Speedy J - Ginger

Plus 8 Records: 1993

(a Patreon Request from Omskbird)

And with this, I've completed my collection of Warp Records' seminal Artificial Intelligence series. Except for the actual compilations titled Artificial Intelligence. Which includes the Speedy J track De-Orbit, not on this version of Ginger. Oh, and I'm also missing the albums from B12 and F.U.S.E., but those are kinda' outliers to the series anyway. Like, Electro-Soma was a compilation of prior EPs, while Dimension Intrusion is more regarded as a Plus 8 item than a Warp Records one.

So I guess I haven't completed my collection of Warp Records' seminal Artificial Intelligence series. Can we at least call it the best bluffer's guide without going whole hog? I already have the other albums released under the short-lived banner (Surfing On Sine Waves, Bytes, Incunabula), music released by artists who became Warp Records fixtures, making them the Most Important releases of the Artificial Intelligence series. The others are nice rounders, but aside from B12, not fully indicative of the proto-IDM sounds coming out of the U.K. at the time. Heck, one dude was from Canada, the other Dutch, both with their own labels to release their own music on.

It's the Canadian version of Ginger that I have in my hands, though the only real difference between it and the Warp Records one is a change in the final track, the Plus 8 Records exclusive Spikkels replacing the Artificial Intelligence exclusive De-Orbit. Aw, I actually like that tune, and I can't say Spikkels is up to snuff as a replacement, a rather standard downtempo electro outing from Mr. Paap that doesn't stand out much from what chill techno was doing at the time.

Honestly, that's my general impression of Ginger: a record that finds ol' Jochem still finding his way in the world of techno, yet to discover how Very Important his sound could be. There's tracks on here that show strong hints of his future unique takes on the genre, tunes like Basic Design, Flashback, and Pepper unafraid of throwing some mainland Europe euphoria into the staunch, serious techno the early IDM scene was known for. When he starts sounding like the other Artificial Intelligence cats, however, the further my interest drifts from Ginger. Sure, the titular cut, R2 D2, and Fill 14 are fine examples of bleepy U.K. techno trying to sound like Detroit techno, but it doesn't sound like Speedy J to me.

I think that's what held me back from really giving this album much of a chance when I heard it during Warp Records' first run of re-issues a decade ago. My expectations were so bloody high from albums like G Spot and Loudboxer that I couldn't help but be let down in hearing Jochem Paap in an earlier state of production ability. I know, I know, selfish excuses for not liking a record as much as I could, but aside from a select few tracks (see below for which!), I just don't see myself coming back to Ginger as often.

Galati - Silence [As A Din]

Databloem: 2018

I was already curious in checking out more items from Galati after Gletscher, though not in a real hurry to do so either – almost glacial, in my efforts (eh? eh...?). Plus, having the bulk of his music released by that label which has disappeared into the internet ether made digging back into ol' Roberto's discography a trickier endeavour than before. Fortunately, after a bit of downtime, he seems to have found a new home with the label that everyone seems to have found a new home with; or provide some additional content for. Seriously, what is it about Databloem that has everyone in the modern ambient techno/dub/chill scene wandering within their walls? Just because they have a proven, classy track record that's endured for well over a decade now doesn't mean one has to release with them. Sure must feel nice though, being part of a print that won't end up dicking you around.

Making his debut with Databloem is Galati's sixth album, Silence [As A Din], and even without the recollection of his earlier works, you just know I'd have picked this up regardless. I admit, I admit, certain types of cover art are pure catnip to my eyes, and placid ice flows in a blue-scale colour is about as catnippy as these things can get. Maybe add a derelict boat on one of those icebergs. A Saturn in the sky. Yeah, that's the stuff...

For those of us just joining in on the Galati train, Roberto's approach to the art of ambient drone typically involves post-rock elements such as guitar strums and amp feedback. The result on Gletscher was that of a rather epic wall-of-sound, and you'd think for an album titled Silence, he'd scale things back some. Yes, some, in that I can pick out individual elements with greater ease, but it's no less overbearing. The opener Pt. 1 doesn't waste time in bringing the coalescing sounds to the fore, though they do retreat some such that things like rhythm and melody have breathing room. At twenty minutes long, Pt. 1 moves through many passages itself, at times almost pausing to catch its breath before erupting in another wall-of-sound excursion. If I didn't know it was indexed as a singular piece, I'd have thought it was around four or five different tracks.

Pt. 3 goes even longer at twenty-five, and has something of a modern classical feel to it with prominent harp and vocal tones. Not that they weren't apparent in Pt. 1, I can just hear them better in this composition. There's honestly quite a bit going on in Pt. 3, more than I can detail in the remaining word count I have.

So let me wrap up by mentioning Pt. 2 and Pt. 4 are comparatively shorter pure drone pieces, almost inching towards dark ambient's ethereal domain, placing Silence [As A Din] among the moodiest albums I've heard from Databloem yet. Can't fault the label for dipping their fingers into a bit of everything.

Raekwon - Shaolin Vs. Wu-Tang

Ice H2o Records: 2011

Sometime last year, I stumbled upon a YouTube video where Raekwon was tasked with ranking all of his albums. What a wonderful concept, thinks I! Sure, you could argue an artist will unequivocally praise everything they release, but if put to the grinder with some proper self-critical honesty, surely some interesting results may come about. Like, how would someone like Neil Young, with his extensive discography, rank his albums? Even he's admitted when some records don't turn out as well as hoped though, so what about a producer who only knows how to blow smoke up their own ass? You know, the Armins and Tiestos of the world.

Anyhow, Raekwon's self-summary didn't reveal that many surprises (even he thinks Immobilarity was a disappointment), but it did clue me into a bunch of his records I had totally forgotten. Yes, even with all the entries at Lord Discogs. Too many mixtapes among the official albums, see, making me wonder what is what and all that rot. His ranking video at least parred things some, with this particular Shaolin Vs. Wu-Tang coming in high near the top of his picks (nothing was gonna' dethrone Only Built For Cuban Linx).

I do recall seeing some stuff about this album, but figured it just another in an endless stream of mixtapes the Chef was cooking up around the time. Rather, this was his attempt to bring the classic, gritty Wu-Tang street style back to the fore', as he believed RZA had led the group too far astray with his musical indulgences. Bold moves, but at some point even the disciples must challenge The Abbot, and with the blessings of RZA's many producing proteges (Alchemist, Mathematics, Bronze Nazareth) plus seasoned vets of hip-hop (Erick Sermon, Scram Jones, DJ Khalil, many others...), this looked to be a dope round of vintage Wu bangers indeed.

And the titular opener starts with those classic chop-sockey samples setting the theme, then urgent strings with thumping beats hit as Rae's flow is focused and commanding. Why does it sound like he's skipping a word or two like he's catching his breath though? It continues into Every Soldier In The Hood, and when Method Man's verse comes in with a third of the words snuffed out, a cold realization hits me: I've ended up with a busted-ass 'clean' version of this album! Bloody Hell, no wonder it was so cheap on Amazon.

Well, that's a bummer. How can I enjoy an album with so many missing lyrics? Why make such a version? Seriously, who's gonna' buy any edited version of a slummy hip-hop album, especially one with hardly a hope of crossover appeal? At least there's an uncensored Spotify option, but man, Shaolin vs. Wu-Tang had no hope of making a solid first impression upon me because of this. Even more damning is, as a long time Wu-Tang fan, there's a lot to like here, but my CD copy will never get another spin. Denied a proper play-through on my proper sound-system, forever.

Dead Coast - Shambolic

Annibale Records: 2016

It honestly could have remained a singular compilation indulgence. A specific genre itch that was tied to a specific period of time, and needn't be explored any further. Maybe I'd have gotten myself a Dick Dale collection as well, but surf rock wasn't something in need of diving fully and completely into. Much less wade through the vast, murky shores of indie rock seeking any contemporary bands carrying the music's legacy into the modern era, because there always are a few who find inspiration in super-niche styles of a bygone time. It's just what indie rock do, mang!

Fortunately, and remarkably coincidentally, I stumbled upon a Bandcamp newsletter highlighting all the contemporary bands carrying the music's legacy into the modern era. Like, almost instantly after I'd picked up that Surf Beat compilation. The only explanation for this astounding timing is the sweet Sirens of surf rock heard my longing wail across the Pacific shores, sending me a serenading screed whence I needed it most. Yeah, that tracks.

Thus here I am (rocking you like a hurricane?), reviewing the debut album from Dead Coast, a band out of London that clearly has its ears turned to the early '60s of the California coast. And not only am I reviewing their debut album, but I'm going with the digital copy, because all the hard copy versions were already sold out, but I wasn't gonna' deny myself some fresh musical exploration based on outdated conditionals.

And no, this isn't an all-in surf outing, just as much a 'Merseybeat' and psychedelic rock showing too (Lord Discogs also lists Garage Rock, Blues Rock, Stoner Rock, and Space Rock among the genres Shambolic entails, but what does Discogs know?). The most surfy of the songs on here are probably Ask The Dust, Hills Made Of Sand, Good In Her Blues, and Because I Know You. Mmm, such lush, dreamy reverb, bringing to mind lazy hazy days swaying by sunny shores under palm trees, salty waves lapping at your feet and all that good summer stuff. Plus, can't knock that authentic lo-fi recording quality, as though ripped from the sixty year old, 7” records.

That's only four songs out of a tracklist of thirteen. If the surf-inspired tunes don't cut it for you, you can always vibe on the garage-beat outings like Jenny Loves The Sun, Why Are We Still Together, and Just Don't Give Yourself (ooh, getting a White Stripes feeling off that one). Then there are the weirdo tunes, like ESP that's got that blues thing going, but features a Theremin (or approximate) solo. Or Overcome, an instrumental psychedelic freak-out that pauses at points for some slow jam time in a Tiki lounge (oh hi, Khruangbin, fancy seeing you here); Bossa For Stanley would fit in that lounge too.

So overall, a good first outing in this strange yet familiar musical realm I'm treading out into. I mean, it ought to have been, what with this album coming recommended by Bandcamp and all.

Castroe - Serum

Werkstatt Recordings: 2015

Man, you just knew there was another Werkstatt release lurking about somewhere. You think you get them all, have sifted through every pile, every tower, every folder, but somehow, something slips through the cracks, waiting to pop up when the next round of regular backlog rears its head (somewho, somewhat!). Thing is I kinda' recall listening to this in that last massive run, but it's difficult keeping track of every four-song synthwave EP, especially when you're feeling a touch of the ol' genre burn-out.

I honestly have no idea how some DJs can listen to twenty times the amount of records in a single sitting of just tech-house or minimal techno and have even a fraction of it stick in their minds for future consideration. Like, I can take hefty quantities of some genres, but when you keep hearing the same tricks and tropes played out over and over and over, it doesn't take long for it all to turn to mush in my noggin'. And for as much as I do enjoy synthwave, its tricks and tropes become blatantly obvious in short order indeed. It's one of those fine chocolate genres out there, so succulent, sweet, and tasty when you first consume it, but best indulged for special occasions. Or maybe it's the Turtles/Creme Egg of electronic music, so easy to overdose on when you've been absent of it for a while.

I know I'm willing to take another hefty dive into the genre again (beyond Werkstatt) after hearing just this lone EP. That chugging bassline in opener Nightcrawler, with the flowing backing pads, sparkly synth fills, and chipper arp keeping things moving along... *chef's kiss*, everything I hope to hear in a synthwave tune. And since I haven't listened to much synthwave in this past month, it sounds nice and fresh again, like glistening iceberg lettuce at the supermarket. A good supermarket, not one of those cheap, nickel-and-dime places where the produce arrives wilted.

Coagulator provides the obligatory 'outrun' tune. Intimidate slows things down, and even throws in a charming reverb fade for a small breakdown. Finally, the tituluar closer almost sounds like it needs a vocalist singing about loves lost on the Ocean Drive, in spa-a-ace! Is it just me, or does anyone else get a Starman vibe on this? Seems like a surprisingly untapped Carpenter-'80s thing synthwave has yet to fully exploit. It doesn't have to all be Escape From New York, Miami Vice, and Big Trouble In Little China, y'know.

As is so often the case with this scene though, Castroe (Eduardo Castro to the Austin music clubs) doesn't have much else to his name. Lord Discogs lists another EP released this past year Less Than Zero on Lazerdiscs Records, plus a smattering of Bandcamp offerings before his Werkstatt outing. It's such a shame when I find a synthwaver with panache but lacking in plenty o' consumable goods. Given the ridiculously high turn-over rate of producers, they seem so few and far between.

ACE TRACKS: July 2019

You know what I miss? Naps. Don't get me wrong, the way my current work schedule has turned out is rather nice overall, becoming part of the 9-5 demographic without any of the headaches it seems to create. Getting home at such a time, however, means if I lay down, it's certainly lights out until the middle of the night, from which I'll be up way too long in the pre-dawn hours. What am I gonna' do in that time, go for a swim at the local pool with the elderly? (hhmmm...) My old 6-2 workshift was perfect for catching an early evening snooze without worry about oversleeping.

Does this mean I'm destined for another burnout all too soon? Or should I sneak some naptime while I'm at work? Like, I probably could get away with it, me being my own boss with a serious downswing of activity towards the end of my shift. No one has to know I'm sleeping on company time, not even the ones who somehow stumble upon this blog. Mwahaha!! Ah, hm, here's some ACE TRACKS from July anyway.


Full track list here


MISSING ALBUMS:
DJ 3000 - Sälis
Dr. Atmo - Quiet Life
Cosmic Replicant - Processes
Subotika - Panonija
Opium - Pain(t)
Pleq - Our Words Are Frozen

Percentage Of Hip-Hop: 0%
Percentage Of Rock: 14%
Most “WTF?” Track: The dark ambient stuff. Far too aggro for all the chill vibes on this playlist. Yes, even dubstep and Billy Idol are comparatively chill to SantAAgostino.

Not as ambient as it could have been, what with so many albums missing from this playlist, but it still sounds rather singular throughout. Or at least, having large chunks devoted so certain genres/artists rather than a mix of everything. Surprised by the weak Spotify game this time out. Maybe it's time to look into Deezer?

Harold Budd - The Serpent (In Quicksilver)

Cantil/All Saints: 1981/2018

Harold Budd had made his proper debut with the well-received The Pavilion Of Dreams, which Brian Eno produced. Following that, they teamed up for the second entry into Eno's seminal Ambient series, The Plateaux Of Mirror. Being such a prominent figure of ambient's early years surely yielded many opportunities for the Buddian one, if not for the fact that scene was barely existent yet. Sure, you had the synth noodlings of the Berlin-Schoolers, and the electronic experimenting of the soundtrackers, but Eno and Budd's brand of abstract art music remained a super-niche side of ambient's emergent sound, especially Harold's classical approach to playing the ol' ivories.

Basically, despite having his name associated with a trendy tastemaker, Budd was still left without any sort of record deal for his own musical explorations. He thus did what many a genre-niche artist is forced to do: create his own print to self-release his albums. Eh, why didn't Eno just help Budd along with on his label? If I was to hazard a guess, it was either because Eno was between labels himself (Obscure, where Pavilion Of Dreams had come out on, folded before the '80s), or Budd wanted to release something without Eno's ambient treatments prominently involved, letting his own muse speak for itself. Neither would surprise me.

Whatever the case, Cantil was the result of Budd going into label business for himself, with The Serpent (In Quicksilver) being its first release. Um, out of three, according to Lord Discogs. Guess becoming a record mogul just wasn't in Budd's blood, but at least he got his records out.

And if setting up your own print to release your own music in the early '80s doesn't sound like a punk enterprise to you, then the production of The Serpent (In Quicksilver) sure will. If there was anything Budd took from his time working with Eno, it was realizing he could accomplish more making use of a studio than just recording some piano pieces and calling it a day. Unfortunately, ol' Harold didn't have the greatest connections in California at that point in his career, so he wandered from studio to studio, recording bits and pieces wherever he could, whenever he could. The almost renegade approach to crafting this album helps explain why it's so short, a mere six tracks long, half of which hover around the two-minute mark. Heck, the longest is a shade over five minutes, which may as well be a radio jingle where either ambient or modern classical is concerned.

So the short running time may be a turnoff for some, but let's be honest: the moment you hear that sliding pedal guitar opening in Afar, there's really almost no where else to go but down; or up, to a higher state of peace. Like, I'm not saying The KLF nicked the idea of a pedal guitar making perfect sense in the context of ambient music, but I'd like to hear of an earlier example of it than The Serpent.

DJ 3000 - Sälis

Motech: 2013

I've talked plenty about Motech now (CD bundle purchases help), but it's been a long while since I've gotten back to the man who started it all, Franki Juncaj, in more ways than one. Mr. 3000 was my introduction to Motech, and though I never really followed up on Galactic Caravan until way later, it seems fate (or self-imposed alphabetical constraints) has denied me the chance to return to his musical output. At least until I've given some of his label mates a little shine first. This isn't the last of my Motech material though, another release lurking somewhere along the line. Damned if I can remember what it was.

Have I mentioned buying so many bulk deals in, erm, bulk binges is highly counter-intuitive to actually digesting so much substance in single sittings? It'd be like going to an all-you-can-eat buffet and grabbing one sampling of everything, but putting it all into a blender and slurping it down as some bizarre smoothie concoction. Sure, you've now technically sampled everything, but it's all mushed together into one singular taste. Okay, maybe it's not like that, but damn, what an analogy, eh?

Anyhow, Sälis was the album DJ 3000 released a few years after following Galactic Caravan. Or was that Besa? Both were released the same year, and some promo around the time claimed Sälis was instead a compilation of various digital releases. Sifting through Lord Discogs' database, however, reveals most of these tracks are unique to Sälis alone, save three cuts off the Moroccan Mint Tea EP. Sälis did initially have a Japan-only release, so perhaps it was intended as a compilation for that market, but wound up being a regular ol' album after the fact? Who knows at this point, doubt it matters half a decade on.

What I do know for sure is Sälis was produced when Franki returned to Detroit after some time spent in Europe. Being back in the techno mecca rekindled his faltering muse, from which the album takes its namesake (solace, so to speak). That chiller mindset resulted in an LP that's not quite so dynamic and boisterous as Galactic Caravan, but has its fair amount of choice ethnically-tinged tech-house on offer too. Tracks like Fade Away and Gateway To Mumbai throw in the requisite tribal rhythms, chants, and desert harmonies, while tunes like Shota and Lutë are more subtle about it, letting the Detroit vibe override anything ethnic.

And though there are plenty of uptempo, peak-hour tech-house tunes on offer, DJ 3000 tends to go deeper throughout, treading into the domain of deep-tech, but good! Like, obviously it would be, no European monotony in this Detroit alum's veins. I'd almost fit this with the same style of deep house/tech as whatever Dirtybird often churns out, though less silly about it. Overall, perhaps not the best starting point for folks getting into DJ 3000 – I still rate Galactic Caravan above this - but a worthy album/compilation/whatever from the man behind Motech.

Ink Midget - Re-Leave

Exitab: 2012

There's some downright obscure shit out there, my poor Windows Media Player helpless in its attempts at auto-identifying whatever music it's currently decoding and digitizing to my external hard drive. Not a big deal, thinks I while sipping on pinot noir (or a Monster Sunrise). Just slot the CD in its appropriate alphabetical place within my “to review” tower, and I'll deal with the details when I get to it.

Only, I was left stumped on this Ink Midget. I knew it had to be part of my regular queue, as I'd uploaded it to my portable player at some point, but I didn't see it among the surrounding CDs. Might it have been a digital-only item? No, those at least have cover art. Well, whatever, I'm sure once I listen to it, I'll solve its mysterious origin. Wait, this is a dubstep release? How did I end up with this? Did someone hand it to me after Shambhala? Wouldn't be the first time I was given a promo from that festival.

As always though, Lord Discogs finally shed some light on the matter, at the very least providing me art I could identify it with. And upon seeing that Re-Leave art, I went, “OOHH-ooohh... it's that CD. Huh, I thought it was an indie rock thing.” Admit it, just from a glance, you'd never guess this is dubstep, to say nothing of the four-page foldout with even more water-coloured art within. Plus, it's a big, bulky digipak, the sort of thing I've come to expect from... well, not dubstep, that's for sure. Explains why it wasn't in my usual “to review” tower though, not fitting in the slots and all.

*whew* Alright, all that out and sorted, how does this album from Ink Midget stack up. It's... fine, I guess? Adam Matej certainly tries infusing the genre with some ideas against the tropes of the time, but adding a pile of glitch stutter effects to one's half-time beats feels overkill. He's clearly listened to a bunch of Hyperdub material, and wants to make music like that, but overshot the mark on the production level. There's a dub-trap cut in Night Float that's fascinated by the pitch of the snare's reverb. There's the clear nods to Burial ambience in Flue and Clue (heh). There's some “we're getting ultra-wrecked, man!” grime rapping in Fisheye (though Pjoni's Slovak). There's a dope double-time builder in Půlvlk, with a secret ambient song after. Hey, that's a novel bit of retro!

I dunno, Re-Leave feels quite middle-of-the-road where this sound is concerned, though I'm hardly an expert in this particular genre, my experience still at a surface level. Maybe folks who digest every tiny ounce of dubstep, future-garage, and UK (Slovak?) bass could give a better comparison of Ink Midget against the scene's grand pantheon. On the other hand, I had to submit the CD version of this to Discogs, so maybe this is rightfully obscure too.

Billy Idol - Rebel Yell

Chrysalis/Capitol Records: 1983/1999

The only Billy Idol album you're supposed to have ... is probably a greatest hits package, if we're being honest. If you must get one of his standard LPs though, Rebel Yell is probably the one. Sure, you're missing out on such timeless jams like White Wedding, Mony Mony and Dancing With Myself, but look at what you get here. Rebel Yell! Eyes Without A Face! Flesh For Fantasy! Uh, Catch My Fall and Blue Highway too, I guess.

Yeah, I'm not gonna' front. Vitol Idol remains my definitive collection of Billy Idol tunes; however, it lacks one of his all-time ass-kickin' songs, Rebel Yell. Essentially a remix album, the tracks on there were intended for dance club efficiency, and Rebel Yell was too much of an out-and-out rocker to fit that bill. Plus, Eyes Without A Face is a ballad, thus ineligible for Vitol Idol consideration. No, if I wanted those songs, I'd have to get the album from which they first appeared. Or a greatest hits package, but where's the fun in that? Like, this was Billy Idol's most successful album, so maybe there's a few overlooked gems that were overshadowed by the huge singles, and thus lost when folks started going straight to the hits collections instead. Alright, I'm super pumped in hearing some Album-Orientated Idol now. Let's do this, with a Rebel Yell!

And there's that iconic titular opener, and no matter how many times I've heard it on TV or rock radio, it never fails in getting me hype. Especially those little synth fills, ooh such shivers down the spine for a techno-boy such as I. Daytime Drama is our first instance of AOI, and it's a fun slice of new wave boogie for the inner-city clubs, including a jaunty little synth solo. Sounds good thus far.

Eyes Without A Face follows, and confessional time: for years, whenever I heard this on radios, I wasn't sure it was actually a Billy Idol tune. Yeah, the mid-song bridge, with Idol going full sneer and Steve Stevens' distinct shredding, should have been all the convincing I needed. Still, do you hear those ultra-tinny, heavy-reverb Fairlight drum machines in the beginning? The softer croon? The backing female in the chorus? Might this actually be a Human League song? Ah, the uncertain years of a pre-Discogs era.

As mentioned, Flesh For Fantasy and Catch My Fall are also here, but I'm so used to their extended Vitol Idol versions, they feel kinda' slight on Rebel Yell. And as for the rest? Blue Highway and Crank Call have fun solos. Stand In The Shadows is a fine uptempo rocker. The Dead Next Door serves as a decent album-closing ballad. Not much else leaps out from these filler tunes though, much less being overlooked gems in Billy Idol's wider discography. I'm not surprised though, Idol truly one of those classic artists who lived off his biggest hits. Was still time well spent confirming it though - nothing ventured, nothing learned.