Autistici - Temporal Enhancement

Dronarivm: 2015

Autistici is someone I regret coming into so cold. As with many larks and flights of music buying fancy, I picked this up with no prior knowledge of the artist and no checks of prior material. I can never tire of that thrill in random chance purchases, browsing through shops where cover art is your only clues of what’s within (erm, and good sorting). And I cannot deny some of its present with Bandcamp pages, having a label’s output nicely laid out for your perusal convenience. It’s definitely led me to a few splurges these past couple years, content in the knowledge my monies are feeding a more direct route to the artist than most options (or, in the case of used shop shopping, not at all). While neither Autistici nor the label Dronarivm are names I’ve any familiarity with, their association with others that I do know was enough for the blind pickup.

All this, of course, is just a roundabout way of making excuses for whatever gaps of knowledge I’ll undoubtedly commit in the next few hundred words. For Autistici, or David Newman in the Sheffield phone directory, strikes me as an artist that requires a proper full-discography plunge, if only to understand how his craft has evolved over time. Temporal Enhancement is his fifth album on a fifth label, despite the fact he has his own print (Audiobulb Records). His approach to music is less musicality, and more explorations of singular sounds, going for pure abstraction of field recordings, noises, and manipulations of natural tones. His music can be quite soothing, melodic, and calming drone, but he’d just as soon go noisy and harsh with a cacophony of experimental percussion. Taking in quick Spotify sampling, the one clear consistency through all of Autistici’s work I noticed is never resting on singular ideas for long, elements coming and going even if it creates a complete tonal clash within the track itself.

So too is the case with Temporal Enhancement, a collection of six tracks, most averaging four-to-five minutes. There’s also a nine-plus minute closer, and a whopping seventeen-minute composition smack in the middle, and as good a summation of the album as any.Habituation Of The Heart darkly drones along for a significant amount of time, ghostly voices and electronic sparks creating an oddly spacious yet claustrophobic setting traditional industrial sorts would approve of. Just when creaking, contorting sounds make the atmosphere almost unbearable, a release, with gentle heartbeat pulsing through soft white noise, distant lullaby and children at play easing you out.

Temporal Enhanncement as a whole plays out like this, abrasive sonic assaults making up the first half, with gentler, dubbed-out works making up the backend. Mr. Newman described this album as an exploration of the human condition, and with titles like Opened Up Too Quickly, Thinking Before Feeling, and The Grotesque Physicality Of Waiting, I’d say he sums things up just fine, if in a rather over-stimulated fashion at times. Mm, Ritalin with a Xanax chaser.

The Black Dog - Temple Of Transparent Balls

General Production Recordings/Soma Quality Recordings: 1993/2007

Though not as critically acclaimed as The Black Dog's contributions to Warp Records, their debut album on lesser-known General Production Recordings was no less highly sought after. Because when you develop a cult-like following of fans based on scene respect, multiple aliases, rotating members, and a significant gap of new material, every item in your discography becomes essential. It don't matter whether it's a seminal EP, or a wack dalliance collab', some records you will hunt and commit top dollar for. Or just wait for a friendly future label to re-issue the obscure stuff for a new audience. Patience will always be a virtue, always.

So it is with Temple Of Transparent Balls, the official first album from The Black Dog. Technically, Ken Downie, Andy Turner, and Ed Handley had an LP out just prior to this one on Warp, though Bytes was more a compilation featuring their other projects and aliases (Plaid, Xeper, Balil, others), thus presented as Black Dog Productions. That whole ‘currently being signed to General Production Recordings’ fact may have had something to do with it too. Give some credit to the front-runner for ‘Most Generically Named Music Label’ though, taking a chance on the trio as a kick-off act, and rescuing The Black Dog out of self-release purgatory.

If the Warp association and Plaid lineage didn’t clue you in yet, Temple Of Transparent Balls is way old-school UK techno - finding its way out of bleep rave of before, yet not quite there with IDM of af’aire (?). There’s quite a bit of adventurous music making going on in this CD, though a good deal of familiarity too, the opening salvo of Cost I and Cost II a prime example. The first features a lone, spritely arp doodling along for four out of the track’s five minutes, finally joined in by a bouncy electro beat. Meanwhile, Cost II has all my Higher Intelligence Agency triggers flashing, which isn’t a bad thing, but does send me into double-take mode. For the most part, Temple Of Transparent Balls plays half-and-half with the experimental and traditional techno, alternating between the two throughout. As can be expected of an act still in their early years, the traditional stuff is mint, but the attempts at leftfield techno definitely needed some refinement.

Thus you get cool tunes like brisk, beatless 4, 7, 8, Detroit breakbeat of Jupiler (not a typo... maybe), acid funk of Sharp Shooting On Saturn, peppy jazz-fusion of Mango, and Aphex ambient techno of In the Light Of Grey. Elsewhere, there’s muddled space tachyon techno in The Actor And Audience, droning cyber-mamba Kings Of Sparta, and dull, mind-numbing grit-techno in Cycle (at over seven minutes, the longest track too, unfortunately). These have interesting ideas, but lack finesse in arrangement or choice of sounds.

Nay, the only truly enjoyable oddball track is The Crete That Crete Made, a lazy, hazy jaunt with dubbed-out organs and warm pads. It’s like getting stoned at a seaside Renaissance fair.

Skin To Skin - Temenos

Waveform Records: 2002

Skin To Skin is another ultra-obscure act that Waveform Records made a habit of signing at the turn of the millennium, many of which didn’t do much after. So it also seems to be the case for this duo of Lena Måndotter and Ronnie Hall, but their page at Lord Discogs is rather bizarre. Obviously we have this album Temenos in the database, but sitting beside that is another called Walking On Water, claiming to be a folk and country rock release. That’s worlds different than what we have on this CD, so is it the same Skin To Skin? The cover art of Walking On Water does feature a lady/dude tandem in sunset, standing on water, so possibly. There’s also a single under the Skin To Skin banner, In The Shadow Of Love, with genre tags closely resembling Temenos (tribal, ambient, minimal (?)), but this one has a three-piece featured on the cover.

Going further down the Discogian Hole, Lena Måndotter apparently has a solo album out called Songs Of Leonard Cohen, released some time after all the Skin To Skin material. A very brief Google search reveals a little more, but I’m already way off track even finding basic background info about this group. The only thing I can conclusively link all this together is the fact every version of Skin To Skin is from Sweden. Naturally then, Temenos has an ancient Grecian vibe going for it.

Whatever the origin or ongoing story behind Skin To Skin, Temenos is clearly music modeled on the TUU template. Music that’s very meditative, conjuring images of Pagan rituals of cultures old and lost. Right, the Greeks aren’t really a forgotten civilization, but much of their fantastical mythology fits the bill. Thus when I hear the lengthy, minimalist rhythms, intermittent strums of acoustic guitar (bouzouki?), and droning chants of Temenos, Pt.1-3, I can’t help but think of seers assembled at oracles gazing to the heavens, seeking signs and favors from the Olympians above. Temenos itself is a site intended for meditation or reflection, so I’m not so off there.

Clocking in at nearly thirty minutes in length, Temenos, Pt. 1-3 is clearly the main feature of the album, but Side B of this CD does find further explorations of Skin To Skin’s sound. Daimon nearly hits the eighteen minute mark on its own, going from soothing calm to deeper chant throughout its run. There’s more musicality going on in this one, a clear progression compared to the meandering Temenos, but remains a rather sparse piece of meditative ambience. Final two-parter Nekyia goes dark and ominous, fitting considering the origin of the word (rite by which ghosts were called up and questioned about the future, according to WikiGod). Between both tracks, it runs a tidy nineteen minutes, gradually building from Skin To Skin’s minimal, meditating style to a heavier, dubbier groove; rather if Banco de Gaia was slowed right the f’ down. Hmm… k-holed world beat? Nah, that’s a stupid tag.

Adam Freeland - Tectonics

Ultra Records: 1999

I intended starting this review with another “only specific release of thing you need, even if you don’t like it” quip, and why not? Adam Freeland’s Tectonics is heralded as one of the essential DJ mixes of the nu-skool breaks scene, an opening statement of a genre that had a significant, successful run of influence. Almost overnight, big beat breaks were pronounced dead, everyone anxious to get on this crazy new sound where punchy, bass-heavy rhythms and cutting-edge production tricks dominated. When the PR sticker on the CD proclaimed Tectonics represented the future of electronic music, you actually believed such hyperbole after that final broken beat had faded in chill bliss. I mean, we were witnessing the birth of a whole new genre, mang, with music within to back it up!

And the truth is nu-skool didn’t see many mixes that topped Tectonics in subsequent years. Plenty of solid CDs on the market, sure, with numerous DJs finding a comfortable niche within the scene, and a significant amount of time passing before it all collapsed within inevitable sub-genre stagnation. Yet when folks and fans reflect on all of nu-skool’s accomplishments, few items ever come close in fondness or reverence than Tectonics. Not bad for a mix that is only about one-third nu-skool.

Hence why I can’t in good conscience recommend this CD as “the only nu-skool breaks yada yada etc.” - more than half the tracks aren’t of the genre. Hell, the last couple tracks could even be considered from the realms of house. Vigi & Flip’s Freak Frequency is a hard, tech-house stomper with the sort of growling bassline Funk D’Void liked using for a time, while Layo & Bushwacka!’s Deep South has the steadiest ‘breaks’ rhythm you’d ever hear in a set such as this; Freeland sure was paying attention, practically lifting the pattern wholesale for his future ‘rock’ remixes. Also in the back half of Tectonics, 3 Mile Island’s Liposuction goes more Florida, Motion Unit’s My Mind more electro, and Proper Filthy Naughty's Stitch Up more progressive. Elsewhere, Audiowerk’s Impulse Transmission is full-on electro, while Bushwacka!’s rub of Leuroj’s Isokora is the closest thing to ‘traditional breaks’ on the whole mix.

While these are all good tunes, its undeniable the nu-skool offerings on Tectonics stood out from the pack, thus why this mix is remembered as a premiere example of the sound. The opening salvo of B.L.I.M.’s Chronologic, Makesome Breaksome’s Pig Chase, and the exclusive Tectonics from Ils is undoubtedly one of the strongest starts to a nu-skool set ever committed to disc, and it’s no wonder everyone fell over their heads hearing it (“Whoa, you can put d’n’b bass in breaks?”). Then you have the bangin’ build of, erm, Bangin’ from Apex, plus the phenomenal, ah, Hip Hop Phenomenon collaboration between Tsunami One (Freeland and Kevin Beber) and BT, all tracks regarded as definitive anthems of nu-skool. With Freeland setting them up as mix centerpieces, yeah, small wonder Tectonics is considered such a seminal nu-skool CD.

Stephen J. Kroos - Tecktonick (Original TC Review)

Anjunabeats: 2007

(2016 Update:
See 2007 Sykonee. See 2007 Sykonee make ridiculous generalization about trance producers making breaks. Point at 2007 Sykonee. Laugh. Laugh at 2007 Sykonee. Ha ha ha. What a nob. I don't even recall what his problem was, a rant that comes totally out of nowhere. Laugh especially hard at the fact I actually like Oxygenation now. Maybe it's that new-found appreciation for McProg's more charming attributes, but Kroos does good in bringing the grumbly low-end/twinkly high-end style to the realms of broken beats. The nu-skool leaning Elecktronick can be left well behind though.

Kroos wasn't long for the world of trance, moving onto tech-house and prog shortly after this album, releasing several singles on Anjunadeep in the process. Eventually he left Anjuna', finding a new home on Spring Tube where he continues releasing music to this day. While keeping with the tech, he's also incorporated deep house and chilled IDM into his repertoire. So a fairly well-rounded career since dropping his debut, even if significantly diminished in scene presence since.)


IN BRIEF: Bringing the past to the present.

Expectations are a dangerous thing when it comes to music. While they may be different for everyone, if an artist doesn’t reach a previous peak (much less surpass it), their subsequent releases are often met with disappointment. And this tends to hold true not just with producers, but everything from DJs, compilation series, labels, and even whole genres.

This can work other ways too. The obvious is when your expectations are so low, to hear something that is surprisingly decent can skew an objective impression. More common is coming across a release that breaks the norm of what you are used to, and impressions are no less susceptible.

The ultra-melodic trance label Anjunabeats hasn’t been known for its diversity but they seem to be showing signs of moving beyond the clichés of late. Among the artists doing so for them is Stephen J. Kroos. The Dutchman’s been producing since the late 90s, having small success when his singles found homes on compilations like Mega Trance 1.0, Ibiza Club Trance, and The House Sound Of Dance Tuning Disco (?). A few years back, Anjunabeats took Kroos on, and turned heads by providing a sound much of the epic trance brigade were unfamiliar with.

Let’s make something clear though. Despite claims to the contrary, Kroos’ music isn't revolutionary. In fact, he’s merely doing the same thing as newer producers like Paul Moelands, Sander van Doorn, and the Discovery squad are: taking trance back to its roots. A time before the Corsten clones, the overblown breakdowns, the schmaltzy lyrics, and everything else that sent the genre into Punchline Land. I can see how kids who figure trance begins and ends with Armin van Buuren’s radio show would find Kroos’ material quite different from the norm. However, folks with Pre-Dutch Explosion knowledge will find his style familiar (I’ll spare you the synth-sample trainspotting).

And this is A-OK. Although often regarded as tech-trance these days, this is more-or-less how the genre sounded when it was showing great promise as savvy party music. It builds on layers, letting the rhythms drive and the melodies subtly tickle at your mind. It was effective in the mid-90s, and it remains effective to this day. If stuff like deep house and Detroit techno are able to get away with recycling winning formulas, why not trance of this nature too?

Anyhow, let’s get to the particulars of Kroos’ album Tecktonik.

After a bit of ambient noodling opens things up (of which several others crop up throughout as interludes between tracks), Stephen wastes no time in letting his audience know this isn’t a typical Anjunabeats release. 4 Your Taperecorder is a techy banger that has only one thought in mind: working the dancefloor. Fortunately, it works fine on the homefront as well, with catchy hooks and vocal samples keeping your attention. Follow-up Sadistick is something far more familiar with the Anjuna faithful. A standard prog-house excursion, Kroos does the style justice with suitable dark grooves and moody atmosphere. Less effective is Tony McGuinness’ lyrics: unnecessary fluff. Why is the Above & Beyond man even here? As one of the label heads, did he insist on having at least one vocal number on this album. Thankfully, it’s a one-off, and we’re right back into Kroos’ winning style soon after.

And nothing over-fancy here, folks. Just simple energetic trance. The rhythms pump, the melodies work, and the breakdowns never dawdle. Hell, Innerstatistick barely has any downtime at all, with a not-a-breakdown-at-all moment lasting less than thirty seconds; and merely used to introduce one of those oh-so vintage ominous sci-fi samples no less! Kroos’ offerings tug at nostalgic strings while keeping his sound firmly in the present. I’d say I’m about ready to be converted to the Cult Of Kroos.

But then he decides to take a stab at breaks. Oh dear...

My friends, there are many constants in the cosmos, one of which is trance producers seldom make good breaks. With most of their attention paid on atmosphere and melodies, they forget the one ingredient that makes breaks good: da funk. Kroos is no exception to the rule, with his offerings blander than white bread. Oxygenate isn’t that bad when he lets the effects direct the flow of the song, but Elecktronick is far too dependent on rhythm to carry it, and the track suffers as a result. And sadly, Tecktonick ends on a limp note. Frankly, the final ambient doodle Sphecktralizm would have been a great closer had Kroos explored the psy dub possibilities an extended version of it hints at. Instead, Formalistick is the main show, but doesn’t have much going for it as such. It’s a fine track to be used in DJ sets but remains musically limited, with a lead hook that ends far too soon; just as you’re warmed up to it, we’re already heading into our perfunctory rhythmic lead-out.

This by no means makes for a weak album though. While the second half of Tecktonick doesn’t quite match the first, there’s still enough here to warrant your attention. The ‘let-trance-do-what-it-do-best’ mentality to many of these cuts shows the ol’ girl still has some life after all, and Kroos’ production suggests a promising future for his career. Well, such that he won't have to worry about being on compilations with names like Veronica’s Mega Music Dance Experience again.

Written by Sykonee for TranceCritic.com, 2007. © All rights reserved

Lee 'Scratch' Perry - Technomajikal

ROIR (Reachout International Records): 1997

Lee 'Scratch' Perry and one of the guys from Yello? Sure, why not. Stranger collaborations have gone down in electronic music. Collaborations such as... um... well, certainly none along the way of The Orb or Pete Namlook so often indulged in. Those pairings made some sense, musicians with common synergy feeding off each other’s vibes. This is true for many scenes in electronic music, and though cross-pollination doesn't happen often, it hasn't stopped an occasional producer’s flight of fancy in trying something with someone outside their comfort zone. Guest rappers from the world of hip-hop don't count since that’s mercenary work unintended for a full LP's worth of material. This just might be the oddest pairing in electronic music I’ve ever seen then – most definitely within my own collection of CDs anyway.

Quick rundown of the players involved. Lee ‘Scratch’ Perry (aka: The Upsetter; aka: The Prophet; aka: Super Ape; aka: Pipecock Jakxon; aka: Toots; aka:...) is a Jamaican legend, often credited with being among the earliest pioneers of reggae dub. He’s produced countless records, famously burned down his own studio in a fit of paranoia, then moved to Europe for an extended bout of ‘quiet time’. Though nearing his 80th birthday, he continues to make music and tour in some limited capacity. In the other corner we have Dieter Meier, vocalist of synth-pop fusion weirdos Yello fame, carving out an incredibly unique sound of blended traditional Latin influences into a future-leaning world. Though often name-dropped as inspiration by many contemporary producers, their approaches to music was wildly different; not to mention their lifestyles. Perry was a Jamaican immigrant eccentric, whereas Meier was a millionaire industrialist making music as a lark. Nope, nothing in common at all.

Except for the fact they both were living in Switzerland. Ol’ Dieter, a fan of the Super Ape, got in touch with ol’ Lee, and convinced him into some sessions in his studio. I’ve no idea if the two had any idea of what they’d make, and legend purport Perry was barely committed to the project at all. Mr. ‘Scratch’ apparently went so far as to record his vocals outdoors, though given his famously eccentric behaviours, that part isn’t so surprising.

Unfortunately, the resulting album of Technomajikal plays to neither of each musician’s strengths. Perry goes on about psychedelia, representing music, and being “x-perry-mental” with rudimentary lyricism that, for the longest time, I thought were samples from other works. Much of the music crafted are proto-goa trance rhythms and sounds, and though more dynamic than such beats typically go, it’s still not much better than the filler on any number of budget compilations.

With half the CD taken up with pointless remixes and alternate versions, Technomajikal ultimately comes off like a project that was only half-realized before pushed out so it wasn’t a total loss. The only track that reaches the ‘Lee Meets Dieter’ promise is final cut Crazy House, with all sorts of off-kilter ‘Scratch’ ad-libs and quirky Yello percussion. A shame.

Moodymann - Technologystolemyvinyle (Original TC Review)

KDJ: 2007

(2016 Update:
At first glance, this shorty review looks way out of touch, writing off the vinyl market as a hopelessly niche scene while new technologies grew in dominance. It certainly seemed as such a decade ago, but here we are in the here and now, records seeing a commercial resurgence not enjoyed since... geez, the early '90s? Have folks returned to the ancient format, abandoning CDs and digital? Ah, not exactly. Those dedicated and romantic buyers I mentioned before? They exploded, especially within an emergent hipster culture where a younger, numerous generation were gulping down fat pitchers of the Black Crack Kool-Aid. It's not that the sort of collectors changed, just that there were a whole heck lot more of 'em now. It's actually caused something of a pressing shortage with big labels hogging all the factories with re-issues, making underground records like this one more difficult to produce with any decent frequency.

Hey, wait, I don't collect vinyl! How do I even have this? Yeah, um, back in my TranceCritic days, we didn't always have the most legit sources for material to review. Guess this MP3 did steal Moodymann's 'vinyle' after all.)


IN BRIEF: Just one, son?

Really, just how dead is vinyl? CDs managed to supplant records in households, and in recent years clubbing culture - the last bastion of vinyl supremacy - has seen laptops and CDJs take over. Pressing plants and record stores have been closing en masse. Ask any label about their decisions to reduce their vinyl output, and you’ll largely come away with cost efficiency factors. For all intents and purposes, the Black Crack should be barely clinging to life-support.

Yet like the Spirit of Sauron, it persists. And while many kids would chalk it up to the dedicated, the old-school, or the romantics sustaining it, fact remains vinyl will forever have a part in music consumption. There will always be dedicated, old-school romantics who are collectors of classic formats (although online stores such as Juno proves the market for club weapons remains steady as well). There’s far too many of them to write off vinyl’s sustainability, even if it has become more niche than ever.

Thus, when house producer Kenneth Dixon, Jr. releases a one-sided, single-song vinyl of this sort, it’s far from a tactical error. His brand of vintage funk-and-soul grooves is clearly aimed towards those who have warm nostalgic feelings of the past, and a release such as this is unapologetic in its skimpy offering. It’s a record for people who like to collect records, the digital domain be damned (hence the tongue-in-cheek title).

Of course, this wouldn’t matter much if the song was crap, but the Moodymann has long been counted upon to deliver the house-flavored goods when called upon. With Technologystolemyvinlye, he once again draws influence from 70s funk, bringing us a house track that is decidedly fresh in this era of electro abrasiveness. Essentially divided into two parts, the first half is where you’ll find the most dancefloor effectiveness; among big band samples, the rhythms chug along as organs, trumpets, and guitars provide sizzling soul. The latter half goes more jazzy, with the main instruments indulging in a little solo action: its fine enough but far more suited for lounging moments.

I highly doubt this one little record will suddenly convert hundreds of downloaders to vinyl. However, fans of house music will be missing out on a gem of a track if they dismiss Moodymann’s celebration of the past as nostalgic silliness. He may be stuck in the ‘70s, but funk and soul has seldom seen better times since.

Written by Sykonee for TranceCritic.com, 2007. © All rights reserved.

Various - Techno Trax Vol. 12

ZYX Music: 1994

Techno Trax was one of ZYX Music's premier compilation series in the '90s. Okay, I don't know if that's true, but I can confirm it was one of their most prolific, especially in the first half of the decade. This Vol. 12 came out when the series was but a mere three years old, and while its output was significantly cut back following 1994, it persevered into the new millennium. Took a couple evolutions to get there though, becoming Techno Traxx (with two x’s!) as the year 2000 drew close, then morphing into Techno Traxx – Step Into The Future going forward, finally ending in 2002. Including a megamix spin-off series, and various ‘Best Of...” additions, not to mention a dedicated entry into ZYX’s massive The World Of... series, and I’d say you have a proper successful collection of compilations on your hands. Well, you’d have to ask old-school folks from mainland Europe if that’s the case. I have no idea if Techno Trax was indeed a smash, or it was just a means for ZYX to churn out quick, cheap CDs into the market.

I imagine it was reasonably popular though, the series often featuring ‘techno’ hits of the day while staying just a foot within the underground. It’s early entries mostly contained classic rave tracks from acts like Altern 8, The Overlords, The Prodigy, L.A. Style, and, um, 2 Unlimited. Soon Techno Trax was also licensing out records from Suck Me Plasma, getting in on that burgeoning German trance thing as hardcore rave turned into goofy, happy offshoots. Once trance became the genre du jour of Europe, the series almost exclusively focused on that instead, their only actual techno pretty much the hard acid stuff. Not that Techno Trax ever had much traditional techno to begin with. Hell, the only such case on this particular double-discer is Love Inc.’s R.E.S.P.E.C.T., an early Wolfgang Voigt cut. Speaking of another ‘humble beginnings’ name on here, Robert Babicz shows up as Acid Warrior, doing acid techno in Acid Bites. ACIIEEEDDD!

Anyhow, it’s at this crossroads between techno-rave and German trance that we find Vol. 12. Some of the Techno Trax old guard show up with tunes, like The Prodigy’s Voodoo People and Moby’s Feeling So Real, but neither would appear in the series again. Meanwhile, names like Komakino, Jam & Spoon, Alien Factory, Paranoia X, DJ Tom & Norman, Acrid Abeyance, Legend B, and Nostrum should spark the synapses of anyone familiar with hard trance of the time. Can’t say all the tracks here are mint examples of the German sound though, no matter how many punchy, minor key melodies tickle my ears.

In fact, this whole compilation is kinda’ rubbish, and it’s all the happy hardcore’s fault. Whether ultra-lame covers of pop hits or super sap bilge, I just can’t stand this stuff. Only two tracks transcend the nasty cheese into tasty-cheese: Mark ‘Oh’s Love Song, and the hilariously ridiculous Rotterduck from Assi, another Komakino alias. He-he, wheee, squeaky toy!

Various - Techno Nights Ambient Dawn (2016 Update)

EMI: 1995

(Click here to read my original TranceCritic review.)

Easily the funniest thing about that old review is how much I'm dropping the acronym 'EDM' throughout, like it's become the acceptable alternative to the old catch-all term 'electronica'. Over a decade ago though, it really was, even if mostly limited to online discussion in web forums; a handy short-form since continuously typing 'electronic dance music' was much too cumbersome. How was anyone to know 'EDM' would not only enter the public lexicon, but turn out even more reviled a catch-all than 'electronica' or 'techno'? Surely not I in the year 2005, making it hilarious seeing it used so innocently back then. It does make me wonder what might replace ‘EDM’ as “WORST. CATCH-ALL. EVER.” for fans of electronic music. Oh, it will happen. Ten, maybe twenty years from now, when ‘EDM’ is a long, faded memory of a fad, something will come along as a new hotness, turning scenesters of old (re: the current kids) irate over a silly little word.

Speaking of passing time, holy cow does Techno Nights – Ambient Dawn grow more exceptional as the years tick off. Not so much for the music, though there are quite a few great tracks throughout (and that god awful Winter (Armani Mix) from Dave Clarke). Some cuts are showing their age (The Grid’s Texas Cowboy, Shamen’s Destination Eschaton (Hardfloor Vocal Mix), The Prodigy’s Weather Experience, Orbital’s Lush), but most remain as vital as the day they were crafted.

But putting together an ace assortment of tracks isn’t that big a deal, especially in this day of building your own playlists on streaming services. No, what astounds me about this compilation now is that it was even made at all. To be blunt, licensing is a bitch, and the thirty-seven tracks that makes up Techno Nights – Ambient Dawn come from all over the place. EMI’s clout is big, no doubt, and probably could have convinced the independent labels like Warp, XL Recordings, One Little Indian, Mute, Kickin’, and others for contributions to this project. The fact they also got all their major competitors – BMG, Virgin, Sony, WEA, MCA, Polygram – in on this is nothing short of remarkable. I can’t imagine something similar being put together these days, not without all manner of licensing hassle as labels continue consolidating their assets ever more protectively.

And even if they did manage a compromise, the result wouldn’t be anything like the track list we have here. I can’t think of any other commercial compilation where you’d find The Chemical Brothers, DJ Hell, Eon, The Beloved, and Plastikman rubbing shoulders with Philip Glass, Yello, Vangelis, and Brian Eno. Where big hits like Enigma’s Age Of Loneliness and 808 State’s Pacific 707 hang out with utter unknowns like Jam & Spoon’s Hispanos In Space and The Black Dog’s Raxmus. What would a comparable compilation even look like in today’s scene? It wouldn’t. I truly believe no one could pull off a sequel to Techno Nights – Ambient Dawn. I’d love to see an attempt though.

DJ Heather - Tangerine

Afterhours: 2000

Few lady jocks have had as much success in the world of house music as DJ Heather. Already a fixture in Chicago’s underground throughout the ‘90s, she gained a remarkable following from some of that scene’s premiere talents (Sneak, Carter, Farina, etc.), establishing herself as one of those ‘DJ’s DJ’ rather by accident. She never saw herself making a lasting career out of spinning records on the weekend, y’see, just a fun thing to do while socializing with artistic sorts around the Windy City.

But gained a rep for dynamic sets and skillful mixing she done did get, emerging from Chi-Town as one of the city’s preeminent DJs rinsing out the house beats. And though the fact she was a woman wasn’t a major part of her marketing, it didn’t stop her from using it as a platform to help promote other ladies in the field, including the SuperJane tour with fellow Chicago talents like Collette, Lady D and Dayhota. Several DJ mix CDs followed, including becoming the first woman to provide a set for the fabric series, and it seemed everything would continue on the up-and-up for Ms. Robinson. Well, not quite, mostly abandoning the mix CD market and sticking things out on the humble side of DJing. Her pedigree was more than enough to sustain a career without relying on the excessive promotional tactics employed by other jocks on the scene now.

At the turn of the century though, mix CDs were the best way of spreading your name beyond your local hubs, and DJ Heather got her start in this field with Tangerine on the prolific but short-lived Afterhours print out of Chicago. The style of music here won’t surprise anyone familiar with funky disco and soulful house of the era, Mark Farina’s mighty OM practically saturating American shops with the stuff. Heck, I’ve already mentioned a couple tracks off here in prior reviews (Studio Nova’s Moog manipulating Expansion Module, DJD’s funk talkbox anthem Shake It For Me), with a number of other well-rinsed records finding their way into this set too (Nick Holder’s Inside Your Soul, Derrick Carter’s 10, Les Maçons De La Musique’s No Time To Lose). These are mostly relegated to the bookends though, where you’re either capturing the listener’s attention with the familiar, or finishing strong with anthems.

The bulk of Tangerine is made up of rarities like Nostalgia’s deep filter-funk stomper 2 Da Floor, Majestika’s soulful organ cut Mind Magic, and Bert Dunk’s bouncy garage dub All In My Mind (and more!). Heather’s mixing has a couple shakey live transitions, but nothing that’s quickly recovered by another solid jam, each track distinct and fresh throughout. She finds her groove early and generally rides the same tempo to the end, only relenting at the very end with The Rurals’ Window Pain, a deep slice of jazzy garage that fades off into birds chirping in the morning light. I think most deep house DJs are obligated to end their CDs as such.