Ott - Skylon (Original TC Review)

Twisted Records: 2008

(2015 Update:
Nothing helps appreciation of an album grow like being exposed to inferior examples of the genre. Not that I didn't enjoy Ott's second LP way back when, but I felt his production a bit too slick for a trippy style like psy-dub. What he does have, however, is flow, sounds and samples making sense in their utilization. Since Skylon dropped, I've heard all manner of tracks that throw in so much wibble, it renders tracks nearly unlistenable, and the advent of dubstep mid-range random wobble often made matters worse. Less really is more in some cases, y'know.

Ott hasn't been up to much on the production front since Skylon. He released another LP in 2011 called Mir, which I haven't heard because rumor mill contends he also went a little dubsteppy on that one. *sigh* No one could escape it that year, so I don't blame him catering to the festival market a little. Maybe I'll give it a check sometime, but considering I've yet to even hear Blumenkraft in full, I'm not in any rush for more Ott music. Skylon's plenty for the time being.)

IN BRIEF: Warm fuzzy feelings.

As my fellow writer [Jack Moss] said, “Another psy-dub album?” I suppose he has a point - for a genre of music that maintains a highly niche following, we do tend to cover a fair amount of it. However, the enigmatic Ott has garnered himself a higher profile than your average psy wibbler, having provided studio production and engineering for several rock bands before delving heavier into electronic music. It was his pairing up with psy legend Simon Posford for the Hallucinogen remix album In Dub that gained Ott the most critical notice though, and has since often worked with as collaborator on several high-profile releases (Shpongle and Dub Trees, to namedrop just a couple).

Having fiddled away in studios for most of his career, it came as something of a welcomed surprise when Ott released a full-length album of original material way back in 2003. Although Blumenkraft didn’t receive huge recognition beyond the genre’s faithful, it did cement the reclusive producer as one to keep an eye out on for future releases. Half a decade since that solo debut, Ott provides his follow-up in Skylon.

And where do we find The Ott (yes, this is the only name he provides) in this year of 2008? Not moving that far, to be honest. Much of his psy-dub execution remains unchanged, within his sonic scope and the genre as a whole; anyone who’s had a passing familiarity with this kind of music since even the Megadog era won’t find much innovation. Reggae rhythms, trippy atmospherics, cultural-fusion, ethnic samples... stop me if you have heard this before.

What Skylon lacks in inventiveness, however, Ott more than makes up for in musicianship. Mellow melodic moments that move the mind and soul? Yep. Catchy chants that hook into your mind? You bet. Intriguing effects-play that tickle the ol’ psyche in imaginative ways? Ya’, guy. Beats and bass giving your feet a case of the funky shuffles? F’sure. There may not be many songs offered on this album, but each one delivers in a way that is quite satisfying as the CD plays through.

In case that broad stroke of a description isn’t incentive enough for you to check Skylon out, here are some highlights to pique your curiosity further: The Queen Of All Everything, after lazily cruising along with melody, hits a lovely little synth climax - not to be outdone, dub-cut Signals From Bob pulls the same, with results that are thrilling for the ears; Daisies And Rubies is quite the free-flowing bit of spacey dub, with musical indulgences to spare, but the theremin towards the end is a delight to hear; if Ott was ever given the opportunity to cross over, the bhangra-influenced Rogue Bagel proves he definitely has the chops to pull it off; just as potent a dancefloor weapon is Roflcopter, where dubby breaks, cheeky samples, and trippy effects make this track a potent weapon for those outdoor parties.

Lowlights, then? None, really. About the only fault one could be nitpicky about is sometimes Ott’s production can come across as too polished. While it never seems as though he’s unintentionally stripped the soul of his music in the way other studio-obsessives have, nor does Skylon really have any of those pure unpredictable psychedelic moments that some of the best psy-dub albums of the past contain.

Of course, there’s also the argument this isn’t the kind of music that everyone will enjoy, but if psy-dub isn’t your bag then chances are you haven’t even read this far to begin with. Besides, Ott has managed to produce an album that should be appealing to those looking to get their feet wet. Although long-time connoisseurs of the genre may come away somewhat underwhelmed, Skylon offers more than enough infectious rhythms, pleasing melodies and engaging harmonies to please all parties.

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

BushX - Sixteen Stone

Interscope Records: 1994/1996

This being a Canadian blog, I must call this band BushX. The Can-Con Commission is ruthless, often breaking knees over preserving our heritage, including making sure a home-grown Bush band doesn't get overshadowed by a foreign Bush band. What's funny is with the immense popularity of Gavin Rossdale's group, Roy Kenner's group got more publicity for their infringement lawsuit than any of their music garnered - from the Gen-X crowd anyway. What's even funnier is it worked, my brain still subconsciously treating this album as a BushX record, not a Bush one. This, despite the fact BushX technically no longer must be called BushX within our borders. Guess after London Bush disbanded for a while, Toronto Bush saw little need for anal-retentive clarification of whose Bush is whose.

Anyhow, Sixteen Stone. This was a ridiculously popular album back in the day, though I'm hard pressed to think of anyone admitting they throw it on anymore. It certainly hasn't aged as terribly as many other post-Nirvana grunge bands, but nor does it have the gritty charm of the original Seattle invasion. BushX sound just a little too polished with their distortion, a little too clean-cut in their angst, a little too big label produced for a supposed grassroots music scene. And yet almost no one initially wanted to sign them. Grunge from the UK? Balderdash!

Super success notwithstanding, the band has a humble beginning, Gavin and fellow guitarist Nigel Pulsford joining forces through a mutual love of Pixies. They're competent musicians, knowing their way around feedback and riffs that are heavy, dreary, and all that good grunge stuff. I dunno though, it all feels off, even to these ears that have as little exposure to the genre as a '90s teenager could hope to achieve. Matters aren’t helped when Gavin just doesn't strike me as a 'proper' grunge leading man, y'know? I cannot deny he's got stage presence, a look and voice just as impressive as Cobain's wretchedness, Scott Weiland's hot mess, and Eddie Vedder's pearly whites. Wouldn't he be better served fronting a traditional heavy alt-rock band though?

Whatever. Machinehead’s a kick-ass tune, no one can ever deny that. Most of the other songs rock well enough for a casual listen, and I’m sure almost every girl made out to Glycerine before Aerosmith stole BushX’s teen dance thunder. Hell, even Ishkur was a big enough fan to get this limited edition 2CD version with a bonus live recording included. Explain yourself there, mang.

Ishkur: “I had that? I had no idea.”

Dammit, doesn't everyone obsess over their CDs?

Honestly, I was curious to hear how disc two sounded, whether the studio polish of CD1 capably translated to stage performance. Screaming girls aside (because of course), it was pretty cool, the band sounding much looser and Gavin’s singing straining in a cool sort of way. Maybe the band realized this rougher sound served their music better, going with Steve Albini for their second album. It didn’t serve their sales though.

Dogon - The Sirius Expeditions

World Domination Recordings: 1998

I’ve probably said what I’m about to write before, but I’ve been writing these reviews for nearly thirty-two months now. I’m bound to repeat myself a few times, return to salient points, and reiterate former rants when appropriate after a ton of time has passed between. And this fact, this tidbit of aged wisdom I’m about to impart, it needs repeating, must be repeated so we all remember its sage advice such when another generation emerges that deserves the knowledge. Whatever is this bastion of high intellect I’ve bequeathed upon thee hence, and shall do so posthaste? Yes, what is this peon of insight that will bring clarity of mind and soul to all that who shall now read it?

An album like Dogon’s The Sirius Expeditions would never have gotten attention without the ‘brick & mortar’ music shop, and that’s a darn shame.

Actually, I don’t know if that’s true anymore, what with a million and one micro-meme genres popping up every year now. A lot of those seem to start out as a joke though, something done as a lark to impress fellow young bedroom producers on a /mu/ hub, but man oh man do they get attention. Dogon, however, have some serious talent behind them, musicians that know their way around a studio and song craft. They’re loosely ambient, but that doesn’t stop them from going all esoteric with pseudo-jungle beats and whatever it is they’re doing in Plexus (big beat acid Orb jam?). They do ridiculously sentimental New Age tunes (Pah), mysterious ethnic –fusion dub (The Round Buddha Factory, Melonheart), sun-kissed hippie festival glaze-outs (a cover of Pink Floyd’s Fat Old Sun, and sorta’ follow-up Joven Flaca Luna), and brooding, meditative ambience (Locus Voci, The Unknowable). Naturally, the titular twelve-minute cut runs the gamut of all these features, then goes for the super-epic orchestral build to sell that cosmic journey.

Okay, I’m way overselling The Sirius Expeditions. The tonal shift throughout this album is jarring, making for a difficult playthrough. This is the sound of a group (primarily Miguel Noya and Paul Godwin, with assorted musicians joining in for the fray) with a ton of ideas but knowing full well their reach will be limited. Lord Discogs lists scant else by Dogon, two other albums and little more. So they go for the gusto, indulging in all their idiosyncrasies while proudly proclaiming “we’re not commercial, we’ve came to grips with ourselves with that”. It’s a wacky ride that’s at times exhilarating, other times charming, but equal parts confounding. I’ve played this many times over, thinking this will be the time it all clicks, yet something consistently holds me back.

Hey, at least I’m giving it repeated plays, something that can’t be said of many other CDs in my collection. And I’d never have gotten it too, if it hadn’t been idling on that Virgin Megastore shelf so many years ago. Praise be the random chance purchases, and all the bizarre musics that may come with them.

Depeche Mode - The Singles 86>98

Mute: 1998

Depeche Mode, the band everyone loves when they want to get in touch with their darkside, and will get beaten to a bloody pulp by the South Park goth kids for it. Depeche Mode, the band that’s seen so much reinvention over the years, even their long standing fans have formed tribes based on which version is the one true Mode. A band that had a singles package released before their most recognized songs hit the radio waves, followed the year after with another ‘greatest hits’ album to accommodate those, and was still followed upon by some of their most famous songs. They soundtracked everything from foppish New Wave clubs to nebbish S&M dungeons to family friendly mall speakers. They’re the band you enjoy until their sound falls out of fashion, secretly admire while no one’s looking, then proclaim a long-standing devotion when it’s cool to do so again.

So yeah, Depeche Mode has had a career, one lengthy enough for retrospectives dividing their different eras. Obviously the mid-‘80s record The Singles 81 → 85 covered the early portions of their discography, but albums Black Celebration, Music For The Masses, and Violator came after. These LPs held the songs Stripped, Strangelove, Behind The Wheel, Enjoy The Silence, A Question Of Lust, A Question Of Time, A Question Of Your Personal Jesus… Basically every song we’ve come to associate with Depeche Mode (that reverb!), even those who contend Just Can’t Get Enough is their crowning achievement.

Naturally another greatest hits package had to capitalize on these singles. Like, shortly after the ‘90s took form, when their darkwave synth-pop sound could no longer stand toe-to-toe with trendier sounds like industrial rock and raving techno. Get a few extra dollars from their fans and- wait, Depeche Mode’s still going? What’s with this ‘adapting with the times’ strategy of theirs? It’ll never work, “never” claims the critics! Well, the band must have been doing something right, for they managed a whole second CD of singles from their ‘90s efforts.

Honestly, CD2 of The Singles 86>98 isn’t as memorable as CD1. The albums released during that period - Songs Of Faith And Devotion and Ultra - have their fans, and it’s remarkable the band navigated the ‘90s as capably as they did before ‘80s revivalism gave them another boost with 2001’s Exciter. Yet, hearing them go all distorted in I Feel You and Useless, or try trip-hop with Barrel Of A Gun, doesn’t quite mesh with how I, a passive fan, fancy the group. Leave the angst-ridden sonics to Nine Inch Nails, and give me more of that cinematic melodrama bombast in Little 15. Wait, why is that song on CD2?

I guess there’s no harm in slapping a second disc of material to an essential first, but was there no other way of summing up thirteen years of band’s career? CD1 has all the songs you know and love, CD2 has the fans-only material. So much cake that needs eating too.

Aldrin - Singapore Tribal

Muzik Magazine: 2001

After a solid string of free CDs from Muzik Magazine, Singapore Tribal was such a letdown. No cool new sounds like electroclash. No tasty club hits like Chocolate Puma or Bent. No exposure to UK exports like grime or nu-skool breaks. This was just house music - kinda’ dark, a bit like the opening portions of a (then) recent Danny Tenaglia mix, but well outside my interests. If I was gonna’ get down to a brooding, dubby mix of house-based grooves, I’d get my fix from the prog camps, not this ‘tribal’ thing. Thus Singapore Tribal languished in my collection for years upon years, not even roused for a pity play. And finally, now forced to revisit Aldrin’s mix for Muzik Magazine, I must kick thyself with much gusto and shame, for oh Lord what I wouldn’t give to hear something like this out in this day of age!

I should have had more faith in Muzik, having bestowed upon Aldrin Quek praises like “Best New DJ” and “one of the world's finest residents”, referring to his home behind the decks at Zouk in Singapore. Clearly I wasn't ready for this sort of house in my life, but I also single out two other factors that soured me to Aldrin's mix CD. First, the mastering is rather rough, with frequent clipping of bass kicks. Maybe Aldrin prefers a gritty, muddy sound in his sets, but having grown used to crystal clear dynamics from Digweed mixes, I wasn't vibing on it at the time. Second, a big piece of this CD’s promotion went into a big new remix for Inner City's Big Fun, which is a big ol' bore as far as I'm concerned. The fact I'm certain none of y'all have hear of D-Wynn's tech-house rub of the Saunderson classic only proves trend-hopping remixes are seldom worth the hype. Ultimately though, Singapore Tribal didn't do it for me because I expected compilations from my free Muzik CDs, not DJ mixes. How dare a UK magazine not meet a single young Canadian adult’s expectations!

Master Sky Fairy willing though, age grants us the wisdom to learn from our earlier follies, and I came around to the sounds Aldrin was pushing. It still doesn't excuse me from ignoring a solid mix CD from Mr. Quek for so many years, but I'm pleasantly surprised that Singapore Tribal pleasantly surprised me with this playthrough. While the mastering is still too rough for my liking, and that Big Fun remix is still a big bore as a closer, the rest is pure dopeness. Thumping tribal business from Peace Division and Khaimar, chugging dub work from Jeff Bennett, bumpin’ tech-house from Jay Tripwire, and deep acid groove from Aldrin himself easily makes up for the few weak moments. Aldrin's mixing is mostly smooth throughout, momentum kept on the up such that one can easily get locked into a sweaty groove in a hot underground climate. Damn, I want to hear this stuff at a club again...

Andrew Heath - The Silent Cartographer

Disco Gecko: 2014

In one of the great cosmic coincidences within my music collection, CDs from Simon Heath is followed upon by a CD by Andrew Heath in my alphabetical organization of album titles. I don't think they’re related. Even more coincidentally though, they both produce ambient music. Okay, given the amount of ambient I have, it's not that great a coincidence.

Plus, they're at complete opposite ends of the ambient spectrum. S. Heath makes dark, brooding ambient as Atrium Carceri and Sabled Sun, while A. Heath makes calm, meditative ambient as, um, Andrew Heath. Also, the former has quite a few releases to his various aliases, whereas the latter has very little. Lord Discogs claims Andrew floated about in ambient obscurity with Felix Jay as Aqueous, releasing a few albums in the '90s before all musical records of him disappear until very recently. Somewhere along the way, Toby Marks got wind of his music, and signed him to his Disco Gecko label. And now you know why I'm reviewing The Silent Cartographer in the here and now. Like, if Banco de Gaia reps the chap, there's gotta' be some dope transmissions coming in from Mr. Heath (no, not signals).

After taking in this album though, I'm left puzzled by the Banco bump. The Silent Cartographer is ambient at its most traditionalist, with soothing synth tones, delicate piano touches, and occasional soft percussion. The opening titular cut, running at thirteen minutes in length, harkens back to some of Pete Namlook and Dr. Atmo’s work as Silence, lazily idling along with soft pads ebbing and flowing while various field recordings come and go. There are birds chirping, water running, boats creaking, and… repair work near the end? It’s all very relaxing though, perfect meditation music if that’s your sort of thing.

And so is the rest of the album, little variation in terms of mood and tone. The Twilight World uses pad synths with more prominence as it develops, Shoreline (Found Object) has a pleasant planetarium vibe going for it, Still Point works in a little vinyl crackle for extra warmth, and The Poet’s Dream feels ‘old-school’ with some vintage synth sounds used. For the most part though, these ten minutes pieces are led by piano, and here’s where I make the inevitable Harold Budd comparison. What, were you expecting a Hybrid Leisureland one instead? Can’t be helped, Mr. Budd casting a long shadow in the ‘piano ambient’ scene. The shorter Paper Boat sounds like something right out of his work with Brian Eno in The Pearl. Say, maybe that’s why I picked up The Silent Cartographer, figuring this album would represent the historical drama I keep believing The Pearl is based upon.

Mm, no, it’s definitely because of the Banco bump. You’d think a guy known for ethnic-fusion beats would curate artists of similar ilk to his label, but maybe Toby Marks has long had an unrealized soft spot for art house ambient too. Don’t expect Mr. Heath at a Megadog reunion though.

Sabled Sun - Signals I-III

Cryo Chamber: 2014

One does not simply let a sci-fi concept rest on its singular story, not when there is an entire world created. Simon Heath felt there was more worth exploring with his Sabled Sun concept, but wasn't keen on getting bogged down with divergent side-stories, sub-quests, or cul-de-sac tales. Enter the Signals series, digital-only compositions of hour-long ambient drone, loosely tied with the other Sabled Sun albums as companion pieces, but not integral to the main narrative – so like DLC, then?

Honestly, for as much as Mr. Heath's project intrigues me, I only had mild interest in these tracks. I barely indulge in lengthy drone of this sort as it is, preferring the genre in manageable bite-size chunks. Not to mention I remain a staunch believer in only committing hard cash to hard copies, even as the market continuously erodes the need for such mediums (however, it will never erode the ‘want’). On the other hand, unlike other fields of drone, the idea of dark space ambient has a certain allure, a suitable pairing capturing the harsh reality of desolate nothingness that is much of the cosmos. Maybe I'd check out Signals on a streaming service some day, even if I'd never get a chance to review it here.

Then I discovered a three-disc set of Signals had been released. Well, that settles that.

Though it really goes without saying, I’ll say it anyway: if you don’t care for dark droning ambient music, Signals won’t change your mind. These are about as dark and droning examples of the genre as you’ll likely find, though followers of Mr. Heath claim his work as Atrium Carceri is among the best of recent artists, so maybe this is decent starting point too.

Or maybe not. Signals I is almost an endurance test to get through, completely atonal and sonically crushing on the psyche. Running with the Sabled Sun setting, it feels like I’m trapped in orbit of a dying planet, waves of radiation bombarding me from above and below. There’s no emotional resonance here, just stark existence, unable to escape the calamity before me. Only as the droning ambience slowly recedes is a respite granted, though somehow I’m much lonelier because of it. Signals II feeds off of that feeling, also featuring a persistent humming drone throughout though much more subdued and spacious. The first twenty minutes of this track also has an intermittent high-pitched sound, like a transmission trying to pierce the desolate vast emptiness of the cosmos. The droning then changes pitch, and a similar sound briefly plays, as though finally responding to the desperate signals of before. Then nothing but the ebbing waves of drone after that. Dear lord, this is some bleak stuff.

If any of these CD-length tracks have hope it’s Signals III, where minimalist musical tones lend human emotion to the concept. Really, this is little more than a dirge, but man, after feeling such inhospitable isolation in the previous two Signals, any connectivity is welcome.

ACE TRACKS: May 2013

So, enjoying all these ‘S’ albums? It’s been nearly two months since I started with this letter, and I’m not even finished the first half of them, at least another two weeks’ worth to go before hitting a midway point. And If you think that’s hefty, you should see the alphabetical backlog that’s accumulated in that time! Holy cow, I may need a cutoff with that, lest I never find a way back to my ‘S’ albums. This was all so much easier two years ago. Remember how swiftly ‘F’ and ‘G’ flew by? I do, because I just made a playlist for ACE TRACKS: May 2013, when I was reviewing those CDs.


Full track list here.


MISSING ALBUMS:
Various - Global Underground Departures
Various - Global Underground 31: Dubfire - Taipei
Jim ‘Shaft’ Ryan - Miss Moneypenny’s Glamorous Grooves
2 Unlimited - Get Ready
Del Tha Funkee Homosapien - Funk Man (The Stimulus Package)
AK1200 - Fully Automatic

Percentage Of Hip-Hop: 50%
Percentage Of Rock: 6%
Most “WTF?” Track: Nine Inch Nails - At The Heart Of It All (why does this sound like some random Aphex Twin cut?)

The hip-hop percentage is misleading, as I’ve included the entirety of Gang Starr’s Full Clip double-disc ‘best of’ at the end, which is indeed about half of the total songs in this playlist. Also, I’m not sure I can even qualify the selected rock songs as rock at all. The three Police entries find Sting pushing the limits of what a rock song could be in a New Wave world, and the NIN cuts (re: remixes) are definitely out of leftfield here. This was also another rather short Playlist sans Gang Starr, that May eaten up by plenty more double-disc entries (two NIN albums, a GU, plus another 2CD DJ mix). I’m surprised this came together as capably as it did, what with moody ambient music, tech-doff house, and psy trance all mixing things up. Well, the opening portion anyway.

Filter - Short Bus

Reprise Records: 1995

It’s been a long while since I dealt with any of Ishkur’s old CDs. Okay, there’s been a scattered few that had actual ‘techno’ on it (win an Ishkur t-shirt if you guess which ones!), but nada from his pre-rave days. I bring this up because it’s the only reason why I’m reviewing Filter’s debut album today. Obviously I’d never have bought this for myself, though the possibility of it being a gift from an aunt always lingered. Seemed every guy I knew who had some hard rock or alternative rock or industrial rock collection had Short Bus in their CD pile. You couldn’t escape it, even in store shelves long after Filter had faded from public discourse. You’d spot it in ‘90s rock retrospectives, the cover art distinct and memorable. Yet, beyond one major track, does anyone recall any of the tunes off this? I sure don’t.

Yeah, yeah, not like I should know of Filter’s work, since their music scene was well outside my interest. Hear their music I did though, primarily because their brand of Nine Inch Nails metal made for ample edgy soundtrack fodder. In fact, they were tapped for the lead single off Spawn, collaborating with The Crystal Method on (Can’t You) Trip Like I Do. Right, ‘collaborating’ is used very loosely here – more like sang over an existing Crystal Method cut, but Spawn was one big ‘yawn’ anyway, amirite?

Point being, Filter’s the sort of alternative rock one easily identifies with a specific era of music. That post Trent Reznor, pre Limp Bizkit sweet spot of aggressive distortion, angst-filled singing, yet just enough strength of songcraft to take it seriously enough. Like I said, perfect for goth-inspired movies such as The Crow, Demon Knight, Valentine, The X-Files, 3000 Miles To Graceland (huh?), The Cable Guy (wait), and Little Knicky (oh come on).

Short Bus, then. I guess it’s good. Hey Man, Nice Shot, the opener tune about R. Budd Dwyer’s suicide, I most certainly have heard, because that song was on nearly every alt-metal compilation you could think of. MTV Buzz Bin, Family Values Tour 1999, Freedom Sucks Vol. 2, The Next Generation, Absolute 90’s, plus a number of those soundtracks listed above. Most of the tunes off Short Bus sound like it, some a little sludgier, some a little brisker, all heavy with distortion and shouty lyrics. I’d make a quip about how all industrial metal sounds the same, but Nine Inch Nails sounds pretty different song to song, and it’s not like ninety-percent of techno isn’t recyclable either. One thing I do like is the requisite acoustic tunes (Stuck In Here, So Cool) have a neat bit of distortion fuzz playing in the background. Like, some sort of sonic sift or sieve.

For as hopelessly ‘90s as Filter come across, they’ve managed a career lasting to this date. Good for them, I say, though one ride on the Short Bus is all I need for my Filter fix.

Magda - She's A Dancing Machine

M_nus: 2006

Magda is Madgdalena Chojnacka, a very important person in the world of techno. Because she’s a woman, see. And women don’t do techno apparently, but she does, making her important. Bunch of hogwash far as I’m concerned – the likes of Ellen Allien has long made a mark on the predominantly Boys-Only club of clubbing culture, with plenty more female jocks rising in prominence this past decade. Magda though, she had the benefit of being pals with Richie F’n Hawtin, the most very important person in the world of techno during the mid-‘00s. Despite being long time friends even before moving to Berlin, she got tagged as something of a hanger-on, also a bunch of hogwash as far as I’m concerned. So she benefited from being part of M_nus’ inner circle. At least she came out of the minimal fiasco with some integrity intact (unlike too many others I won’t namedrop).

For one thing, she never flooded the market with material, sticking to the touring circuit and letting the great M_nus hype machine do the rest. Smart idea, what with the minimal scene quickly growing flooded with plink-plonk nonsense and dry-as-dirt DJ mixes. There was always something just a little more unique about her sets though, a bit of funkiness in a typically sterile environment. Come see the cute DJ, stay because she’s got your feet locked on the floor!

When Magda finally did put her name to a physical format though, she went out of her way to challenge the norm, following in the Plastikman’s footsteps in rethinking the idea of what a DJ mix could be. She’s A Dancing Machine lists seventy-one tracks in its list, all cut, looped, spliced and Ableton’d onto a single CD. Yes, it’s minimal techno, but this is how such music is best served, using snippets, bits, and pieces for an icy cool mix. Things are constantly shifting and changing, all the while maintaining a sense of forward momentum without getting lost in monotonous effects wank. For the love of an 808, I cannot understand why so many minimal mixes don’t do this. DJs will layer once or thrice, but always in a clinical manner, seldom with the same sense of loose groove Magda employs here. I don’t doubt constructing sets of this sort takes a ridiculous amount of time, so it’s easier to just do the standard mix CD of lining up your tracks of similar genre origin. Compared to She’s A Dancing Machine though, such sets are a right bore, far too safe and predictable. Here, I’m constantly engaged by every little quick twist and turn played.

Okay, this still are mostly serious minimal techno, with all the familiar names of that era popping in. Magda’s debut mix CD won’t convince you to check this music further once you’ve long written it off. If you’ve a little curiosity over what that scene’s big fuss was though, She’s A Dancing Machine is one of the better offerings available to soak your ears in.