Various - Blade - Music From And Inspired By The Motion Picture

TVT Records: 1998

Plenty has been said how this movie ushered in a new era of comic book adaptations. That it rescued a quickly diminishing genre of film from the downward slide of Schumacher Batman into something once again credible and financially lucrative. That the cinematic juggernaut known as the MCU would never have gotten on the beachhead had this relatively unknown creative property of theirs been a box-office dud. Yes, all these things have been brought up by people who make it their business/career/hobby discussing such things, but that's not what I'm doing here.

Instead, I wish to make my own hot-take proclamation about Blade. More specifically the soundtrack: this was the last of a small but vital run of scores that people intimately associate with exactly one techno track, which everyone had to rush and buy because of needing that one techno track.

You know the type I'm talking about. Your 'Mortal Kombat Theme'. Your 'Trainspotting Theme'. Your, um, The Saint Theme. For a time in the '90s, a wave of movies featured some big thumping anthem as its centrepiece of music, forever tying song and cinema to specific scenes. For sure there were plenty of soundtracks that featured electronic music, before and well after Blade, but can you instantly identify That One Track out of any of them? No, Zion doesn't count. Even if folks do remember that scene (for all the wrong reasons), they definitely can't recall how its techno track sounds, preferably forgetting anything associated with the Matrix sequels.

You can't shake the image of Blade's blood rave and the pounding acid of Pump Panel's rub of New Order's Confusion though. There were plenty of other great artists with tunes in the movie – Photek, DJ Krush, Source Direct, Junkie XL, Solitaire ...Polygon Window? - but its this specific one everyone knows. I just have to say “that movie Blade”, and you instantly hear the acid again. Aww, and here I am, thinking Expansion Union's Playing With Lightning is just as dope.

“But wait!” you say, “what's with all those artists you mentioned above? I have the CD and only a couple of them are in there. It's mostly a bunch of hip-hop!” Right you are, oh man of straw. In fact, only four tracks as featured in the movie made the cut of fifteen here. Save a couple clubbier offerings from Mantronik and Roger Sanchez bridging the gap, everything comes from the lands of gangsta rap.

Though as they are tracks 'inspired by' the movie, it feels more appropriate to call this 'gothic rap'. Lots of raps about Blade, hunting vampires, wars between heaven and hell... pretty cool stuff, with a good mix of stars and unknowns. Gang Starr is here! KRS-One is here (breaking fourth walls, no less)! Mystikal is here (his track was great at showing off the bass of the JVC Kaboom)! P.A. is... wait, Parental Advisory? Oh, wow, they were also on the first rap soundtrack I ever owned. Small world.

ACE TRACKS: January 2021

It feels weird, nearing the actual end of reviewing every single item in my music collection. I've started on the back-half of my 'B' albums, which will be followed by another catch-up pile of backlog, then it's on to the remaining 'C' albums. That will be it. Well, save for whatever else I gather in that meantime, which will likely be a fair bit as usual, but my main, sorted library will have been truly and completely reviewed. And not a decade too soon!

I know I keep saying this every other year, but I think this is achievable within 2021. Of course, I thought that in 2020, before 2020 2020'd all over the place. And who's to say 2021 doesn't have a whole pile of nut-fuckery up its sleeve just yet? For sure it's already been an eventful first month, but it hasn't impacted this person to quite the same degree as others. I mean, this is the first time in a long while that I haven't had my rent go up again. That counts for something, right? Thanks, COVID! Anyway, here are the ACE TRACKS for the first 31 days of this bold new year:


Full track list here.


MISSING ALBUMS:

None!

Yep, it took ninety-two of these playlists, but we finally have one where every single album I've reviewed for it is available on Spotify! Mind, some of the older ones might be complete now too, what with things having been added since. Heck, when I started, you couldn't even get The Beatles on Spotify. Oh, before I forget...

Percentage Of Hip-Hop: 8%
Percentage Of Rock: 31%
Most “WTF?” Track: Still the Viking metal stuff. It'll never make sense in a playlist supposedly in service of an electronic music blog.

Outlier metel music aside, this is a nice, diverse assortment of tunes, given the smaller sample size. It probably helps that I'm once again reaching into my long-standing collection of music, where a quarter-century of CD gathering has resulted in some variety. Guess it's true that the older you get, the more narrow your interests become.

Or the inability to brose pawn shops has left me unable to impulse buy of whatever catches my eye. Can be that too.

Method Man & Redman - Blackout!

Def Jam 2000: 1999

I'm not sure where this album sits in the Grand Rap Pantheon anymore. I recall it was a big deal during the lead-up. Meth and Red had a huge collaborative hit in How High, dropping in that oh-so glorious year of hip-hop fire, 1995. And while Method Man's solo career stalled throughout the '90s, Redman kept a steady clip of respected albums going, so a proper full-length outing from the two would be hotly anticipated. Only, in typical Johnny Blaze fashion, the LP dropped nearly half a decade after How High lit up, causing some to lose interest in this collaboration in the process. Let's call those people 'sour pusses'.

So Blackout! finally dropped, and even though folks were wondering if Method Man had fallen off, or if any Wu project could have the same fire as earlier in the decade, it sold buckets. Clearly they still liked Method Man anytime he held the mic or guested on other verses. Surely his charisma would properly shine with an equally skilled microphone commander at his side, the two trading sharp barbs and chin-checka' raps and such. Or the two had been getting so smoked out in the interim, putting this off for so long, that the final result was an album that was good enough, but not the head-banging classic everyone expected. Again, I'm not sure how Blackout! is regarded these days, but man, did it ever feel like a whiff of THC-thick air bellowing out of a bong mere weeks after this came out. They came, they smoked, they rapped, they partied, then they kinda' forgot what the fuss was about in the first place. Oh well, time to start shopping about that script for their own Cheech & Chong movie.

I sense Meth and Red would be fun live, most of the tracks on here little more than party anthems for them to rappity-rap over. Yeah, there's some witty wordplay and fun puns about, but these two aren't going to get super deep with the heavy political or lyrical miracles. Just two stoners going on about how dope they are, how dope their smoked dope be, and how much they love gettin' down with them ladies and hos. So long as the beats bang, they can rap about any ol' nonsense. And that's where I feel this album stumbles some.

There's quite the assortment of Wu and Def Squad personnel behind the consoles on Blackout!, including RZA, Erick Sermon, Mathematics, and Reggie Noble. Even Rockwilder shows up (on Da Rockwilder), while features have Ghostface, Street Life, LL Cool J, Missy Elliot, and Ja Rule, when he was still credible. Seems all fine, but neither guest rapper or beat producer do much to outshine whatever Method Man and Redman are going on about. Which would be fine, if the duo were dropping relentless fire throughout. Instead, all I hear is the hot flame in a burning bowl of dank bud, soon puffed out into a stoned stupor. Seems appropriate.

36 - Black Soma

3six Recordings: 2017

Obviously this was an instant-purchase for yours truly. Mr. Huddleston taking his 36 project ever further into 'space music' territory after the Sine Dust sessions? Just inject the music straight into my occipital cortex! That wasn't enough for Dennis though. He had to go ahead and include the Sine Dust and Tomorrow's Explorers EPs in with Black Soma as a bonus second CD. My God! Those two are super-high in my “Records I'd Buy For A Record Collection I'll Never Have” list, and now I have them in a physical format anyway? Sure, it'd be nice if their original artwork was included with the inlay, but I'll still take 'em.

Before getting into those extras though, let's get into the album proper. As mentioned, Black Soma is something of a continuation of the space inspired EPs that sprung off from Void Dance and shut up, just take my money already. Or is this following on from themes set up by Lithea and Dream Tempest, what with the similar artwork? Seriously though, this is a bit of a different focus 36 has taken from before, most of his albums generally all about those mood setters and emotional gut-punches. While this one hardly lacks in those departments either, there's more of a sense of place and imagery going on here, ambient music less about the abstract atmosphere than it is painting a setting. Or at least, so long as you read the track titles. Who knows what wayward themes you could conjure without some guiding hint.

So while the titular opener mostly features choir pads among 36's usual string and pad tones, follow-up Black Sustain flows on that with, well, sustained pad drones, gradually building and escalating with opulent grandeur. Never one to hold back out from the gate, that Dennis. Black Halcyon goes for the sentimental jugular, with a touch of piano that just might have you reminded of the opening of that Orbital track. Black Shore features the sound of waves lapping upon the beach. Black Sun and Black Future imparts something of a reflective tone, contemplation of our place in all this emptiness. Black Sleep is pure tranquility, while finale Black Cascade shimmers like several points of light washing down on you.

And... it's over, just like that. Aww, was just getting warmed up. Fortunately, there's that tasty second CD to detail, though in some ways I feel like I've talked about this a bunch already. Sine Dust and Sun Riders both had extra love when I covered Sine Dust Versions, though Tomorrow's Explorers is all original music, including one of his longer pieces in the titular cut. Wish I could say I was equally enraptured by these tracks as the Sine Dust ones, but the more traditional use of string pads, and even a little Berlin School action, leave these feeling less effective in reducing my soul to a puddle of melancholic-goo. Hey, if that's the 'worst' criticism I can give this album, how can anyone complain?

Bonobo - Black Sands

Ninja Tune: 2010

Migration may have been Bonobo's deliberate attempt at having crossover success, but Black Sands may remain his most popular album. Never mind this one is owned by over twelve-thousand members of Discogs' community, well outpacing Migration's 'mere' eight-thousand. On a track-by-track basis, Spotify's streaming numbers puts Black Sands' songs properly above Migration's, though the King Bonobo cut goes to The North Borders' Cirrus. All that pre-hype as a lead single in the follow-up to Black Sands no doubt helped its cause. Of course, this all could be explained by the fact Black Sands has a seven year head start on Migration to rack up such numbers, but I prefer going with the theory that Black Sands is a better overall album.

For sure it's an album in transition. The first clutch of Bonobo records mostly stuck to that traditional Ninja Tune-y trip-hop vibe that was so prevalent in the early '00s. They were good enough to gain a dedicated following, but not enough to branch beyond that. By the late '00s, however, it was abundantly clear change was afoot in UK downtempo-land: trip-hop was finally on the way out, jazzy urban soul and future garage was in. Simon Green had already explored some of the former on Days To Come, and 2010 was as good as any year to start dabbling in the latter. Just in time to hit those lucrative festival circuits playing nothing but the latter!

Actually, there isn't that much more of it here, Black Sands offering a wide variety of old and new Bonobo. For sure the album hits you right out the gate in Kiara with the wonky rhythm and chirpy chiptune bleeps while a Far East string melody plays along, but follow-up Kong is pure vintage Ninja Tune hop-step, steady-cool groove. Then Eyesdown gets in on that skippity-shuffle beat while Andreya Triana croons along, while El Toro has fun with acid jazz. Wait, really? Yah, really. Call it 'electro swing' if you must, but we all know what it really is.

The genre hopping/fusions continue throughout Black Sands, each track hitting upon their own unique vibe, the album never losing its way for the ride. Did I mention a lot of this is done with instrumentation performed by Bonobo himself? Yeah, there's a number of featured guests, especially on El Toro and the titular finale. Yet tunes are arranged such that it kinda'-sorta' still sounds like sample-based downtempo music, with subtle electronic gimmickry enhancing the studio sessions. Heck, on the aforementioned titular finale, a big ol' cinematic jazz outing with contributions from Jack Baker (drums), Mike Lesirge (flute and clarinet), Mike Simmonds (violin), Alan Hardiman (trombone) and Ryan Jacob (trumpet), Mr. Green also plays guitar, piano, double bass, xylophone, mandolin, and harmonium. Ahh, the wonders of multi-track recording.

Does this mean that Black Sands has converted me to the Bonobo Brotherhood? Well, it got me checking out more of his earlier output, which is all any artist can hope for from late adopters.

Pantha Du Prince - Black Noise

Rough Trade: 2010

I reviewed Pantha du Prince's The Triad a while ago, but kinda' forgot about it. Then some songs from it happened upon my playlists, causing me to take pause and reflect: “I think I actually like this guy's music to explore further.” Where to start digging though? The very beginning with Diamond Daze? Mm, maybe not, its shoegazey micro-haus vibes always prompting quick skips when sampling through Spotify. This Bliss, then, the one that broke Mr. Weber... well, not all the way into clubbing consciousness, but enough such that it got Very Important electronic music journalists buzzing. Perhaps I will, but at a later time, when that album's “Oh yes, it's definitely peak minimal tech-haus” attributes don't cause as much PTSD in yours truly. Conference Of Trees? What is this, person of the year 2020? I'm doing this dig in 2018.

Thus, it falls to Black Noise, the Pantha Du Prince album I'm sure everyone has, even if they're not a Pantha Du Prince fan. Without hearing a single bell tone or marimba strike or groovy bassine, you're instantly drawn in by the lovely painting of St. Bartholomew's Church. Then you hear praise and plaudits from across the continent, intriguing you further for an impulse purchase. It certainly got the attention of music journalists beyond traditional clubland:The Guardian, Uncut, Spin, Clash (fashion mag?), and ...The Irish Times? Wow, deep find there, Wiki.

I've given Black Noise multiple plays since getting it, yet I'm still struggling to 'get it', if you get me. Absolutely I 'get' what I'm supposed to 'get', be amazed at all the clever use of multiple mallet instruments and how much sonic space is left among them to breathe upon the simple steady grooves. I dunno though, some tracks on here come off trying to be too clever for their own sake, layering things in such a way that it mimics glitch production. Some portion of my brain though – the 'dumb' part, I guess – wants something to hook it in, and only occasionally does that happen, mostly in the straight-forward dancefloor tunes (A Nomad's Retreat, Satellite Snyper, Bohemian Forest). The percussion showcases of the first few tracks on this album come off cluttered to my ears, though Bohemian Forest does get that balance down right, while Welt Am Draht's dreamy vibe reminds me of what I liked about The Triad so much.

Anything else? Oh yeah, that other big selling point that got indie mags looking into Black Noise, the collaboration with Noah Lennox. Some of you may know him as Panda Bear, others as part of Animal Collective; a big f'n deal in that scene, is what I'm saying. No snark, I quite like Stick To My Side, Pantha's dubby rhythmic treatments and sparse bell tones creating a nifty moody atmosphere. Panda Bear comes in and does his vocal thing, but I'm all about those slowly escalating strings, the song peaking out quite nicely. Black Noise could have used a couple more of these.

L.S.G. - The Black Album (2021 Update)

Superstition: 1998

(Click here to read my original TranceCritic review)

Not much I can really add to that old review. Heck, I probably exhausted every possible simile in describing what The Black Album sounds like. Won't deny, I literally wanted to start this Update with a few more fun ones, but nothing came to mind. Nada. Zilch. How does one top “cyborg jembe drummers” or “Unicron having a tummy ache”? Or this fun little nugget: “This isn’t the kind of stuff you’d hear from guys like Marco V or Sander van Doorn; Lieb’s material eats their tracks as a midnight snack and takes a second helping without asking.” Oh yeah, that was around the time I was getting annoyed at folks calling those chaps 'true tech-trance warriors', or some bollocks. Some of their stuff was good, sure, but compared to what Lieb was doing half a decade prior? C'mon, man.

I remain flabbergasted that not only did Lieb take L.S.G. down such a primal techno road, but that it also holds up strong-style over two decades on. It's been quite a few years since I last listened to this album, so some of it had slipped from my memory. Hoo boy, once it got going though, with the relentless onslaught of aggressive rhythms and minimalist industrial sounds, all the feral feelings came rushing back. It's like, it unleashes the reptile part of my brain, long deep in slumber, stirred awake by the sounds of nuclear reactors going off.

Steadily it emerges from the depth of the spinal chord, making it onto the dry lands of the mammalian limbic portions of my cranium, crushing such things like emotions and values under talons and foot. Nothing stops it, only growing stronger and more determined in its path of destruction as The Black Album carries on, finally confronting the neocortex, the last line of logic and rational defence. The primate portion of the brain, if you will, an 800-pound gorilla of humanity taking on the unstoppable path of reptilian devastation. Who wins in this ultimate showdown of the psyche? I dunno. I think, by the end of The Black Album, everything's been abducted by aliens or something.

I still don't know what prompted ol' Oliver to go so hard into techno's domain. There was something of a movement burbling in the periphery of European clubland of techno bangers dominating the 4am timeslots, but it'd be a few years before the likes of Adam Beyer and Chris Liebing would truly dominate. And even then, they initially came at things from the Detroit angle, but I do find it interesting that Chris and Oliver both hailed from Frankfurt. Maybe there's just something in the water there, that makes their producers need to get their pure techno groove on, no matter what your main lane of music making may be.

So yeah, if you have never checked out The Black Album for whatever reason, I'm giving you a reason now. You want that epic confrontation in your brain. You need it!

HIA & Biosphere - Birmingham Frequencies

Headphone: 2000/2019

Bobby Bird had tagged with Geir Jenssen to the Norwegian's remote hometown for the Polar Sequences performance, which creatively turned out quite well for the two. I'm assuming, then, that the man behind HIA told the man behind Biosphere that should he ever find himself in his own Birmingham hood, he should check out his crib for another collaborative project. Two years after that Tromsø trip, Geir indeed found himself in the birthplace of ambient dub, so off with Bobby he went for another session of field recordings trips and music making magic.

Only... what sort of sounds would Mr. Jenssen gather? Birmingham is a rather stark contrast of location compared to the cold tundras that had come to define Biosphere's realm of sonic influence. Heck, even for a British town, Birmingham doesn't seem terribly interesting. I looked for it on a map, finding it stuck between where all the cool music locations are (to its north, the Big Three cities of the midlands; London to its south-east). I'm sure there's been a few famed names from there (Steve Lawler, Duran Duran, ELO ...UB40? Erm, no), but judging by the Google Earth images of industrial, brutalist architecture, it doesn't surprise me that budding musicians fled the city as fast as they could. Which makes the fact something like the ambient dub scene of the early '90s could even blossom in such a place all the more remarkable.

So out and about Birmingham Bird and Jenssen went, collecting samples and sounds such as geese in a river, building alarms, the reverb and echo of channel tunnels, and... Okay, what exactly are they doing in Augusta Road? It sounds like they grabbed a large stick and dragged it along wooden planks, which is amusing for a little, but did I really need to hear it to the extent we do here? Still, the sound of rummaging through brush, with it being manipulated in such a way that it becomes almost like white noise static, is a nifty little sonic trick. Plus, this track has one of the best examples of the two's unique styles playing off each other, an ultra-minimalist outing where Biosphere's echoing dub pulses serves as the rudder for HIA's playful dub bleeps to ride, and that's all. Just a shame about that obnoxiously loud tree-branch thingy.

There's only six proper tracks here (Daddylonglegs is but a pure field recordings interlude), wherein two apiece offer differing examples of music making. The aforementioned Augusta Road and Narrowboat do the minimalist thing, whereas Gas Street Basin and Midpoint have brisk HIA rhythms, with less featured samples driving things along. Cannon Hill and The Rotunda, on the other hand, sound more organic, especially with jazzier percussion in the latter and gentle acoustic guitar strums in the former. In fact, given how urban and claustrophobic much of Birmingham Frequencies comes across, Cannon Hill in contrast almost sounds pastoral. Well, until HIA's clickity rhythms enter. Gotta' let ol' Bobby get his stuff in, amirite?

Jacob Newman - Biospherica

Carpe Sonum Records: 2016/2018

I've talked about Jacob Newman before, but not specifically. My prior exposure to him came paired with Devin Underwood, whom I've touched upon individually as Specta Ciera. Seems only fair I finally give the other half of Gapfield a look-see, though he doesn't have quite so robust a discography as Devin. It's a respectable collection of music, but not a touch on his collaborator's body of work. What's weird is despite the two having done solo work and pairings with other artists, I can't shake the notion of Jacob and Devin forever tied at the occipital lobe. Is it because my first exposure was their contribution to that megazord-sized Pete Namlook tribute box-set Die Welt Ist Klang? Or that Sending The Past was really that good? Sure, let's go with those.

Mr. Newman's story seems typical of most ambient artists of the modern age. He started out with a few albums on netlabel Earth Mantra, which I can't help but suspect got lost in the shuffle. Oh yes, they were one of those 'release all the things!' ambient netlabels, almost two-hundred items in their half-decade lifespan. Mr. Underwood had also put out a Specta Ciera album there, which is how I assume the two crossed paths to start collaborating for dataObscura and other assorted self-release options. Jacob kept making his own music though, self-releasing nearly a dozen digital EPs. This particular album on Carpe Sonum Records was apparently produced around the same time. Or at least, was gathering many of his field recordings, before committing them to a concept album. Biospherica thus became his first full-length solo work since the Earth Mantra years, half a decade on.

And upon seeing that title, along with 'field recordings', I'm sure you can't help but wonder if there's any Geir Jenssen influence here. A tiny bit perhaps, if only that Geir's approach to 'field recording ambient' was so genre defining, everything after couldn't help but be influenced by it to some degree. But no, if there's any name I'd drop in comparison here, it'd be Andrew Heath's spacious, 'lowercase' minimalism, and even then that's only for a couple tracks. Or maybe Lars Leonhard? There's certainly a lot of dubby warmth in Biospherica, which makes sense as Jacob's intent is to invoke feelings of spring and summer, lifeforms blooming into activity as the winter slumber ebbs away. Perhaps I should just discuss the music, and not keep trying to make comparisons. Oh, but it's so much easier doing that.

Actually, I think I've discussed all that needs to be said here. Nine tracks make up Biospherica, most hovering in an unfussy six-to-nine minute range (the lone 'short' track, three-minute long Humidity Dub, comes off quite slight as a result). Some go for more of a mysterious vibe (Bats At Dusk, Fade To Night), but we're generally in a tranquil setting here, with gentle pad work, soft spritely melodies, and sounds of nature burbling underneath it all. Recommended for beating back the frost-bitten doldrums.

Dan Terminus - The Wrath Of Code

Blood Music: 2015

I think this catches me up with the extent of Blood Music's dive into synthwave. That is, of artists on the roster, not so much everything of the genre the label's released. I'm fairly certain artists like Odium, Wolvhammer, Megaton Leviathan, Sleepytime Gorilla Museum, or Rïcïnn don't fall under the retro '80s continuum. Hm, maybe that Toby Driver though? No, no, stay focused! Dan Terminus is the last of them, for now. He is the last!

Though it's easy enough tying this chap in with the same branch of French darksynthers as Perturbator, Dan Terminus actually got his start with Werkstatt Recordings. Ah, so he came in along with GosT, then. That album, The Darkest Benthic Division, had a rather unique concept in the synthwave pantheon going for it, something of an aquatic tech-noir (do androids dream of electronic manatees?). That same year, he also self-released an album called Stratospheric Cannon Symphony, featuring cover art reminding me of the final boss of Final Fantasy X-2. You know, the one that's playing a giant pipe organ mega-gun weapon? In the game where your characters are three women? No phallic symbolism there, I swear!

Clearly, Dan Terminus approaches synthwave from a slightly different angle than his peers. I mean, just look at that cover art! I think there might be robots, or some cybernetic hybrid alien forms. Where are the vector grids though? The '80s fashions? The cyberpunk fetishism? Then again, Blood Music does eschew cliches, so I guess this tracks. Get a little Galaxy Of Terror vibe from this anyhow, and that's pure '80s schlock!

Seriously though, what I mean is this music isn't like most synthwave I've heard, in that for as much as I like the genre, it tends to be incredibly singular in its choice of actual synth ware. And for good reason, the whole point sounding as much like music that could only have been made in the '80s, with the limited sounds from the hardware of the day. Now obviously a lot of synthwavers cheat – I mean, no synth from that decade sounds as thrashy as Perturbator's – but they generally stick to the formula.

Not so with The Wrath Of Code, all manner of unique sounding sounds coming fast and furious in each track. Yeah, basic darksynth grit is still there, but dig those weird distorted tones in Death By Distortion! Or the retro opera-pads in Grim. Or the chiptune tweaks in Restless Destroyer. Or the acid in Avalanche. Or the pure Mororder thump of Pegasus Pro Ultra Fusion. Dan Terminus throws a lot of different sounds into his tracks, keeping everything fresh throughout the album.

Which is all awesome in of itself, but when you compare it to his previous two albums, which were rather stock synthwave outings, it's an astounding leap in songcraft. It's like, having the chance to strut his stuff with a bigger label, Dan Terminus did all he could to make a solid impression. I'd say he succeeded there.