture rave’ music, and there’s plenty of lovely moments throughout. Just remember to take it all in with a sense of humour, as the whole concept was apparently a pisstake of progressive rock over-indulgence anyway.