The Oak Ridge Boys - American Dreams

MCA Records: 1989

Greetings, Past-Peoples, I am 2073 Sykonee. Yes, the same writer/reviewer/critic/knob that usually takes up space on this antiquated blooger, but from “The F-U-U-UTUR-R-RE”, as some so quaintly put it. Sykonee Prime made use of his time-dimension machine to take a jaunt forward for once, and despite some really wacky paradoxes even Doc Rick Brown, The Schwifty-Bitch would have trouble explaining, approached I to learn of what developments had gone down in electronic music. I was willing to tell himself this, but he was quickly fascinated by the ponderous amount of social-net music from The Oak Ridge Boys instead. Why them, I asked myself, to which I told me, “They're one of the few officially sanctioned acts by the Atomic Brotherhood.” Young-Blood Me was of course confused – what did I expect from skipping over so much history?

Without getting too over-written, The Oak Ridge Boys are allowed due to their association with the nuclear research base near Oak Ridge, Tennessee, starting out in the Nauty-Forties as a country and gospel group that performed there. For seeing is believing that only music with relevance to our atomic overlords and saviours is deemed worthy of our advanced cochleas.

Sykonee Prime found that fascinating and asked me to return from my time to review some music from The Oak Ridge Boys. “Whatever I can find,” I did say, “for a specifically cheaply amount of course.” Oh, such a naive idea – I had no clue just how extensive a discography The Oak Ridge Boys – in all their iterations – does have. But sure, I can play with myself.

And so it is with my logical but impractical alphabetical approach to reviewing music, up first is American Dreams. This was the last LP The Oak Ridge Boys released in the Nauty-Eighties, a decade that was as commercially successful as they'd ever be (back when such things mattered). Not all was right with the group though, as their iconic 'mountain man' tenor singer William Golden was off on a solo career, replaced by bass player Steve Sanders instead. He has a definite tenor singing voice, but just look at him in that group photo. Doesn't he stand out at odds with that mullet? What was wrong with people of the Nauty-Eighties?

By this point, the boys from near Oak Ridge were settled into a comfortable country sound, the odd gospel harmony thrown in. There's peppy tunes like Cajun Girl and Don't Give Up, humorous sap like If I Was To Start Crying (spoiler: they do at the end), covers of Rod Stewart songs (In My Own Crazy Way), ditties penned by Joey Scarbury (famous for the theme song of the documentary The Greatest American Hero), creeper fantasies in Bed Of Roses, and the mandated Americana odes like An American Family, Turning For Home, and The American Dream. I forget, did every American home have a painting of Jesus In The Garden hanging on the wall? Me memory ain't what it used to be, you know.

Dynatron - Aeternus

Aphashia Records/Blood Music: 2015/2016

When I started branching out from synthwave's shores and away from my Perturbator comfort zone, one of the acts that caught my attention early was Dynatron. It didn't hurt that the Jeppe Hasseriis project sprung from the same digital print as James Kent – Aphasia Records – but that whole 'no CDs in discography' factor put him on the back-burner for yours truly. Still, thought I, should he ever get himself in on that physical format deal, I'd absolutely scope his stuff out proper-like.

And so he done did, scoring himself a re-issue deal of his first two albums on Blood Music. Huh, is the Finnish label gonna' be scouring up all these wayward Aphasia alum then? Might we soon see Protector 101, Starforce, or Judge Bitch on Blood Music too?

As for where Dynatron falls on the synthwave spectrum, ol' Jeppe has his sights set squarely on the stars, EPs and albums celebrating all manner of pulpy sci-fi stylings. Many producers fancy themselves 'outrun' racers tearing up the tarmac, but Mr. Hasseriis is all about that Throttle Up, splitting the spaces between planetary places! Because who needs sissy earthly nitros when you can have literal rocket fuel as your means of propulsion! The cosmos is a dope domain, is what I'm saying. I'll never run out of alliterative abuses, yo'! Never!

Aeturnus is the second album from Dynatron, and has a little more of a narrative going for it than his first of Escape Velocity. For those of you that are Latin impaired, the title roughly means 'eternal' or 'endless', which is a handy, fancy way of describing outer space. And Jeppe doesn't mince words in selling the setting in his track titles (The Outer Rims Of Traversed Space, Towards The Island Universe, Out There). Other times he goes more terrestrial (Travelling The Wastelands), or roaming realms other than our own (Not Of This World, Escape). Basically, we're on a ride where no one's gone before, and it's kinda' scary out there. Can we even make it back home?

All that said, this is just assumed on my part, as the music itself doesn't specifically imply anything from the song titles, beyond the tone and vibe they impart. Some do serve their titles quite well: Hyperion Sunrise is as big and synthy as an opening track should be, Aeturnus Theme is as grand as you'd expect of a synthwave theme song, closing cut A Beacon From Home offers the sort of hopeful denouement credits score as any hectic space adventure should warrant. Tracks are thrilling when needed (holy cow, does Escape kick my ass!), others rightfully mysterious (a lot of tracks with big titles that will eat self-imposed word count).

I really have no gripes with Aeternus as a spacey synthwave album. Yet it feels like it's missing just that extra bit of narrative focus that's made so many of Perturbator's albums winners. Just have to wait and see if Dynatron reaches it with his next album.

Lorenzo Masotto - Aeolian Processes

Dronarivm: 2017

I've bought a few releases from Dronarivm now, but it wasn't with intent to scope the Moscow label out. It just happened that way, me spotting a few eye-catching items, and taking a blind leap of faith that they'd turn out interesting. That they have, so I figured a little stop-over at Dronarivm's Bandcamp couldn't hurt either, see what their full discography looks like. And lo', wouldn't you know it, they had one of those nifty 'bulk CD' deals available too. I sure as shit can't resist one of those, and I may as well spring for the big ol' 10x bundle while I'm at it. Only... there isn't even that many available in one fell swoop, Dronarivm's limited-runs having thus created a stock issue. Ah well, the five-piece it is then, starting with Aeolian Processes from Lornezo Masotto.

Mr. Masotto hails from Italy (shock!), and is more of a classical musician than the drone ambient sort I've often found on Dronarivm. Not that this is some anomaly with the label, as they do offer outlets for modern classical composers. As this blog's a testament towards though, it's not a style of music I typically indulge in, but as the more minimalist strains of the genre can tread into ambient's territory, I'll cross paths with it on occasion. That all being said, I cannot deny it was the cover art that drew me into Aeolian Processes, a windswept tree shorn naked by atmospheric forces a striking image among Dronarivm's usual fare. You'd almost expect it a dark ambient release. All that's missing is an abandoned boat laying at the base of the tree's trunk.

Lorenzo primarily specializes in piano compositions, of which makes up the bulk of the music here as well. Again, I'm no expert on this aspect of modern classical, though I do know this is a wide open field of expertise, several pianists across the globe plying their trade to captivated audiences. Martha Argerich! Vladimir Horowitz! Evgeny Kissin! Sergei Rachmanioff! Arturo Benedetti Michelangeli! Maurizio Pollini! Yuja Wang! Krystian Zimerman! Mikhail Pletnev! Vladimir Ashkenzy! These are all great piano players, because Ranker.com tells me they are. I'm not sure how Lorenzo Masotto stacks against them, but I bet they don't add subtle electronic drones and burbling synths to their compositions.

His electronic treatments provide each track with their own flavor beyond being another lovely piece of melancholy piano music. Space Flowers, When The City Sleeps, and the titular cut have little bloopy arps playing in the background. My Great-Grandmother Lived In The Mountains makes use of pulsing synths playing in reverse. Geyser features blobby burbles bubbling out. Desert and Repeater indulge a little pad drone in support. Drone even features something approaching percussion.

I can't say Aeolian Processes is the most exceptional album of piano music I've ever heard, because I'm hardly well-versed in the genre to give such a definitive statement. For those rather grey days, however, I do find it most pleasant indeed.

JāFU - Add To Cart

Waveform Records: 2012

For so very long two acts have dominated Waveform Records: Sounds From The Ground and ZerO One. Their material maintains a consistent level of quality, sure, but likely isn't for everyone, even those who vibe on ambient techno and dubby downtempo. And while some labels get by with a couple core acts, they tend to remain ultra-niche. I don't want Waveform to be ultra-niche – I want more folks to hear their early wonderful releases, their amazing five-year run after the turn of the century. They need new blood to bring in new ears though, so if scoping out a dubstep album will get the ball rolling again, so be it. Besides, my Waveform Records CD collection can't be completed if I skip out on non-redundant items.

And hey, maybe this will turn out as one of those mythical 'good' dubstep albums that I've heard much rumour about. The PR blurb already proclaims this falling on the chill side of the genre, and I've liked a little bit of what I've heard in that spectrum, mostly care of Liquid Stranger's offerings on Interchill Records. James Fuller, the Canadian lad behind the Jafu moniker (or JāFU, if you want to get fancy with it), even appeared on the Saltspring Island label, as well as Dubstep For Deep Heads, and his own conglomerate print Chord Marauders. Waveform was where he got his start though, with this debut album Add To Cart. Man, just how many careers has Waveform launched anyway? Or at least provided that initial push out the door.

Add To Cart opens with a few tunes doing the sort of chill dubstep I don't mind one bit: music that's actually deep and dubby, with a simple, solid downtempo bounce that never loses the plot. Yeah, Jafu still does that over-compressed half-step snare, while tracks like Escalation and Encountering Intruders feature those mid-range wobbles one can't help but associate with the worst aspects of dubstep these days. Mr. Fuller at least rides his rhythms with some finesse and flow though, making them sound none too shabby. All too often producers throw in a bunch of randomized wub-wubs that serve no musical purpose other than wanking off the effects plugins.

Like when he does it in tracks like Subways, Fish Headz, Terminal, and Surgery. Or just go overboard in showboating some 'dope' sound they came up with, as in Yeasaw. Geez, does this ever sound corny. But I get it, I really do! For a generation of kids, this is their distorted guitar solo, or their acid knob tweakage, or their gated supersaw pad, or their flanged hardstyle kick – it's their jam, man! Fair enough, but why can't it stay on rhythm, like in One Lined Face? That shit gets my shoulders boppin', it does.

For as many tracks I like on Add To Cart, at least another third I'd sooner 'add to bin'. At eighteen cuts though, that's still a decent ratio to come away from. On a dubstep album, anyway.

ACE TRACKS: September 2017

Five years now, and I still haven't finished going through my entire music collection. Well, technically six, since I started the listening process a year before I decided writing about the experience could turn into a blog. But the end is on the horizon for sure, the last of the large letters in 'W' now finished. Just a casual little jaunt to the finish line for the remaining three letters. Except there's that alphabetical backlog accumulated over the summer, a much heftier amount of material there. Like, nearly two months worth. I think I can get it all finished before the end of the year, but man, is it ever gonna' be tight.

Then what after that, I wonder? Do I go back to those missing albums from the start of my alphabetical arrangement? I'm starting to feel obligated to, just so it doesn't look like I'm deliberately avoiding items. Like all those ambient dub compilations, various entries in the Balance series, plus a few bona-fide classics that this blog would feel incomplete without me reviewing them (Big Men Cry, 6 Feet Deep, 604, Alter Ego, Blue Moon Station, Blade, CB4). *sigh* I'll never end this, will I? On that cheering note, here's the ACE TRACKS for September 2017.


Full track list here.


MISSING ALBUMS:
Sounds From The Ground - Widerworld

Percentage Of Hip-Hop: 20%
Percentage Of Rock: 13%
Most “WTF?” Track: The live Hybrid bits, if you 'd forgotten just how dope these guys used to be.

It may feel like there's a lot of Wu-Tang Clan on here, but really it's only two album's worth – an album and half even. What can you expect from the back-end of the letter 'W' anyway? The Wu dominate that realm, no matter what type of music you listen to. A decent variety of classic rock, modern psy-chill, mid-era downtempo, and Golden Era 'electronica' rounds out the rest, with the entirety of Hybrid's Live Angle set lumped at the end. Seriously, if you haven't heard it yet, you've no excuse now! Well, unless you just don't have Spotify, which kneels the question why you're even bothering with these Ace Tracks updates in the first place.

EDM Weekly World News: December 2011

Are we all tired of DJ popularity polls yet? All the hullabaloo that marked each annual competition for biggest, bestest marketing whore seems to have simmered down in recent years, some losing all sense of credibility when non-DJs started winning, while others have fallen into repetitive ruts. Some years ago though, controversy still kept these things the talk of techno-town, and who can forget the year when we suddenly found ourselves with TWO (2) number one DJs? Even more shocking was that neither of them played trance! The poor, pathetic Trance Family was irate, flabbergasted, flummoxed, and not very polite either, raining on that year's champions like a wet fart. No, wait that was the actual celebration and its weak-ass spizzler fireworks. Sad.

Of course, if you didn't care for the results of those particular #1 DJ Polls, there was always the TranceAddict #1 DJ Poll, the TranceFix #1 DJ Poll, the Mixmag #1 DJ Poll, the YourEDM #1 DJ Poll, the DI #1 DJ Poll, the Beatport #1 DJ Poll, the mmnlssg #1 DJ Poll, the Pitchfork #1 DJ Poll, the CokeMachineGlow #1 DJ Poll, the TinyMixTapes #1 DJ Poll, the FACT #1 DJ Poll, the Vice #1 DJ Poll, the XXL #1 DJ Poll, the Rolling Stone #1 DJ Poll (I think Chemical Brothers won it that year... and every year), the Guardian #1 DJ Poll, the Billboard #1 DJ Poll, the BBC #1 DJ Poll, the NBC #1 DJ Poll, the CNN #1 DJ Poll, the CSPAN #1 DJ Poll, the FoxNews #1 DJ Poll (their result made Glenn Beck cry), the MTV #1 DJ Poll, the MuchMusic #1 DJ Poll, the Channel Awesome #1 DJ Poll, the Escapist #1 DJ Poll, the ScrewAttack #1 DJ Poll, the MetaCritic #1 DJ Poll, the IGN #1 DJ Poll, the EGM #1 DJ Poll, or Ishkur's Worst DJs poll.

Various - Wu-Tang Meets The Indie Culture

Babygrande Music: 2005

When I was in the throes of my hip-hop honeymoon, two groups ruled supreme as all that was great within the genre. You know who these two groups are, because I've constantly name-dropped them for as long as this blog's been active again (five years, oh good God...). And as any 'young rap fan' can attest to, when you start following groups, you start thinking up potential pair-offs between them, like comic super-team cross-overs. How dope, thought Year 2000 Sykonee, would it be for Del Tha Funkee Homosapien and Inspectah Deck to trade lyrical atomic bombs! Casual and ODB riding a warped rhythm with their rugged, warbling flows! Souls Of Mischief sharing street tales with Ghostface and Raekwon! A-Plus and True Mathematics blending samples! Never mind the Wu and Hiero ran in such drastically different hip-hop spheres that these pairings could never to happen - I could at least dream of them.

And then it did happen! ...kind of. While not a full-on collaboration, the fact I'm holding a CD that includes Del, Casual, GZA, RZA, and U-God in the tracklist feels like a minor miracle in of itself. I guess having MF Doom, Ras Kass, Aesop Rock, Prodigal Sunn, R.A. The Rugged Man, J-Live, plus others is a nice bonus, if you're down for such acts too.

Wu-Tang Meets The Indie Culture is the brainchild of Dreddy Kruger, who appeared on a couple Wu affiliated tracks, but settled into an A&R role for the franchise, producing compilations and the like. When he launched his own print in Think Differently, he wished to bring more underground acts to the light, and figured mixing 'backpacker' rap acts with Wu-Tang stars was a good way of doing so. Providing the bulk of beats for all these MCs to spit their bars over is Bronze Nazareth, who's had a decent career in his own right following this record. He certainly gets the Wu aesthetic as laid out by The Abbot, funk and soul samples looping over gritty or smooth rhythms, as per each cut's lyrical context. Oh, and RZA handled his own 'blaxpoitation' beat for his team-up with MF Doom in Biochemical Equation, though the infamous masked MC lacks much spark in his verse. Kinda' happens when the 'collaboration' doesn't require everyone to be present in a studio.

That's unfortunately the vibe I get from Wu-Tang Meets The Indie Culture - a lot of disparate acts doing their minimum best for the project before they moved on to their own interests. There isn't anything wack on this CD, but nor does it elevate much higher than whatever excited ideas were probably germinating in your mind from the core concept.

Still, Dreddy Kruger believed in it enough to get enough recognizable names involved, his enthusiasm coming through in the paragraphs of liner notes. The highest praise I can give this is Wu-Tang Meets The Indie Culture is it's the best 'third tier' Wu project I've ever heard, though my sample-size is minuscule.

Wu-Tang Clan - Wu-Tang Forever

Loud Records: 1997

The Wu-Tang Clan's sophomore album couldn't help but be a double-LP. I mean, it was already The Thing to do for most rappers of note in the mid-'90s (Tupac, Biggie, Bone Thugs, Master P), but at least it made sense for this dynamic group. Their debut Enter The Wu-Tang was as perfect an album as any dropped in hip-hop's history, and the half-dozen solo records from various members after proved there was no lack of dope material in their ranks. After so much unprecedented success as a rap conglomerate, they absolutely deserved more room to breathe, letting all these MCs have more opportunities to shine on the mic, and celebrate The RZA's five year plan coming to fruition. Concerns about filler and bloat? Oh come on, how could the Wu Empire falter in their moment of triumph, especially after such a glorious lead single in Triumph?

And CD1 doesn't disappoint, almost a strong album experience in of itself. Yeah, the overlong Wu-Revolution opener reeks of pretentious hubris, that the Wu nation is willing to sit through a nearly seven-minute long sermon from Papa Wu. On the other hand, it does set a tone that the Clan is aware of social issues impacting black communities, and that they aren't gonna' just be another bunch of rappers glamorizing gangsta' lifestyles. Cool, but now that you've cleared your conscience, RZA, how about bringing the motha'fuckin' ruckus again? He done does that, Reunited showing off his newfound twitchy-soul production chops, follow-up For Heaven's Sake bringing the ghetto-grime to the fore, As High As Wu-Tang Get a fun bit of bouncy funk, Maria a boozy-woozy fest, and It's Yourz a good ol' stompin' crowd anthem.

And the rest of the Clan bring killer material to CD1 too, some of their all-time greatest lines ever dropped here (GZA: “Too many songs with weak rhymes is mad long; Make it brief, son - half short, twice strong.”). MCs that didn't much get spotlight in 36 Chambers have equal opportunities among the established stars, and a decent range of topics are covered among the ten tracks (lyrical showcases, street tales, conscious slabs, slum love, etc.). The only thing missing from CD1 is a definitive, stone-cold classic cut, but then they had to save something for CD2.

Disc number two starts off strong as well, Triumph the kick-off, followed by Impossible containing what RZA considers “one of the illest verses of all time”, Ghostface Killah vividly narrating the last moments spent with a dying friend on the street. Unfortunately, this is where that anticipated bloat starts to settle in, a run of average, oddball tracks leading to a slog of hip-hop between the islands of right dope shit (harrowing Little Ghetto Boys, ODB's wonderfully unhinged Dog Sh*t, the orchestral punch of Heaterz). Cheekily, the closing ghetto-soul of Second Coming is strictly handled by vocalist Tekitha, with nary a Clan member in sight.

CD2 is essentially a glorified B-side, but as mentioned, Wu-Tang Forever is easily worth the admission price for CD1.

Snap! - World Power

Arista: 1990

They hadn't planned on it. Sure, they were having some fun dabbling in productions and all, but Michael Münzing already had a tidy career running clubs out of Frankfurt, all the while doing a little DJing on the side. And while he had some synth-pop success with Papa Sven and Luca Anzilotti as OFF, most of Münzing's productions were in service for the clubs he played at, even using sampling gear in his shows.

Still, any European DJ worth their salt at the turn of the decade couldn't help but notice the sounds coming out of clubs from Italy and Belgium (not to mention how sample-happy everything had gotten), American styled hip-hop and house music the new hotness. Never mind that such genres had never charted in Germany. Misters Münzing and Anzilotti figured they'd adopt an American-sounding alias, make a record or two for their own clubs and leave it at that. Only trouble is the resulting record became an international smash, a tune rinsed out at clubs, on radio, at sporting events, during high-school dances... and still does to this day. To imagine a world without The Power is to imagine a darkest timeline indeed.

There's more to the story surrounding that single of course (oh is there ever more!), but I've an album to get through here. Point is Münzing and Anzilotti had to follow that sudden anthem up with an LP, the duo and their newly minted 'Snap!' moniker going from strength to strength in the singles department. Ooops Up turned into another winner (though not quite as big in The US), and Cult Of Snap! showed they weren't afraid of injecting a little Afro-funk into their jams. And while “Benito Benites” and “John 'Virgo' Garrett III” had undoubtedly tapped into a nascent european-fusion of hip-house few others could replicate, it was rapper Turbo B who gave them their unmistakable charisma, Darren Butler's deep, aggressive American inflection often coming off like a Chuck D clone. Yeah yeah, he'd never be as politically charged as the Public Enemy frontman, but between his tone and Snap!'s wilful incorporation of Afrocentric music (in Germany!), it was enough to get Mr. Butler inducted into Afrika Bambaataa's Zulu Nation. Yes, really.

We all know the big hits off here, not to mention the charming house hit Mary Had A Little Boy (oh God, the high-school memories with this one!). The rest of World Power amounts to a little better than filler, and is probably quite wonderful if you dig those early '90s hip-house jams. Most of the tracks are just excuses for to Turbo B drop a bunch of brag raps (Believe The Hype, Witness The Strength), with Blasé Blasé the most charming with its strict Funky-Drummer throwback vibe and off-ball asides from a faux Flavor Flav (plus, that bassline!). The mid-album ballad I'm Gonna Get You probably sounds all kinds of corny on the surface, but I've no doubt 'friend-zoned' dudes everywhere play this as their anthem.

Carbon Based Lifeforms - World Of Sleepers

Ultimae: 2006/2011

I love Carbon Based Lifeforms. Adore their ambient grace, their manipulations with little TB-303 knobs, their sense of open spaces both outer and inner. And yet, even after a half-decade of nabbing a copy of World Of Sleepers (thanks, re-issues!), it's never quite clicked for me the same way all their other records have. Heck, despite hearing Interloper for the first time just this year, it stuck with me stronger than most music off here. Right, that album was almost blatantly immediate and obvious in its songcraft, but Twentythree was pure synth-pad drone, and even that's taken more residence in my brain-pan than World Of Sleepers. Believe you me, it's getting ever more crowded up there, though I get the sense a little memory degradation has set in. Like, I can only recall about three out of fifteen tracks from 1993's D.J. Club Mix Vol. 2 from Polytel, one of which being a lame cover of Mr. Vain by 'Club Beat'. Oh dear, I'm doing that old man thing of ridiculously long anecdotal tangents, aren't I.

Naturally, this isn't a problem when I'm playing CBL's sophomore album. After the slow, gradual build of opener Abiogenesis, where soft ambient pads, ethereal tones, bleepy electronics, and digital voices guide your synapses to 'wake up', you're damn skippy my body's ready for the thumping beats and burbling acid after. If there was any doubt that Misters Segerstad and Hedberg weren't worthy of being mentioned in the same breath as Ultimae's other key acts of the time (Solar Fields, Aes Dana, Asura), that opener should have quelled them.

And World Of Sleepers doesn't let down from there, follow-up Vortex a haunting piece of ambient techno once again playing to CBL's strengths (dubby pads, acid!), and Photosynthesis working another wonderful builder containing a melody that's on par with the classic MOS 6581. Three tracks, three winners! But after that, World Of Sleepers starts losing me.

The music remains all fine in of itself, it just feels as though CBL are retreading similar ideas already explored in the openers. More burbling acid, more lovely synths, more dubby percussion, more filtered 'science' lyrics, all of which kinda' blends together as World Of Sleepers plays through. Yet when I hear the crunchy acid work from Proton/Electron, the soft chill-out of Gryning, the gentle piano tones of the titular cut, or the geek-hop rhythms of Erratic Patterns out of context, I always do a double-take of “whoa, why haven't I heard this CBL track before?” I have, every time I've thrown World Of Sleepers on for a playthrough and unconsciously let it slip into the background of my attention span. Why does my brain keep doing that!?

The final track of Betula Pendula does draw me back in though, a gorgeous ten-minute piece of space ambient. Always gives me the uber-feels after, which keeps World Of Sleepers high on my 'Great Ultimae Albums' list. Why yes this 'list' is ridiculously big, why do you ask?