ACE TRACKS: February 2014

2014 itself went by reasonably swiftly, as the years are wont to do as you grow older. Looking back at what I’d reviewed in February though, I didn’t realize it went by that fast, marking the start of my sojourn through albums starting with ‘M’. I’m only mid-way through ‘P’ now, though to be fair, I’ve had a few lengthy detours along the way too. Still, it doesn’t seem so far back that I was reviewing Miktek and Cell for the first time.



Full track list here.

MISSING ALBUMS:
Various - Mechanophobia
Various - Masters Of The 1 & 2: History’s Greatest DJs
Various - Macro Dub Infection, Volume 1
Markus Schulz - Coldharbour Sessions 2004
Krusseldorf - Bohemian Groove [FOUND!]
Speedy J - Loudboxer [FOUND!]
Jean Michel Jarre - Chronologie [FOUND!]
Enigma - MCMXC, A.D. [FOUND!]

Percentage Of Hip-Hop: 12%
Percentage of Neil Young: 0%
Most “WTF?” Track: Procs - Big Fat Snoring Lamas (because of course it would be)

Another fairly mellow playlist, this. Guess that’s what happens when one splurges on Ultimae back catalog, but ample amounts of dubby world-beat finds its way in here too. It was weird fitting Eminem into a collection of songs that includes Enigma and Jarre, but that’s also what makes listening to these so much fun, that sense of unexpected and unpredictable contrasts. Also, what's up with Cretu's first album being unavailable on Spotify? It's not like it's rare or anything - heck, that hopelessly forgotten Massive Passive psy trance compilation is there, but not MCMXC, A.D.? Senseless I says. [2024 UPDATE: not so senseless on Deezer though!]

Gorillaz - Plastic Beach (Proper Review)

Parlaphone: 2010

Damon Albarn and Jamie Hewlett, you brilliant bastards. First you create a charming ‘anti-pop’ pop cartoon band, then you give them ongoing history and continuity. Following that, you withhold working on said project for only those times you’re bothered to engage with it, turning each Gorillaz release into an event. I quipped in the kayfabe review the cartoon character’s antics were eclipsing their music, but reality isn’t that far off either. The release of Plastic Beach saw a ridiculous amount of multi-media promotion, fully embracing all the broadcasting power of our Web 2.0 society, including any extraneous detritus that comes with it (no, I don’t want the super-deluxe internet-enhanced version of this album, thank you, CD sticker).

Albarn's inspiration for this Gorillaz session came from an unusual place compared to previous albums. Instead of making a musical statement against the corporate machine, the rubbish buried in the sand near his beach house gave him pause with the current state of our planet. What a perfect time to ascend the soapbox then, especially under the guise of a beloved collection of world-class misfits. Hewlett, for his part, wasn't so convinced, feeling particularly finished with the whole Gorillaz concept. Still, with the opportunity to further morph his cartoon creations to reflect a growing sense of global crisis, he rose to the challenge. Murdoc turned further demonic; 2D became traumatized by the events, his distinct black eye sockets now pale white; Russell grew ginormous, a side-effect of swimming all the way to Plastic Beach while consuming all the nasty pollution in the waters between; Noodle was incognito, but don't worry, here's a cyborg replacement. Wee, such fun things we do to these fictional characters!

The result is one of the most conceptually cohesive LPs under the Gorillaz banner, with bittersweet funk and soul melded with tinny Casio electro-hop and quirky Brit-pop throughout. While some could argue such stylistic markers as a bit of a bandwagon jump on Albarn’s part (Owl City was omnipresent), it fits the tone Albarn was shooting for, a mishy-mash of plastic sounds, as though cobbled together from all manner of musical debris gathered at Point Nemo. Plenty of rappers once again join in for guest spots, including Snoop Dogg, Kano & Bashy, Mos Def, plus a returning De La Soul. Unfortunately, none of their verses match the highs found on older Gorillaz hits (you know the ones). Yet, I suspect that was intentional too, Plastic Beach not as interested in aiming for peak chart impact as before, even with a few earwormy bits like Stylo’s breezy electro-funk and On Melancholy Hill’s dreamy lullaby sweetness thrown in.

The caveat with Plastic Beach is it lacks the guiding hand of an establish hip-hop producer (Dangermouse, Dan The Automator), Albarn handling most of those duties himself this time out. He’s definitely learned a lot, showing skill in the style his taken on here. If you enjoyed older Gorillaz for the gritty hip-hop and fearless funk-fusion, however, it’s sorely lacking here.

Gorillaz - Plastic Beach (Kayfabe Review)

Parlaphone: 2010

The remarkable thing about Plastic Beach was that it got made at all. Murdoc Niccals must have burned so many bridges (not to mention countless buildings and studios) throughout his career, it’s any wonder he can find willing participants and collaborators for his music projects. Hell, rumors abound that 2D initially wasn't a willing participant, though Murdoc denies any allegations of kidnapping on his part. Mind, as with anything Mr. Niccals claims, take it with a twenty pound lump of salt, but one cannot deny 2D sounded about as fine in singing form throughout Plastic Beach as he ever has. Maybe he just needs Murdoc's, um, 'encouragement', every so often. Might explain the inspiration for that that secret solo album he recorded while the band was touring this one.

Or perhaps ol’ Murdoc had finally saw the excesses of his life consuming him, and he promised to turn over a new leaf if all his music friends came with him to Point Nemo in making this album. Either that, or he was in need of an army to defend him from those Boogiemen after him. Let this be a lesson to all you budding musicians out there: don’t make deals with the devil for your fame, or you’ll suffer from incessant collectors, and no amount of awesome bass shredding skills is worth that.

Okay, off my perch there. Point is, Murdoc must have gotten incredibly reflective of his life to have written an album like this one. Plastic Beach was never going to be Demon Days, for no better fact than Noodle couldn’t contribute to this album (and sorry, Mr. Niccals, the cyborg could never replace her). A shame, since a few upbeat tunes like Dirty Harry and Dare might have elevated Plastic Beach to unprecedented heights of awesome. Ah well, she had other issues to deal with at the time. Now that the band’s all back together though (where ever they’re currently hiding), maybe they’ll finally find a new studio, and we can hear a proper full-on Gorillaz collaborative project!

Plastic Beach though, man is it ever a mellow album. It boggles my mind that Murdoc wrote the entirety of it – seriously, are there ghostwriters here? That guy from Blur, for instance, who headlined the second unit Gorillaz tour group, he looks suspicious. Or maybe Murdoc is just a bigger softy than he ever lets on, a gumdrop sugar candy wrapped in icky green skin complexion. Guess that would explain why all these rappers and musicians came when he called upon them, though it would have been nice if he’d waited for Russel to show up too. Right, Murdoc felt the Casio drums fit the Plastic Beach theme, but I’m missing that tasty, bassy hip-hop funk from way back in the day. Changing tides, I guess.

Plastic Beach is fine for what it is, though unfortunately the events surrounding the band tended to overshadow the music within. So it goes with Gorillaz these days, doesn’t it?

Tomita - The Planets

RCA Red Seal: 1976/1991

Ol' Isao proved he could create clever synthesizer interpretations of the classics with Firebird, outclassing even the pioneering work Wendy Carlos did with Hooked On Bach. There was a sense, however, he was selling his potential short in keeping his chosen works 'grounded'. Whereas most modern classicists were content in doing straight-forward covers, Tomita's style suggested room for experimentation and free-flowing expressionism - his works need not be intended for art houses or chambers, but capable of sending the listener into the wider cosmos above. Just borrow a few stylistic markers from those Berlin guys, and Tomita could craft music as futurist as anything conceived from sci-fi's golden years.

Okay, I’ve no idea whether it was Tomita’s intent in turning his focus primarily towards space music, but this album sure supports the theory. Gustav Holst’s The Planets is considered one of orchestral music’s defining suites, with various portions, passages, and pieces adapted into several genres since (progressive rock adores it). The concept was simple enough: each planet has its own musical theme derived from its astrological attribute, a fair idea since science was still sketchy on several of our solar system’s neighbours. Thus Mars: The Bringer Of War is fierce and aggressive, while Venus: The Bringer Of Peace is tranquil and lovely – which is practically opposite of what those planets are like in reality. Mercury: The Winged Messenger’s spritely, sunny bounce makes good sense for the innermost body though, and having Neptune: The Mystic quietly fade out to ghostly, lonesome choirs evokes the wondrous mysteries that lurked beyond the largely unknown blue ice giant. The Planets may have been astrological in inspiration, but Holst couldn’t resist adding a little astronomy in there too. Tomita, on the other hand, fully embraces it wherever he can. After a whole lot of music box tinkering and robot Moog squawking, The Planets literally lifts off on rockets.

Talking about these pieces in specific detail won’t do much good on my part, especially if you’re familiar with the original orchestral arrangements (if you aren’t, get on that, mang!). The attributes Tomita brings probably won’t surprise folks already weaned on his other works either, much less modern classical in general. What gives The Planets such standout quality though, is how ol’ Isao flits between grand space opera and pulpy sci-fi quirk throughout, keeping you guessing exactly where he’s taking things next. It’d be far simpler to rely on basic substitutes, but Tomita’s fearless in having singing Moogs, simulated radio chatter, and far-out flanged pads sharing the spotlight with symphonic synth strings, organs, and harps. It’s remarkable just how much millage Tomita got out of his hardware here, apparently all performed on his own. Holst’s estate sure weren’t impressed though, forcing The Planets’ initial vinyl run off shelves in short order – same ol’ difficulties for these modern classicists, eh?

This is a great album, essential listening for anyone with a hankering for raw, exploratory ‘70s synth works. I would say that with a ‘Saturn’ track, wouldn’t I?

Various - Planet Rave, Vol. 1 (2014 Update)

Triloka Records: 2000

(Click here to read my original TranceCritic review)


This CD really could use a do-over review. The one I originally wrote reeked of early amateur ‘skill’, rambling on with inconsequential tangents and wilfully injecting personal opinions where they weren't warranted (to say nothing about taking forever in getting to an actual point). Come to think of it, there are a number of reviews like that from the early TranceCritic years. With most of these full-length Updates, I usually shoot the shit about my old writing process, maybe throw in an anecdote or three, and fill in any noteworthy developments with the artist or label involved. I haven't considered writing a 'better' review as an option, because what else can I say that wasn't exhaustively covered in an old one? Yet that's beside the point, isn't it – why not offer something actually readable instead of eye-numbingly detailed? Lord knows there are a few such releases coming up that deserve a good, updated review.

Which bring me back to Planet Rave, Vol. 1: does it deserve such a do-over? That isn’t a slam against Triloka Records, but I know what’s up. I can feel the apathy oozing from your eye-sockets, the drab cover-art sapping your will to read much further than this. Even back when it sat in the early TranceCritic archives with little competition for attention, it languished in obscurity. Of course, a generic title like this one won’t entice curious explorers of overlooked music either.

Ironic, isn’t it. Triloka’s entire manifesto was built around bringing overlooked music from around the world to the ears of adventurous American audiences. Some of it was re-distribution of early world beat, such as the Bill Laswell sample-heavy project Material or euro-dancey Indian-pop German group Dissidenten (yes, that was somehow a legitimate thing). Or you might find a few oddities in the Triloka discography, such as Junior Vasquez providing a remix of harpist Emer Kenny’s Golden Brown - say, did Joanna Newsom ever get a Junior Vasquez remix? I bet not!

Even those names are comparatively known compared to the sorts that made up Triloka’s rotation. Ismaël Lô, Ashkaru, Little Wolf Band, Wasis Diop, Walela, Ziroq, Freddie Redd (!): this is some deep digging from many corners of the world, my friends. Two of the heavily featured groups on Planet Rave, Vol. 1 (note: there never was a Vol. 2) are Tulku and Jai Uttal & The Pagan Love Orchestra, hardly house-hold names but the closest thing to in-house stars the label managed. I maintain throwing in five Tulka tracks – including three remixes of Meena Devi - is overkill on a CD intended as a label showcase, but I cannot deny the group had crossover success. Well, if you consider being featured in the Brendan Fraser/Elizabeth Hurley comedy Bedazzled a crossover success – probably got more exposure from frequent Buddha Bar appearances.

And I’ve about run out of self-imposed word count. No proper do-over review for Planet Rave, Vol. 1, then, wonky track sequencing and all. So it goes for the Triloka legacy, sadly.

Various - Planet Dance

Tommy Boy Silver Label: 2000

Planet Dance is another entry in the ongoing history of “Good Music, Bad Covers”. To begin with, the title is utterly generic, and though hyperbolic sub-titles are almost mandatory, even a rote rookie wouldn’t be fooled into thinking Planet Dance is selling what it claims. I’ll give some credit for choosing a minimalist design in artwork, but I’m not sure what that thing is supposed to be. An all-white ‘P’ overlapping a block-spectrum of a ‘D’? And the logo in the bottom corner, is that really Tommy Boy’s, the label famously known as an early leader in hip-hop and urban soul? When did they get on the dance music money train?

Truth be told, they’ve flirted in and out of dance culture for just as long, including a few hip-house tracks when it had short-lived chart strength. After Daft Punk re-invigorated house music and the clubs that supported it in the back-half of the ‘90s, it wasn’t such a bad idea to throw one’s hat into the lucrative pile. Tommy Boy already had plenty of ties and connections to New York City clubs, and a little extra market penetration outside their core demographic wouldn’t hurt. Big gay diva house it is, then.

Thus Tommy Boy established a sub-label specifically catering to the needs of house heads, Tommy Boy Silver. Planet Dance is a summation of tracks that had been released through the label’s first couple years of existence, and remarkably ace throughout for a bandwagon jump. While I wouldn’t call all these ‘club hits’ like the CD claims, there are quite a few memorable anthems on here, and plenty of noteworthy names of the time, including Cevin Fisher leading the charge. Never a bad thing hearing Burning Up or The Freaks Come Out again; a few Junior Vasquez remixes also goes down easy. Squeezed into this mix are a few surprises too.

For instance, Demi Moore is on here! Yes, that Moore, sampled from a world-beat track where she read poetry, now set to a big house cut with orchestral swells and builds (A Gift Of Love’s Do You Love Me, for the record). Or how about a pre-Get Physical M.A.N.D.Y. showing up as Oakland Stroke for a funky outing in Planet Whip, inspired by the way-oldie Let It Whip from Dazz Band? Yeah, didn’t see that one coming, did you?

Nor a pile of hard house either, I wager. Not content in cornering the disco house scene, Tommy Boy Silver got in on the ravier side of things, including Mario Più’s hit Communication (aka: that phone song), and the one-off DJ Irene project P.I.M.P. Project (Kick Your Legs Higher is proto-‘donk’!). Bridging the gap between hard house and progressive house (kinda’) is Hypertrophy, with four tracks of theirs in this mix – geez, they only released five singles. It’s probably a bit much for those who never cared for ‘bells-n-plucks’ riffs, but when surrounded with strong funky vibes, they make for nice sweetener. Definitely a surprising keeper, Planet Dance is.

William Ørbit - Pieces In A Modern Style

WEA Records: 2000

It’s this album’s fault. Those crummy trance remixes of classical music wouldn’t exist had William Orbit not set the standard for synth covers of the form. Well, okay, it wasn’t specifically his fault, since it was a Ferry Corsten remix of his interpretation of Adagio For Strings that got Tiësto’s megalomania rolling and weak-sauce Classical Trancelation bilge encroaching upon the market. None of it would have happened if Orbit hadn’t allowed the Corsten remix in the first place, thus preventing further ‘inspirations’ from lesser producers. Except for whoever was inspired by Cygnus-X’s The Orange Theme instead, I guess - that one got remixed and covered a bunch too. But no one would have made dance music with classical music without Orbit’s initial guiding hand. Save all those old school rave acts that flat-out sampled orchestral musical passages. Orbit though, he made it all popular and shit, that’s what happened. Not that Isao Tomita hadn’t beaten him to the punch twenty years earlier. Umm…

Help me out here, guys. Why was this album so bad again? It isn’t? Well, that’s news, considering the reputation Pieces In A Modern Style earned in the wake of everything that followed. I suppose a smidge of blame can be pointed here for Orbit’s Adagio For Strings immersing itself into clubland’s consciousness - before that, it was primarily only known to non-classical buffs for that scene in Platoon. Yet, using Romantic and baroque scales in trance music was inevitable, those sweeping musical swells tailor-made for hands-in-the-air euphoria. Okay, Orbit, you’re off the hook on this one.

Here's the crux of Pieces In A Modern Style: for a classical music covers collection, it's adequately quaint. Like many instances of Orbit's pop productions, this music goes down easy, like a cool cup of water with a hint of honey, but still far and away from the sort of electronic music he was known for. Small surprise he’d go with an alias of The Electric Chamber to initially release it then, hedging his bets that the audience who enjoyed the Strange Cargo series wouldn’t be too warm to this material; or he hoped he’d sneak the album through the licensing lawyers unnoticed. That didn’t work out for him though, and Pieces In A Modern Style was promptly withdrawn from stores, mostly unremarked and forgotten.

Flash forward a few years, and Orbit’s hit the big time by giving Madonna some of her biggest hits in years! Shit, son, with that kind of clout back on his side, why not re-release the passion project from before? After excising the troubling tracks, he added in a few more new works from Beethoven, Cage, Vivaldi, and Handel, and the rest is history, bringing another side of Orbit’s to the limelight. Pieces like Ogive, Opus 123, and Xerxes are all quite lovely and dreamy, though hardly challenging in their interpretations. Ol’ William has his distinctive style, and utilized it in pieces from the ancient school. A handy beginner’s CD into modern classical, this.

Leon Bolier - Pictures (Original TC Review)

2 Play Records: 2008

(2014 Update:
Before I say anything about Pictures, can I point out how much improved my writing is here compared to that Phoenix Rising review? I mean, wow, just wow! Only a year-and-a-half had passed between, and though a few minor gaffs still crop up, it's nothing compared to the clunkiness of that older one. Guess going back to college paid off after all!

Okay, Bolier's debut. The horribly dated attempts at 'minimal trance' aside (*cringe*), this has held up quite well. Ol' Leon hit upon a strong formula for his trance productions, of which I detail below, and could have sustained him with a then emergent 'underground' side of the genre - the John Askew style, if you will. But Bolier had bigger aspirations than that, and has instead been seduced by the more profitable side of electro house and festival anthems. His name's unfortunately fallen back to third-tier status, just enough to sustain a DJ career but increasingly lost in a market flooded with bandwagon-jumping former trance producers - to say nothing of all the young jocks emerging and taking all the glory. Shame, as he could have been a king in the '140bpm trance' scene if he stuck things out with this style. Maybe he'll have another hit on the level of Ocean Drive Boulevard with festival bosh, but if it hasn't happened already, I'm doubting it will.)


IN BRIEF: Energetic yet evenhanded? Sounds good to me.

Was 2008 Bolier’s year? Don’t be daft - if anyone owned this year, it was some guy wearing a mouse head. However, by all estimates, Leon had himself a professionally successful year. He released his first commercial DJ mix (Trance Mission, even if he had to share the spotlight with femme-trance player extraordinaire Mike Shiver), was responsible for one of the most memorable anthems of 2008 in Ocean Drive Boulevard, and finally released a full length album. After several years being something of a third-tier name in the realms of trance, things certainly do appear to be on the up-and-up for the Dutchman.

This wouldn’t matter, though, if his debut Pictures was a bunch of forgettable fluff. Fortunately for Bolier, the man has displayed adeptness in a part of trance that many producers struggle with: rhythms. Not that the genre lacks beats that bring the boom, but quite often they are merely serviceable thump-thump-thumps with your choice of offbeat or rolling bassline; after all, trance prefers focusing on the melodic aspect of music (or just mess with your head if you’re into psy). And although Bolier displays some fine melodic sense, it’s his crafty tech-beats that make his tunes stand out from the bloated trance-pack.

Which is good news for him because Leon’s trance isn’t terribly innovative, doing much of the same thing we’ve been hearing for the past decade and blah blah blah etc. Yeah, we’ve been hearing this complaint for a while, even said it ourselves on plenty of occasions. Although it’s a sound critique when producers are replicating the past to a fault (re: adding nothing new to the table), if someone maintains a degree of class in their work, it at least makes for an agreeable listen; for the most part, Pictures does.

Really, Bolier’s trance is hard to fault on its own merits, doing everything you’d expect of the genre just fine. There is, of course, Ocean Drive Boulevard, about as expertly executed an anthem as you can hope out of the genre; even if all the trance jocks overplayed the tune this year, it still makes for a riveting climax to Pictures’ album proper (disc one, for the record). Meanwhile, cuts Dnipro and Meditate are more straight-forward excursions, simply laying out driving beats and loopy melodies that are nicely hypnotic. YE, on the other hand, aims straight for the melodic jugular; frankly, I’ve never been much of a fan of this type of doodily-do trance, but it’s still enjoyable while it plays. Plus, let’s not forget opener Offshore, a tune that taps into the best of what Tiësto was capable of: melancholy baroque atmosphere (did Geert Huinink ghost-write this?), stadium-sized beats, infectious hook at the climax – it easily outclasses Mr. Verwest’s recent offerings; Bolier out-Tiëstos Tiësto! And, as surprised as I am to say this, I kind of rather like I Finally Found’s euro-danciness – sure, the main hook practically rips off Jam & Spoon’s Right In The Night and the vocals are typically trite, but it doesn’t oversell its earnest emotions, which is about all one can hope for with music of this nature.

Unfortunately, disc one has a chunk of dull filler between many of the better tunes. Darling Harbour, XD, and Beyrouth contain some half-decent elements, but Bolier seems intent on making these his ‘deep’ cuts. As a result, we have music that is kept turned down really, really low so it merely simmers; every so often, a bright bit of synth work will build into a crescendo, but Bolier scales things right back to a simmer following such peaks, turning the tracks into insubstantial teases. I’ll grant they’re not as pointless as Sander van Doorn’s similar offerings (from which Bolier seems to be taking his cues with these tracks), but they ultimately serve no better purpose on this album than to space the trance cuts out.

Still, having too much of the same thing over and over isn’t such a hot idea either, as evidenced by disc two. Here you have most of Bolier’s collaborations and b-sides collected together and, note for note, I’d wager this the stronger of the CDs. For one thing, you don’t have any of the dull ‘deep’ tracks; about the closest would be Lost Luggage with Jonas Steur, which is more funky tech-house than anything (and a whole lot of awesome, I’ll add). The lone vocal track on this disc - Exhibit - is a rollicking goodtime euro-dance tune, with Ms. Georgiou belting her heart out like she’s singing house in the early 90s, and making it far more fun than I Finally Found. And the rest of the tracks - from melodic musers to tech-bangers - are all classy cuts; never were the breakdowns and builds heavy-handed, and the sounds on display were always energetic and pleasing. The unfortunate trouble, however, is the fact all these tracks are so similarly arranged (lead, break, drop, outro) that it can grow monotonous after a while. Although the music is strong enough to keep you engaged, some variety in style would have done wonders for this discs’ overall appeal, and a couple token nods outside the formula just isn’t enough.

Still, as far as debut trance albums go, Pictures is certainly one of the better ones you’ll come across. Yes, there are a number of rough patches and questionable choices included in this double-discer (what even was the point of Longing For? It sounds like a tagged-on afterthought), but as a whole Bolier has come away from this maintaining his path on the up-and-up. With so many of trance’s standard-bearers churning out directionless misfires and corny tosh, it’s reassuring to hear the young bloods stepping up to keep some respectability in the genre.

Written by Sykonee for TranceCritic.com, 2008. © All rights reserved.

ACE TRACKS: November 2014

What happens when I buy up back catalog of a few artists, and then follow those reviews with music that’s stylistically similar to them? A playlist with a lot of ambient, ambient techno, synth-chill, and the like, is what. ACE TRACKS: November 2014 gonna’ be great if you like that music, but not much cop if you’re hoping for all house business (try May 2014 instead?).


Full track list here.

MISSING ALBUMS:
Kenji Kawai - 2002 Patlabor 2: The Movie “Sound Renewal” [FOUND!]
Various - Phoenix Rising
ZerO One - ozOne
Carl Craig - Landcruising [FOUND!]

Percentage Of Hip-Hop: 5%
Percentage of Neil Young: 0%
Most “WTF?” Track: Any of the Beach Boys songs? (they’re quite out of place in this playlist)

I mean, you’d think the Beastie Boys would horribly clash with all the ambient, ambient techno, and pre-ambient synth floating throughout, but not as much as the Beach Boys. Even the fluffy trance and (missing) dark psy works in context of their surroundings. Too many years of separation for those Beach Boys I guess, though the transition from God Only Knows into Boards Of Canada’s Peacock Tail worked surprisingly well.

This playlist also has a few stretches of techno and trance for your higher BPM needs, but you’re looking at a whole lot of tempos on the down for the most part. It’s almost a chill-out set! Or maybe a welcome, very lengthy morning-after one. Admit it, we’ve all been there.

Various ‎– π - Music For The Motion Picture

Sire Records Company: 1998

As promised in the last review, here is your Pi. What do you mean this isn't what I meant? Look, it’s not my fault you misheard what I typed, but what did you expect? I can't manifest baked pastry goods from the intercloud and have them promptly delivered to your computer desks and palms of your tablets. And even if I could because you're one of the lucky few who have a 3D printer, I guarantee it’ll taste awful, even with whipped topping. So how about a delicious assortment of late '90s 'electronica' that soundtracked a movie about puzzling mysteries related to the number pi? (get lost, Geogaddi - you're last month's joke)

Okay, I haven’t actually seen the flick, though it’s on my ever-growing ‘check out someday’ list. I cannot deny some curiosity in how a paranoid thriller could work in Banco de Gaia’s Drippy in there, one of Toby Marks’ more chipper tunes at the time. I highly doubt it was assembled through studio and label dealings, this being an indie film and all. Maybe former Pop Will It Itself member Clint Mansell, who handled the music duties (and kicked off a successful run as a film composer in the process) is just a Banco fan too?

Even within the context of Pi, the CD, Drippy is an odd one out. The only other light-hearted track on here is Aphex Twin’s Bucephalus Bouncing Ball, and that goes all scatter-skitchy after awhile, just like protagonist Maximillian Cohen’s head, if I’m reading the IDMB synopsis right. I guess Spacetime Continuum’s A Low Frequency Inversion Field is upbeat too, if you count psychedelic space ambient as positive energy flow.

Mostly though, Pi features smatterings of electronic genres on a darker tip. There’s the Ed Rush & Optical Remix of Roni Size’s Watching Windows, combining two of drum-n-bass’ then-trendiest sub-genres under the sun (tech-jazzstep!). Trip-hop’s taken care of in Massive Attack’s Angel (of course). Downbeat EBM sludge gets a nod from Psilonaut’s Third From The Sun, though I suspect this genre’s only here due to TVT Record’s massive influence on soundtracks at the time. And hey, do you remember ‘technorganic’ tribal? You will after hearing GusGus’ Anthem. Naturally, big-beat must be featured, and that’s handled by from Clint Mansell himself We Got The Gun; his other track, 2πr, goes jungle). Finally (or initially, since it’s the first proper track on here), there’s… whatever the awesome P.E.T.R.O.L. from Orbital is. I’m calling it evil techno-electrocore, because why not.

Like the movie itself, Pi earned something of a cult following way back when, an edgy alternative to all the mainstream mega-selling soundtracks with obvious names and tunes. True, Roni Size, Orbital, and Massive Attack weren’t exactly under the radar when it came to ‘electronica’ collections, but their selections here were definitely off the beaten path (wow, Orbital had more licensed songs than The Saint and Halcyon & On & On?). Easily worth the fiver it’ll be selling for in a used shop.