Various - Audioworks Various Artists V1 (Original TC Review)

C.I.A.: 2004

(2019 Update:
Well, is this ever an eyesore. I know there's still a few track-by-track reviews lurking in my archives, but the older they get, the harder they are to read. Not that they were well-written in the first place, but my eyes can't help but glaze over once the supposed meat is getting detailed. Looks like a bunch of fat and gristle now. Some folks out there like fat and gristle, but not me. I likes my steak lean an' mean.

Of course, the biggest oversight in this review is the total absence of any Pendulum name-drops. True, this compilation came out before the Down-Southerns changed the d'n'b game forever after, but I was writing this at peak Pendulum-mania. Frankly, though I knew they existed, and Jack Moss had reviewed them for TranceCritic, they never registered on my radar until much later. Just goes to show how out of the loop I really was from jungle at the time, so take whatever I had to say here with a boulder of sodium carbonate.)


IN BRIEF: Rough’n’ready jungle for all.

Got’dang’it, but do I ever have a hard time starting these jungle reviews. I only dip into that scene whenever I feel the urge to bust out some frantic dancing or be absorbed by sub-whoofer assaults. The cultural nuances hardline junglists cling to with life-or-death intensity fly over my head, just because I’ve never been subservient to any one small niche of music-dom. Yes, I do my research for the necessary background info on the subject, but the personal insight a highly anticipated release on the jungle ‘mah-siive’ isn’t something I feel. I am, for all intent and purpose, a passive fan of the music, and that’s about it.

Perhaps that’s why we don’t cover as much jungle as some of the other genres. We know we can’t bullshit our way through some of the more underground acts, as junglists would see right through us. Alternatively, just dryly covering a release’s details is awfully boring, and can probably be read anywhere anyways.

Take this release for instance. I’m sure a hardline junglist could go into great depth about Total Science, their impact on the ‘deebee’ scene, and the particulars about their C.I.A. label. Of course, I could do the same, but the nuances junglists have come to know from fellow scensters would undoubtedly be missing from my interpretation of this info. While events are just historical dates to me, to the junglist they are defining moments in their lives.

Does this make me qualified to review jungle? As a review of jungle for junglists, maybe not. However, as a general music fan writing for other general music fans, why certainly.

That convoluted disclaimer out of the way, let’s dive ourselves into some breakneck drum’n’bass, yes?

So yeah, Audioworks is basically a showcase of the C.I.A. family (the C.I.A. stands for Computer Integrated Audio, your fun-fact of the day). Everyone has a moment to flex their muse here, and while the tempos are fairly consistent at their rapid pace, there are still plenty of flavors to be had.

Hive & Echo get the party started with some easy going street funk and synthy strings. Of course, the rhythms are as frenetic as ever, but never feel as though they’ll derail at any moment. As for the bassline, it doesn’t try to bludgeon you with its presence, simply bobbing along at sub-frequencies that’ll rumble in your gut when played on adequate sound-systems.

However, if you prefer your jungle with the basslines dominating, then Baron’s Meet The Creeper will be right up your alley. After a bit of a tease in the intro, the beats come in slammin’ with a grimy bass riff. Nothing pretty about this track; it knows its role and performs it admirably. DJ Friction’s follow-up Shockwave indulges with the formula a little more though, making use of a bleepy hook to play off the main bass hook. Additional sound effects complete the package, making Shockwave a well-rounded slice of niceness.

Wisely, Audioworks doesn’t overindulge in these tracks for long, and takes us into more soulful territory with Total Science’s own offering of Picture Perfect. The bassline still has drive, but the additional synth hooks and vocal samples help carry the song to mellower pastures. The next couple of tracks follow Picture Perfect’s lead quite nicely, although Booty Conspiracy began to wear a bit thin with its repetitiveness.

Invaderz aim to change the mood of this compilation once again, giving us a taste of the paranoid sci-fi soundscapes of Control. With more attention payed to the atmosphere rather than the rhythms here (the beats tend to be quite repetitive, and are arranged in such a manner that isn’t the easiest to dance to), this track may not be up your alley if you prefer your jungle soulful or energetic. Still, as a diversion form what we’ve heard so far on Audioworks, Control is a welcome bit of moody music.

The Spirit’s Midnight Run retains a similar atmosphere to Control, but the beats are more ‘bang-on’, making it easier to groove to. It also marks a return of the dominating basslines as heard earlier in this compilation, although intermittently. It makes for a nice segue though.

Why? Because follow-up Friday is absolutely killer, that’s why! The intro beats to this track are already some of the most intense heard on Audioworks, but when Friday briefly breaks down to introduce the main bassline hook in a nice build, the energy it creates is off the fucking chart! This is head-banging, balls-to-the-wallz, pummel you senseless jungle business here. And like crafty producers, Drumsound and Smith only makes use of it sparingly, making you hungry for it to drop back in but never for so long you get sick of it. Fucking wicked, this track is.

After that burst of nitro, we’re taken into a blissy bit of drum’n’bass with Digital’s 3 Point, hinting at an easy-going outro for this compilation. Follow-up Divine Intervention seems to support this idea for a bit, but takes a 180 by unleashing a growling, abrasive bassline with terrifying results. Heh, nothing like a little ‘bait’n’switch’ action to snap you out of your stupor. Q Project does come correct though, offering us a dubby slice of ragga jungle to take us out.

In all, I quite enjoyed listening to Audioworks. While individually these tracks may not be breaking any new ground, their arrangement here is very good. At no point did I feel the flow lagged or came to an abrupt halt, and each track managed to sound different enough from the last to keep me interested. In fact, even after listening to this constantly for the last few days to write this review, I’ve never grown bored of it, and will probably still have it on my current rotation.

Audioworks is a solid compilation of jungle. Even if you’re only a passive fan of the genre, do check it out.

Written by Sykonee for TranceCritic.com, 2006. © All rights reserved.

Various - Fade Records Presents: Audiotour - Chris Fortier

Benz Street US: 2004

It's amazing how Chris Fortier repeatedly kept the 'trance' faith alive for me. I've already gone on a tonne over the hopelessly obscure Trance America mix from him, and wouldn't you know it, he did it again with an almost equally obscure mix CD, this little Audiotour item. Right, this isn't trance, but progressive house, or prog, whichever you prefer in the year 2004, though even then there were a number of notions of what prog-house was anymore. Was it the deep, dark, dubby tribal stuff Digweed had been championing for a while? Or was it the slighter, poppier stuff as heard from Gabriel & Dresden's various works? Was it some mutant hybrid with twinkly melodies and chugging rhythms? No one knew for sure, thus the scene was set to fracture in such a fashion that it still hasn't found common ground again. All I knew at the time was most of the mixes I was sampling weren't doing it for me, leaving me wondering whether I'd ever buy another prog-house CD.

And honestly, I wasn't expecting a revival or something from Chris Fortier – I was surprised enough seeing this release sitting idly in an A&B Sound that browsing day. I knew he'd done a mix for Digweed's Bedrock series, but had heard little else from him since Trance America. For all I knew, he had jumped on the McProg bandwagon too, or maybe pulled a Steve Porter and gone funky house! And hoo, did I fear the worst with the opening track A.B.E. from Motive, a short-lived project from Tom Anderson and Mark Hunt, featuring the vocals of Abegale Fishcer, and among the cheesiest prog-breaks tunes I've ever heard. Just... eugh. I'm flabbergasted that the label behind Fade would release such a track. Then again, they also were the first to remix Delerium's Silence.

Forget the first track. It has nothing to do with the rest of the mix, a total misdirection of where Audiotour takes you. Yes, this is basically a Fade Records showcase, and wouldn't you know it, Fortier had kept his label on the straight and narrow, releasing tunes like it's still the year 1999. Or 2001. Whenever you figure 'peak dark prog' was. Point is you get those tasty vintage deep dubby chuggers like Blackwatch's rub on Luigi's Creation, The Ally Qats' Talk To Me Goose (that breakdown!), and Chris Micali's L' Èvasion (complete with creepy sample of Dr. Loomis describing Michael Myers in the insane asylum).

The moody groovers out of the way, Fortier unleashes a few fun anthems for the close-out, including a cheeky collaborative remix with Steve Porter on D'Shake's old-timey Yaaaah! (that's four 'a's, yo'). Chris's own cut Wateveritis works the classic prog-house vibes as wonderfully as any tune from the '90s, while the final run of Fade tunes are fine, though strangely sound a tad dated compared to the tracks that came prior. Still, when it comes to '90's sounding mid-'00s prog-house, I'll take dated any day!

Autechre - Incunabula

Warp Records: 1993

(a Patreon Request)

It's clear I've neglected Autechre, and I have my reasons. Fear, disinterest, embarrassment... all worthy factors (no joke, for the longest time, I thought their name was pronounced “aur-toosh”; I don't know how that happened). Honestly, it was probably a singular Muzik Magazine review that led me astray from the music of Rob Brown and Sean Booth, in that they were lamenting how 'un-musical' they'd become since their first three records. An exaggeration, perhaps, but the stuff I was hearing from Autechre at the time was indeed super serious IDM experimentalism. Cool if you dig on technical wankery, but it wasn't something I was interested in. Still, those first three albums were highly recommended. Maybe one day, I'd check them out. One day, one day... one day...

Oh hey, one day is here! And if I'm gonna' dive into Autechre, I may as well start from the beginning, as it's apparently the easiest leaping on point. Incunabula came out at the tail-end of Warp Records' Artificial Intelligence run, the last of the original artist albums under the banner. Warp would release one more compilation, then essentially mothball the series, as all these weird ambient techno 'doods' had enough clout to stand on their own without a concept linking them all together. Besides, with so many other labels now getting in on this 'intelligent techno' trend, I'm sure the label wanted to distance itself from such a gimmicky tag. Good luck on that, mates.

As for Incunabula (ergh... keep wanting to type 'innocuous'), yeah, it's definitely an early ambient techno album. I can hear why latter-era Autechre followers aren't too fussed with this debut, as it really sounds like the lads from Rochdale are still influenced by their peers rather than embarking on any drastic sonic journeys themselves. I'd even be so willing to say this might be the least 'Autechre-sounding' album in their discography, if I had any clue what the majority of their discography sounds like.

For sure it's one of the finer examples of early ambient techno, and you can hear plenty of sonic markers still being emulated by modern producers of this sound – Aphex Twin didn't have a monopoly on inspiration, after all. By the same token though, a track like Bike sounds like it could just as easily appeared on a B12 EP, Aut Riche just as easily on a Black Dog collection, Brochus 2 as a Speedy J fill, and Lowride as a ...wait, isn't that DJ Premier In Deep Concentration?

Still, there are glimmers of the complex drum programming Autechre would come to known by, tracks like Maetle, 444, and Basscadet showing they were willing to think outside the traditional techno box. Meanwhile, Windwind, Eggshell, and Doctrine have nice warm melodies countering the harsher electronics, which is what we ever wanted out of our ambient techno anyway. Incunabula may not be a terribly challenging record compared to later Autechre works, but it's enjoyable on its own merits just the same.

OutKast - ATLiens

LaFace Records: 1996

Now this one, I was under no delusion it'd sound like Stankonia. No one in hip-hop sounded like Stankonia in the mid-'90s – heck, very few sounded like Stankonia when that album dropped, though I'm sure there's an outlier or two that could be pointed out as the true originator of 'southern trap-rap crunk-jungle soul'. Point being, though Stankonia kinda' numbed the enjoyment I should have had with Aquemini, I knew fully well ATLiens would be its own beast, meaning I could take it in under its own terms, expectant hype be damned.

No, wait, that's not entirely true. I knew ATLiens had its own high amount of praise, though for different reasons. An album that showed there was something creative and ingenious brewing in the lands of Georgia. An album that proved southern rap could be more than a bunch of booty bass and ghetto-cheap beats. That Wu-Tang Clan didn't have a monopoly on comic book iconography. Okay, maybe not so much that last one, but man, doesn't Big Boi look like he'd fit right in with a team-up with Method Man or Ghostface Killah? Right, they settled on Raekwon in Aquemini, but for sure the seeds of a major coastal crossover event were planted here. Also, Andre 3000 as a genie, but there were wacky sorts in hip-hop before him. He just started flying his own freak flag for ATLiens.

So if there's any disappointment to be had from my end regarding OutKast's sophomore album, it's that they didn't push the envelop quite as far as I was led to believe. The package screams ultra nerdcore concept outing, and given the general plaudits heaped upon it, I figured it a game-changer not just in the lexicon of southern rap, but all of rap. Nay, it's instead treading ground already being charted by the likes of the Hieroglyphics crew and other 'backpack rappers' of the time. And hey, totally a departure of what was expected from the south, so that's good enough, right?

Right. I don't need to hear Boi and 3000 rapping about their intergalactic escapades as portrayed in the booklet's comic. Hearing them waxing tales about living in Atlanta is good enough when the flows are this dope and the beats are this fine. ATLiens is best served as a deep southern fried slice of chilled-out vibes, perfect cruising material for hot 'n muggy days just trying to get by. There are moments of introspection, moments of booty chasin', and moments of good ol' simple head-boppin' – all under a thick THC haze as imported from somewhere beyond the outer reaches of your being. Or something.

It's a strange journey I've taken in exploring OutKast's discography. I came in when they were crossing over, but before they'd truly broken through the mainstream. The further back I dug, the simpler they seemed, but somehow more interesting too. Still, not sure I'm up for Southernplayalisticadillacmuzik. That one seems too straight-forward, and I need my OutKast a little askew.

ACE TRACKS: February 2019

So this past month, I've had to do something for work that I haven't had to do in a very long time. It's something I've dreaded could come about again, the nature of my work somewhat fickle in where I must go for periods of time. See, the nature of living in Vancouver is you should never, ever commute over a bridge or through a tunnel. Unfortunately, the expense of living in Vancouver often means one must find residence out in the 'burbs, across the bridges and through the tunnels. I have not done this, as my means of living has left enough financial fluency such that I can live within Vancouver-proper, where my work has been for the past decade.

At the start of February, however, I was 'loaned out' to another place to work. A place that's on the other side of a bridge. One that I must commute to in an opposite direction. Actually, the commute there is pretty easy, as I leave rather early in the morning and is a breeze, the time just a shade longer than the time it takes me to get to my regular working area. That commute back, on the other hand. Dear God, it'd almost be just as fast for me to walk the distance, the traffic so congested. Of course, if I had my own vehicle, this wouldn't be such an issue, but if I don't cheap out with transit, how can I continue living in my Vancouver paradise? Oh well, what's an extra 45 minutes home from work, when you got a fresh ACE TRACKS playlist to jive on?


Full track list here.

MISSING ALBUMS:
Motorbass - Pansoul
Paul Oakenfold - Perfecto Presents Another World
Bandulu - Antimatters
Pitch Black - Ape To Angel
The Angling Loser - Arena Of Apprehension
Morgan - Arrakis

Percentage Of Hip-Hop: 11%
Percentage Of Rock: 26%
Most “WTF?” Track: any of the Asia songs (whoa, they were actually good!)

Yep, that's another pile o' tune missing from another playlist. Ahh, just like old times, eh? Getting down to the final stretch of 'A' album though, which means we're in for another massive backlog of newer music to get through. Don't worry though, that Viking Metal I've hinted at is put off for much further down the road.

Skua Atlantic - Atlantic Fusion

Databloem: 2018

This is an item I've had sitting mostly neglected since I got it, however long ago my last Databloem splurge was. I didn't know anything about it, only that it had a blue cover art, the best colour for cover art. I threw it on once, passively listening to it in the background, and generally liking what I heard though not significantly enough to get me hotly anticipating digging into it proper-like for a review. Re-listening to it now, and sure enough more of it sinks in, the sort of ambient techno that reaches deeper into the electro and Detroit lineage, though with plenty o' nods to the mellower side of early Warp Records too. Like Selected Ambient Works 86-92, without the lingering alien synth tones or lurking mad-genius behind every uniquely construction rhythm section.

So I go to Discogs to get my requisite additional info and who's name do I see as part of Skua Atlantic but Mick Chillage. I swear to God, Allah, Vishnu, Buddah, and Spaghetti Monster, I did not know this going in. It was just the blue cover art that caught my attention! And it's not like I would have name-dropped Skua Atlantic when talking about other collaborative projects Mr. Gainford's been part of. Autumn Of Communion with Lee Norris remains his most prominent one, and there was that lone Architects Of Existence a couple years back. This is comparatively new, so you'll forgive me for having not paid attention to everything Mick's been up to – I can only do so much keeping up with his solo works and Autumn Of Communion.

Besides, there's another name here I should talk up, Árni Grétar, more commonly known as Futuregrapher. Okay, maybe not 'commonly', but the guy's had a tidy career under the alias, all the while running the Icelandic print Möller Records (the... Bandcamp... calls...). He mostly sticks to the ambient techno lane as well, but has been known to mix things up with jazzy drum programming and even a little jungle action. Not the most obvious pairing with Chillage, then, but sometimes you need someone outside your main sphere of influence to find truly inspirational sparks of creativity.

And that's what I'm hearing in Atlantic Fusion, as much a meshing of differing approaches to songcraft as flowing along similar senses for sound. I've heard Chillage create retro ambient techno plenty of times, but never retro in this fashion. I can only assume this is Grétar's contribution to the project, though taking in a little of his other works, I notice his ambient markers as well. It's strange how this album can sound futuristic, yet Balearic (ocean waves and seagulls help). Where I'm backpacking across Europe, but hitching rides from flying cars. Take an acid house club stop-over (Metro West (Acid City)), just for the kicks. Atlantic Fusion almost sounds like it should have come out on B12's FireScope label, though I'm glad Databloem released it just the same. T'was a tad cheaper from them.

Flowers For Bodysnatchers - Asylum Beyond

Cryo Chambers: 2017

I had a couple angle ideas going into this album from Flowers For Bodysnatchers. A brief recap on the project from where we'd left off. Something about the history of messed-up asylum stories. A quip about how it's been so long since I last wrote anything about Cryo Chamber. As I sat down to commit fingers to keyboard though, I got an email notice informing me that Duncan Ritchie is set to release a brand new Flowers For Bodysnatchers album in a week or two. Well that's cool, thinks I, Alive With Scars perhaps providing me with some additional tidbits of info I can use for this review.

I scope out the Bandcamp link, intrigued by the picture of an upright human nervous system seemingly wandering an abandoned Victorian garden. Definitely something I've never seen before, making me wonder what the concept behind the album is. Multiple Sclerosis is the concept, the PR blurb informs, a wasting away of one's body by its own immune system. A condition Duncan has lived with for the past decade. Oh. Oh my!

Suddenly making an album about 'the Suicide Forest' takes on a whole other light. Not that this has much to do with Asylum Beyond, but it's difficult shaking all that from my head. Must move on for now though, lest I use up any talking points for whenever I do get around to discussing Alive With Scars proper-like.

Asylum Beyond has plenty 'nuff material to dig into, a 'ripped from the headlines' tale of antique shop keepers, occult rituals, lunatic hospitals, and mass murders. Fairly traditional horror fiction topics, all told, but something of a departure for Mr. Ritchie, who's albums tend to deal with mood music and psychological depression. With its ample field recordings and sparse ambience, Asylum Beyond comes off one part film soundtrack, and one part radio drama, though lacking much dialog beyond your requisite Latin chanting; can't deal with the occult without that Latin chant.

And thus I've come to yet another dark ambient album conundrum, wherein talking about it seems a futile effort. Sure, I could detail all the creepy things that go on, like heavy, echoing footsteps in abandoned warehouses in Midnight My Dearest Midnight, or discordant string swells in Ravenfield (the asylum's name), or the cheeky sample of an old-timey symphony recording at the end Phantasma, but my detailing lacks context without hearing it as part of the album's narrative whole. Asylum Beyond is bookended by creepy piano pieces, but without taking the journey of deepening madness from beginning to end, they lack the poignancy Duncan's tale offers.

Dark ambient isn't generally the most musically inclined of genres out there, usually settling for mood and atmospherics. Strangely, it's even rarer to hear an album that's this detailed in its storytelling. Simon Heath definitely indulges it with his Atrium Carceri and Sabled Sun projects, and I'm sure there's others, but it's a treat to hear another take the challenge on just the same.

Astral Projection - Astral Projection

(~): 2002

Track List:
1. Liquid Sun
2. Astral Projection vs Trilithon - Burning Up (Psychedelic Burn Out Remix)
3. Searching For UFO's
4. People Can Fly!
5. Let There Be Light
6. SFX - We Are Controlling Transmission
7. Anything Is Possible
8. Aurora Borealis

If some of y'all have wondered why goa trance legends Astral Projection have been conspicuously absent from my music collection, this is why. Absolutely I knew of them, and when cruising the AudioGalaxys and MP3.coms of the web two decades past, they were among the first names to crop up when my inquiries of 'goa trance' and 'psychedelic trance' were sent into the ether. And wouldn't you look at that, plenty of seeds for quick downloads! Absolutely I'll nab myself a bunch of those, thanks. Eventually I had enough cool tunes for a burned disc of strictly Astral Projection music, the result of which being this myself-titled compilation. Simple enough explanation, right? Oh, not so fast, I'm afraid.

Truth is, I did this with a lot of artists, including such names like Juno Reactor, Spicelab, Aphex Twin, and Biosphere. Some of those early discs simply deteriorated, but as I found myself more gainfully employed and with easier access to the CDs I wanted, I went out of my way to actually buy the albums proper-like. Who wants to settle for crummy MP3 rips on burned CDs when you can have the real deal, right? Only... I never did the deed with Astral Projection. I've forever kept this lone disc as all that I need from the famed Israeli duo, and honestly don't have much inclination to rectify that. I like the A.P. stylee, just not enough to spring for their albums. Frankly, I feel like I've heard about all there is to them with the selection of tracks I did settle with for this compilation. Sans Mahadeva, of course.

I'm sure their REAL fans could create a more authentic CD, but considering I didn't know much about them at the time, I'd say I did pretty well assembling these tunes. There's two from Trust In Trance, two from Dancing Galaxy, one from Another World, one from (then current) Amen, plus some assorted compilation-only goodies. Oh, and the Astral Projection tune that's technically not an Astral Projection tune, We Are Controlling Transmission, released just prior to them adopting their lasting alias. It certainly is more indebted to German trance than anything from the shores of Goa, and is honestly my favourite cut of the lot here.

And that's the crux of what's prevented me from diving any deeper into their discography, a sense that there really isn't much more to their sound that what's here. For sure there's differences between tracks, but when an older tune leaps out as more distinct than all that followed, I reckon there's a minor issue in your songcraft. Still, folks enjoy Astral Projection for a dependable, spacey goa trance vibe, so all the more power to them in delivering it time and again.

Asia - Asia

Geffen Records: 1982

You'd forgive me for thinking this would be better. Given the pedigree of the players involved, how could anyone initially think otherwise? The band Yes guitarist Steve Howe ended up on? Hell, I'm sold already. Geoff Downes may not be the definitive Yes synth player, but he was involved enough to be considered honoured alum, so I'll dig on what he's doing too. That John Wetton dude, long time session bassist with Yes, King Crimson and Uriah Heep: sounds like as fine a prog-rock resume as anyone of the time. And those Palmer and Lake chaps, of Emerson, Lake & Palmer, they have a darn good reputation among prog-rock heads, especially Greg Lake from his time in King Crimson. Throw in some nifty Roger Dean cover art, and I'm ready to throw this self-titled debut album from super-group Asia on. Screw what all the haters have said about this band over the years, this is gonna' rock my socks off the clock on the corner block. Hollycock!

Then opener Heat Of The Moment starts, and my face drops. Oh... That song. They were behind it. I... honestly had no idea. Absolutely I've heard it tons on the classic rock radio, the ultimate '80s radio, and the generic pop hits radio, but it never clicked for me it was by Asia. Like, the distinctive Howe guitar action I'm familiar with is almost utterly absent. No, that's not it, he's there, but buried in the mix, on equal footing with Downes' synths, Palmer's drums, and Wetton's bass. Rather, it's all about Wetton's lead vocals, which makes sense for a radio-friendly tune – no time for technical prog-rock wankery in a three-to-four minute jangle. Same goes for Only Time Will Tell, another song featured aplenty on all the aforementioned radio stations. For sure you get some solos from each player involved, but as brief seconds-long spurts, not minutes-long exercises.

How? How could Howe and co. stoop to such commercial pandering? As always, my old man had a nugget of wisdom when I inquired him about it. After the previous decade was spent getting dicked by shady labels and making little scratch for all their artistic endeavours, shooting for the charts had to be an enticing offer for these guys. I'm sure their deal with Geffen Records was a lucrative one, David Geffen snatching up anyone he could with promises of favourable contracts to establish his hip new label. Just, y'know, make sure you get some hits on the radio while you're at it. And Asia certainly delivered that.

And guess what! Once past those obvious arena rock anthems, Asia turns into the sort of prog-rock outing I was expecting, with plenty o' musical showcases and highlighted Howe guitar action among the power-pop choruses. Yeah, there's cheese, production's a little too studio polished, and it ain't a touch on their '70s stuff, but it's not so embarrassing as other '80s prog-rock went. At least on par with Yes' 90125, if you will.

Timestalker - Arrival Of The Stalkers

Werkstatt Recordings: 2016

Okay, I'm almost certain this is the last Werkstatt Recordings item I have left to review. I've gone through my backlog, and am positive nothing's among the 'B' albums. I don't want to say this will definitively close the door on my coverage of Toxic Razor's print, because there's some chance another release from there will catch my eye (always the eye before the ear with Werkstatt). No more thematic bulk buys though, nosiree, bobski. Finally, I can say I'm closing the book on this odd chapter of my blog's history, wherein the promise of more synthwave than I could shake a Yamaha DX7 at was there for the taking (also: sweet stickers).

Arrival Of The Stalkers is as fitting a cap on my Werkstatt saga as any, a release that seems to encapsulate what I initially found so darn cool about the label, but eventually worn down by too. It's got the striking cover art, in this case a Judge Dredd future-shock depiction, though set in bright neo-Tokyo rather than the grimdark slums of the original comic – always what is thought represented that decade, not what was. However, Timestalker is mostly a Discoggian blank, though at least has a follow-up album listed and a Bandcamp link leading to a couple more releases. It looks as though he's developed a tidy if small career for himself, which is more than can be said for nearly half the Werkstatt alum I've thus far covered. And if the Bandcampian algorithm is suggesting GosT in association with your music, you must be doing something right.

The titular opener also perfectly hits all those tasty attributes my enjoyment of synthwave craves. The 'ripped from a Cannon Film Group newscast' sample, the crunchy darksynth low-ends, the bright, ear-wormy synth leads, and ooh, some added string pads at the peaks. It's nothing I haven't heard before from this genre, but it does it exactly the way I like it, which is the least I ever ask for in the music I like.

Follow-up track Rise Of The Pariah hints at another winner, with that good ol' Carpenter influence going in the rhythm. Unfortunately, the bright lead synths accompanying the tough low-end is a serious clash of tones, and the tune struggles to coalesce into anything memorable. Outbreak Of Evil suffers for this too, a strong opening of aggressive darksynth ideas, undone by a clashing lead synth; also, whoof, that keychange. And did I ever want to like Ultra-Violence, getting in on that outrun Perturbator stylee, if only the chirping synths meshed better.

And that sums up my experience with much of Werkstatt's catalogue, don't it? Excitable initial lure, a tune or two that captures my fancy, but a bunch of niggling things that reminds me there's a lot of amateur producers still finding their feet. Still, I'll always give the label credit for giving these aspiring musicians an opportunity, some of whom have gone onto bigger careers. Gotta' start somewhere.