Shades Of Orion - Shades Of Orion

Fax +49-69/450464/Ambient World: 1993/2000

So many albums, so many collaborations, so many projects. How does one sift through them all, much less give any sort of definitive top ranking? Ask many, and Pete Namlook's pairing with Tetsu Inoue is often the answer. It emerged among all the classic collaborations of Fax+'s formative years, yielded four working aliases, none of which became a 'forever series' like Dark Side Of The Moog. That leaves Tetsu somewhere in the middle of the pack, with nothing too daunting to consume, nor easily forgotten as a one-off. Then, there's the project names, simple street addresses of the locations the two would jam out their long-form ambient excursions, wholly unique items within the Fax+ discography. And a fair bit pricey now too.

Okay, the name Shades Of Orion isn't quite like 2350 Broadway or 62 Eulengasse, though honestly, before I realized the latter was the Fax+ street address, I thought it just as alien sounding as anything to do with Orion. And what exactly is a shade of Orion? Some celestial event? A bit of obscure Greek mythology? A mistranslation of Rutger Hauer's famous speech from Bladerunner?

Anyhow, thanks to a good ol' Ambient World re-issue, I finally snagged myself a hard copy to hear some of this legendary Tetsu & Pete music making proper-like. Still, I needed to temper my expectations, these early Namlook works occasionally a little naff with excessive experimentation or rote techno rhythms, the artists figuring out what may make them fluently vibe off each other.

Biotrip starts us in promising territory, a simple, gentle Tetsu melody emerging with spacey sounds and effects from Namlook joining in. Things build nicely until everything retreats for a groovy little beat with an acid bassline burbling along. We get a lengthy stretch of this rhythm as various synth leads continue our cosmic journey, lasting a good twenty minutes in all. But Biotrip still isn't done, oh no, with an additional five minutes returning us to the gentle ambience of the track's intro. And just in case you weren't feeling fully immersed into this trip to Rigel, the titular follow-up goes pure space ambient, those Namlookian synths guiding you along as Inoue's subtle bleepy effects fill in the sonic gaps.

Good stuff thus far, but this being old-school Fax+, Pete and Tetsu gotta' get in at least one techno-trance cut with Did You Ever Retire A Human. If you've ever heard any Namlook trance, you've heard this, though I'm sure some appreciate the calmer pace compared to the harder stuff from the same era. Still, it's a banger among the general tranquility Shades Of Orion has offered, especially when followed upon by Liquid Shade, an almost meditative twenty-minute slice of Inoue ambience. This is the sort of music that'll put you to sleep, but in a good way, a gentle caress of your brain matter into peaceful respite. Now imagine them extending this to an hour! Yeah, methinks this Pete & Tetsu pairing lives up to the hype.

Beat Pharmacy - Safety In Dub

Silent Season: 2020

Ah, a simple digital EP from Silent Season. These feel so retro, so quaint from them now. They're almost a relic of a bygone era when the label was just finding its footing, before they made the jump to physical medium. Almost everything they release now gets a CD or vinyl option, but as this item came out shortly after the start of ~THE PANDEMIC~, perhaps Silent Season couldn't get the necessary pressing plant time booked for a record roll-out? Nah, that's just a coincidence, I'm sure.

Still, this isn't the first time Beat Pharmacy has appeared on the label. Under his birth name of Brendon Moeller, he released the Arcadian Rhythms EP back in 2017. That did get a vinyl option, in the thick of Silent Season's SSX series of back and white records. Aww, Beat Pharmacy didn't get the same love? I mean, it is an older alias, the one Brendon primarily used throughout the '00s. The albums he released on Deep Space Media practically kept the François K's sub-label afloat, with plenty of explorations in the various facets of dub as it stood back then. Seriously, a number of tracks off Earthly Delights or Constant Pressure could fit snuggly in a Swayzak set. Dammit, that's two more album's triggering my collector's itch now.

Deep Space Media folded before the 00's came to a close, but by then Mr. Moeller was moving onto dub techno as Echologist as well as his own name. Still, he brought out Beat Pharmacy for occasional singles on labels like Echocord Colour, ZamZam Sounds, Solardisco, and Throne Of Blood (blood throne!?!), each just as wayward in dabbling in dub as his earlier albums were. One could go as dub techno as Echologist, another as peppy as Hed Kandi house. So we could expect almost anything out of Beat Pharmacy's Silent Season debut, though it's pretty safe hazarding a guess it'll lean more towards the techno side of things than anything purely roots.

Not so much opener Carried Along, one of those ultra-deep, smooth ridin' downtempo dub outings, with little more than whispy synth-pads gently moving through the beats like a breeze through the trees. Generating Love feels more conventional where chilled out dub techno is concerned, more of an abstract exploration of echo and reverb with nothing but a bassline as a rudder. By contrast, the titular Safety In Dub almost comes off like a throwback to some of Beat Pharmacy's jazzier material from ye' olden days, more going on in the percussion even if the dubbed-out synths remain fixated on stretching their tones as far as musically possible. Closing out with the minimalist techno pulse of Tape Syndicate is fine, but there aren't enough things done with reverb washes to sustain eight minutes of interest.

Overall, Safety In Dub is an okay EP, but I still find myself more drawn to older Beat Pharmacy material. At least this one gave me an excuse to scope some of it out.

Higher Intelligence Agency & Pete Namlook - S.H.A.D.O 2

Fax +49-69/450464: 1999

*PREVIOUSLY, ON EMCRITIC...*

Along with the opening two tracks, I'd love to have heard more of this. Come to think of it, Namlook never did a collaboration that didn't result in multiple LPs. That must mean...

*AND NOW, THE CONTINUATION!*

I never knew what S.H.A.D.O stood for, figuring it some cool, made-up acronym Bobby and Pete created for these recording sessions. Like, a fictional alien-hunting agency, staffed by individuals of a higher intelligence. I wasn't far off, in that it is a fictional alien-hunting agency, but was in fact part of an old Gerry Anderson TV series called UFO. Standing for Supreme Headquarters, Alien Defence Organisation, it's quite pulpy, as you'd expect a show produced by the Thuderbirds guy would be. Lots of chintzy model work, lots of shiny space skirts, but no marionettes. The show apparently had some modest success, and was a precursor of sorts to the more famous Space: 1999 series. Given HIA's lean towards retro sci-fi, adopting the name as an album title makes sense.

Anyhow, S.H.A.D.O 2 is a different sort of album than its predecessor, in that like a lot of 'part two's in Star Trek, it's a bit of a letdown. Only three tracks make up this outing, because I refuse to call the fourth one a track. UFO Detection System just sounds like Bird and Namlook each had a single atonal drone to play with, fiddling their knobs for over ten minutes that only the most adventurous musique concrete sorts might stroke their chins over. Sounds nothing like a HIA track, is what I'm sayin'.

Which is most of my critique with S.HA.D.O 2, if I'm honest. The HIA style was all over S.H.A.D.O The First, and given the depressingly small amount of music from the Agency's camp, was quite welcome. Opener Countless picks things right up with more tranquil bleepy music with crisp, minimalist electro dub, while Pete's synths and sounds tastefully work their way around the arrangement. In typical Namlook fashion though, the track kinda' starts dragging, with little sense of direction beyond music making for its own sake. Sixteen minutes just feels too long for a HIA tune.

With each subsequent track, I sense more of Pete and less of Bobby. The HIA's rhythms are still in play as Inner Sense and Begend do their thing, they're just less prominent. Begend is especially sparse, which I guess fits the theme of shadowy agencies watching the skies for alien threats. I just didn't need fifteen minutes of it.

And that's just about it for Higher Intelligence Agency music. I've gotten nearly all there is to get from Bobby Bird now. There's still that collaboration with Deep Space Network, which I may spring for a digital copy at some point. The Speedlearn EP too, if I want another version of Solid Motion, I guess. Man, what I wouldn't give for something new though. Something new... something new... something new...

Higher Intelligence Agency & Pete Namlook - S.H.A.D.O.

Fax +49-69/450464: 1997

Another of those mysterious HIA projects I'd stumbled upon in the AudioGalaxy days, the first two tracks off here cropping up in search queries. I may have even learned the tunes originated from a Pete Namlook collaboration, though only Lord Discogs confirmed it. It made sense for the two to cross paths, the Namlookian One having worked with chaps within the orbit of the Agency's music (Biosphere, David Moufang of Deep Space Network). Really, it's more surprising the pairing didn't happen sooner, but I suppose Pete's scheduling was quite tight in the mid-'90s. Gotta' crank out a few more LPs with Klaus Schulze and Bill Laswell, after all.

And boy, when I first laid eyes on that S.H.A.D.O. cover, as though viewing the classic Fax+ art through a ceiling window canopy (in space!), I knew I had to get it at some point. No, not the Ambient World re-issue, or even the HIA digital re-issue, I wanted the O.G. CD. There just wasn't any way that bad boy would come down to a reasonable price on the collector's market, no hope at all. Until it did, which is how I finally nabbed me a copy. Patience perseveres!

Right from the jump, we're in familiar territory where HIA is concerned. The bleepy sounds, the crisp electro-dub rhythms, the slightly quirky vibe of it all. In fact, for much of Intruder Detector's runtime, I don't hear much of Pete Namlook at all. Even the sections with synth pad work aren't that far removed from the sort heard in older Bobby Bird works. Aside from some of the squeely synths well past the half-way mark, Pete's sound feels absent for a collaboration. And I find that most odd because it always seems HIA is the one that gets subsumed in any musical pairings.

Following that is Secret Location, an ambient piece that's not only among the dreamiest slices of music out of the HIA/Fax+ camps, but ever. What's remarkable is I can't imagine it existed without the combined brain-share of Bird & Namlook, the former's ear towards retro-kitsch fully intact all the while making full use of the latter's impeccable sense of sonic space. You can easily imagine taking in the vista of some moon base huddled in the shadows of a lunar crater, anonymous blinking lights landing and lifting off, soon lost among the stars above. So good is this track that it's inexplicably tacked onto the bookends of Skydiver. But, why? The rest of the track sounds nothing like Secret Location, Skydiver instead doing more HIA electro-dub rhythms with Namlook synth jamming. Space Interceptors too, but that one's kinda' rambly in a vintage Fax+ way.

Never mind those two, S.H.A.D.O. ends strong with Maintaining Scan For UFO's, some crisp, crunchy electro boogie with trance-tastic synth leads. Along with the opening two tracks, I'd love to have heard more of this. Come to think of it, Namlook never did a collaboration that didn't result in multiple LPs. That must mean...

Sons Of The Subway - Ruff Rugged & Real

Infonet: 1997

That was it for Bandulu music. I'd gotten all their CDs, even nabbed a compilation or two with outlier tunes. All that remains is their series on Foundation Sound Works, which I'll never get because vinyl remains the one unattainable format for yours truly. Practical reasons, y'see. Maybe... maybe, if the North London conglomerate can band together long enough to create a Bandcamp page, and make their entire back-catalogue available in a digital format, I'll finally grab items like Black Mass, New Foundation, and EP Judgement. For now though, I must remain content with what I have. Content... content... content...

Wait a sec'! There's another Bandulu album out there, released under a completely different project? How have I never heard of this before? For sure I could have clicked on that additional alias on their Discogs page, but figured Sons Of The Subway was nothing more than another little-used pseudonym like Thunderground and New Adult. A one-off EP here, a compilation contribution there, and that's all they wrote. But nay, when Bandulu were off gallivanting with vinyl on a their own label, a full-length of Sons material was released in the waning days of Infonet. One of that print's last items, if Lord Discogs is to be believed. What a strange coincidence.

Far as I can tell, the side-project was a brief flirtation with techno a little more Detroit or 'street' than Bandulu's dubby, tribal excursions. A lone EP - Escape Ventures: Part One - was released, then sat fallow until this album came out. Again, I don't want to assume anything, but listening to this CD, I can't help but get a sense of a concept album that for whatever reason, skidded to a halt, and was filled out with other material to make good on releasing anything at all.

What concept would that be? Nothing less than going straight-up hip-hop, the titular opener a funky, swingin' slice of street sampling and scratch swagger. Cool, I'm diggin' this, but is anyone gonna' rap over this beat? No? Oh... oh dear! This isn't going to be one of those records, then? Repetitive instrumental hip-hop that desperately needs an MC toasting over top, but no MC here, no one to toast a crowd. Follow-up Fly Trap sure suggests as such, loopy acid jazz that quickly overstays its barely three-minute runtime. Roxy at least hints at some classic b-boy boogie, with some vintage Bandulu dub thrown in.

And if that isn't a foreboding of the group abandoning the Sons Of The Subway concept, Da Tunnelz basically gets right back to the Bandulu business, just in a break-beaty sort of way. Despite a heavy reliance on jazz and funk samples, things grow ever more techno as the album plays out, to such a point we're basically right where we started with the alias: the back alleys of Detroit. Which may be all that it ever was meant to be. Given Bandulu's cred' though, it feels like it could have been so much more.

The Higher Intelligence Agency - Reform

Beyond/Headphone: 1994/2014

Another of those almost mythical EPs I suspected of existing, but could never confirm until the burgeoning days of Lord Discogs. Pentatonik's remix was among the first rubs of a HIA track I ever came across in my early ambient dub explorations, while two more remixes were discovered through the old AudioGalaxy app. Imagine my surprise when I found out there was a whole single dedicated to 'reforming' tracks from the Agency, with such names like Autechre, A Positive Life, and The Irresistible Force attached to the project. Okay, that last one I guessed immediately, since even in the dodgy days of mislabeled MP3s, there was no mistaking Mixmaster Morris' distinct sound with his go on Speedlearn.

Though knowing of Reform's existance was half the battle (huh?), I still didn't see much need in nabbing myself a copy. I technically already had three of the four tracks, and despite the CD not being that expensive on the used market, those international shipping fees sure are, especially for what I was getting. So I let it slide, content in having what I had, and oh what's this? HIA has a Bandcamp, with remastered versions of all his old material? Sure, why not. Be worth finally hearing that APL remix, I wager.

I wish I could say it was worth the wait. Music from Stefan Pierlejewski is skint enough as it is, and Ketamine Entity was one of the quirkier, fun tracks from Bobby Bird. I was quite anxious in what the downbeat acid-ambient producer would cook up, but the results are rather tame and ultra-mellow. The sweeping space synths, subtle acid burbles, softly chugging rhythms and languid pace are nice enough in a stripped, dubby fashion. I just know what APL is fully capable of, and for whatever reason, if feels like Stefan was holding back.

Well, that was that. Time to revisit the tunes I did already hear, starting with Autechre's rub on Conoid Tone, titled Speech3. Fun fact: this was the first time I heard anything from the IDM darlings, and my conclusion was... “huh, like a harsher HIA”. Yeah, this being early-years Autechre, don't go expecting something circuit breaking. Just a moody, crisp little reformation of acid bleep-dub. As for TIF's go with Speedlearn, it's Mixmaster Morris. There's swirly sounds, buoyant tones, trippy sound manipulations, and ooh, watch as the fractals twist and contort when the LSD trip hits!

As nifty as these rubs are though, Pentatonik's Alpha 1999 reformation of Delta remains king. I mean, right from the drop, that bassline! Then, a funky rhythm that has you strutting in the sun within a genre that has no damn business being so struttable. And that synth lead, so perfectly complementing the original's singing bleepy goodness! Is more of Pentatonik's music like this? I've only heard a few tunes, and they aren't like this, but the dude debuted with a double album (Anthology), so surely there's some like this. Maybe it's about time I look into that...

Bent - Programmed To Love

Sport: 2000

Just how popular was Bent at the start? Though Misters Tolliday and Mills had been active throughout the '90s ('Nail' had roots as far back as Nottingham's DiY 'free tekno' parties of yore), as a duo they seemingly sprung up out of nowhere. A couple EPs, a little hype in an increasingly over-saturated chill-out market, then boom, a perfect score for Programmed To Love within the pages of Muzik Magazine. Surely that's plenty 'nuff to get the majors buzzing. I don't see any chart info in their Wiki though, to say nothing of Bent being a near non-factor on my side of the pond. For sure they must have been doing something right to get all that compilation action at the turn of the century, but had it not been an accidental stumbling-upon of Muzik, it's possible I'd completely miss them for several years (Faithless' Back To Mine appearance notwithstanding).

It may just be that Bent was a tad too British in its sense of humour at the start for American appeal. Now, I likes me some British humour in my laid-back house jams - what would The Orb be without it? And really, if you're not getting some Orb vibes right off the jump in Exercise 1, what with cheeky samples and dubby grooves setting us up for a gently warped little ride of an album, then... um, go listen to some old-school Orb, I guess? For comparison's sake. Welly Top Mary has me feelin' some of that reggae-dub house sound many a Youth-orientated Orb cut kicked out, but that's about the extent of it.

Elsewhere, there's Ninja Tune influence at play. You got the jazz-hop bop of Invisible Pedestrian, the funky shuffle-dub of I Remember Johnny, and the quirky toy-town trip-hop of Private School Investigations (relegated to 'secret song' status on the original UK version). And let's not forget the tunes that simply defy easy categorization beyond “well, that sure is a fun little tune”. Cylons In Love imagines, well, cylons strumming an acoustic-folky to... something. I can't understand those digitized vocals, but hot damn, is that bassline ever a deeper shade of love. Follow-up Invisible Pedestrian sounds like a lounge-lizard performing at a Callisto casino, while Irritating Noises goes country twang. Okay, not full-blown country twang, but I can't help but imagine some cowboy strumming a guitar while riding his horse down an old country road.

But honestly, all these are surprising, tasty supplements to the main reasons folks nabbed up Programmed To Love. The dreamy pastoral chill-pop of Private Road. The fragile, cinematic grace of Swollen. Zoë Johnston's providing vocals on each, basically debuting her voice to a whole slew of future trance producers. And, as always, Always, the utterly dreamy slice of Balearic house (somehow topped by Ashley Beedle's rub on it a year later!). A perfect tune to end the album on... followed upon by a slapstick nod to old-school rave with silly monkey squeals. Oh, these gents with their bent humour.

Carbon Based Lifeforms - The Path

Blood Music: 1998/2018

I'd heard whispers of music out of the Carbon Based Lifeforms camp that existed before they landed on Ultimae Records, but never felt much need to explore for it. I figured these early productions were simply lost artifacts of a duo still finding their feet, any choice material from those sessions eventually called into service on later albums. I had no idea their start reached all the way back into the tracker scene, from which evolved into acid techno as Notch. Along with Mikael Lindqvist, they released a couple albums of such on MP3.com, but they had aspirations for something grander, the sort of genre-bending, music-fusing, epic LP that might be said in the same breath as such classics like Lifeforms, U.F.Orb, Chill Out, 76:14, and whatever other under-heralded records you wish to throw in there (more love for Journey To The Sun, yo'!).

Okay, I'm overselling the story some, but compared to what the trio was doing prior, The Path does come off almost over-ambitious, full of ideas and influences but not quite able to pull it off. It's certainly fine for a debut from artists getting their feet wet, but compared to where Misters Segerstad and Hedberg went in the following decade, comes off strangely dated too. Still, even with Carbon Based Lifeforms and Sync24 their focus, The Path floated about the digital domain for those who were interested in hearing it, where it remained for two decades. Like, no way Ultimae would re-issue it into a spiffy CD. That Blood Music though... (Blood Music!!)

After a three-track intro that, honestly, should have been left on the cutting floor (those tracker roots really showing there), things kick off proper on Rise To Tomorrow, a moody little number of graceful pads, subtle vocal samples, dubby rhythms, burbling acid, wormy synths, and didgeridoo. Getting some serious Planet Dog vibes off it. Same with Sinful Things and Or Plan B. Meanwhile, Machinery and Submerged feel more in line with vintage Fax+, Dreamshore Forest goes pure dreamtime ambient, while Contaminated Area and Last Breath... Um, well, like I said, still figuring things out on the production front.

As for any musical hints of future CBL tunes, you can't hear Station Blue without immediately thinking their breakout MOS 6581. The subtle bassline, dubby beats, and distant samples are of the same genetic backbone, just not really explored much further. Station Blue is like a simpler, evolutionary step to the heights that MOS 6581 would soar to.

Which kinda' sums up The Path, to be honest. In a vacuum, it holds up pretty good as a lost artifact of '90s psy-chill, but can't hold a candle to CBL's future works. I'm glad Blood Music finally gave this a proper CD release, as there are a few gems that deserved unearthing. Just don't go into it expecting Ultimae levels of production. I don't think even Aes Dana's immaculate mixdowns could have rescued some of those piano tones.

ACE TRACKS: June - July 2021

That whole 'heat dome' thing feels like a weird fever dream.

And I know, what a dangerous thought to have. We shouldn't be thinking of such events as 'once in a lifetime', no less than accepting it as some 'new normal'. Heck, there's already another one hitting the States, the edge of which is just kissing my neck of the burnt woods. It may not be blasting hot right now, where radiant heat off the pavement is enough to cook the rubbers of your soles, but it sure is humid and muggy, an almost stinky mank upon the air. I suspect this is what it's always like in those equatorial jungles.

Yet, we're still trying to carry on as if nothing's out of the norm. Folks eager to go on out-of-town vacations they were denied a year prior. Rushing to attend music festivals and theme parks, packing in like sardines in days of yore'. I even did my first day of maskless work, though more because I had an eye-infection that left wearing contact lenses an absolute pain, but at least I could again! I dunno, there's just been this feeling of everyone too anxious to return to our old normal, trumpting our medical triumphs in the face of an uncaring micro-organism, all the while others continue denying its leathality and very existence.

“Good luck, red states,” is all I'm saying.

Anyway, here's the ACE TRACKS from the past two months.


Full track list here.


MISSING ALBUMS:
Darren McClure - On Opposites
Wanderwelle - Lost In A Sea Of Trees
Mohlao - Landforms
Mick Chillage - Intervals Of Light
Sandoz - Intensely Radioactive
Hearts Of Space - Hearts Of Space

Percentage Of Hip-Hop: 0%
Percentage Of Rock: 0%
Most “WTF?” Track: Nothing of note. Easy-peasy, lemon-squeezy vibes throughout.

Man, even with extending this an extra month, that's still a lot of albums missing out of this playlist. Some of them I'm not surprised by, but the Silent Season ones did. It's not like all the offerings from that label are missing – Segue's The Island is available – just those particular ones. Seems peculiar.

Things continue to be slow-moving blog wise. As I said, feels like we're all playing catch-up to all sorts of things we put on hold this past year, so 'writing inspiration' is just low right now. It'll come when it comes, just can't push these things. At least, not when there's any life-threatening reason to. Now, about that energy-intensive, single-dwelling Arctic Destructor 3000 air conditioning unit I ordered off Amazon...

Captain Hollywood Project - Only With You

Pulse-8 Records: 1993

Though not as impactful as Haddaway's What Is Love, I'd rank Captain Hollywood Project's More & More just as influential on developing my eurodance tastes. Beyond that major hit, however, the musical conglomerate fronted by Tony Dawson-Harrison failed to have much presence in Canadaland, such that it was years before I heard anything else from him. By the time I did stumble upon CHP's debut album, I was well beyond my honeymoon years with the genre, wooed by the allure of goa and German trance instead. Love Is Not Sex sounded hopelessly dated and tired to those ears, and I utterly rejected it as anything worthy of future consideration. Not sure why I had such a knee-jerk reaction to it – was I just too over-familiar with Nosie Katzmann's songwriting?

Whatever the case, those are musings for a future review should I reconcile my impression of Love Is Not Sex. Instead, let's focus on the second single from that album, one that I do remember quite liking at the time. In many ways, it's More & More: Mark II, what with the simple, punchy synth lead, gentle backing pads, rugged eurodance rhythms, and sultry female chorus. Something about this one just hits better though, as though those elements have been further distilled and refined to peak perfection. Why, even the chorus is better, making more sense as lovelorn lyrics than the vague notions of More & More.

Then there's Mr. Captain himself. He was never a fancy lyricist (how many euro rappers were?), but he easily made that up through pure suave, with one of the most gravelly voices from that era. And for whatever reason, he sounds quite fired up here, dropping in with “You. Should. Just. Chiilll.” that sends shivers down my spine. In a totally ironic, cheese-adoring sort of way, of course, ha-rumph ha-rumph. Anyhow, his message is basically “yo', stop fucking up our planet so much”, which doesn't match the chorus in the slightest, but hey, I totally buy his “pleadin'” when he laments that “our Earth is bleedin'”. Poignant content even three decades on, darn it all.

If y'all haven't all turned away in contempt at getting my cheddar on, how about some 'serious' remixes then? The Faze II Mix was apparently done by a guy called Paul Newman, whom you may know as Tall Paul. It's certainly trancier than the usual fare I've heard from The Tall One, though not as trancey as the Trance Mix at the end of this single. Sort of that middle-ground where anthem house and trance could meet back in the day. Speaking of anthem house, Rollo's here with two remixes as well! They're... not as interesting, the Piracy Mix sounding like it wants to be a Jersey club option, the Relentless Mix adding some acid and anthems to the fray. And where's Captain Hollywood in all these remixes? It's weird hearing him just in the Trance Mix, where you'd lest expect him.