Various - 011015

Intellitronic Bubble: 2020

Jumping into the next of this label's compilation showcases, and almost immediately I know I'm in for a different outing. Compared to the last couple CDs in this series, I only recognize a handful of artists on 011015: G-Prod, MO-DU, _Nyquist, and Futuregrapher. I think I've seen Hidden People about as well, but this is my first direct exposure to the project. Everyone else though, completely new to my eyes and ears, with a few relatively new to many others' as well. At least, when this first came out, three years ago.

For instance, the chap who kicks off 011015, Lloyd Stellar. Lord Discogs states this here track is among his earliest items ever released, though he'd been making techno as Tramtunnel for a couple years prior. He's had a modest career of activity since, but far as the wider electro 2020 market was concerned, this was his breakout. Or he'd been burbling in SoundCloud obscurity for a decade earlier, and no one's bothered to upload that discography data to Discogs yet. I'll bet on the former being the case. Regardless, his track is titled Destory Him, My Robots, and while it's definitely not a cover of the Anthony Rother track of the same name, it's a suitably gnarly slice of electro just the same.

And yeah, we're fully in electro's domain once more – it is Intellitronic Bubble's breaded butter, after all – but something about this clutch of tracks feels stiffer. Like, the artists involved are stricter adherents of the robot manifesto compared to the group out of the first two CDs. Which makes sense, since a lot of those artists were coming in from more of an ambient techno and IDM route. If you want your retro-techno and electro label to truly go all-in on it though, you gotta' get yourself some musicians who's made it their style since day one. I think they done did that here with 011015, for better and worse.

Yeah, the bass is booming, the rhythms are robotic, the computers sing and whirl, and it's all properly dope. It kinda' gets samey after a while though. Like, remember that Electro Compendium data-dump I covered over a decade ago? It's a bit rather like that, but without the overwhelming desire to succumb to the machine within.

Anyhow, here's a few tracks that break the robo-mode dominating 011015. The prolific Kirill Junolainen, operating as Konerytmi, gets rather twerpy and twee in an ol' school Suction Records sort of way. Carbinax' In My Other Life gets real retro-Detroit, offering up a track that sounds like what Strings Of Life should sound like with decent piano and drum samples. So much bass in Astrobee's Junk Technology; just... so much. Rob Belleville's 406 Lucy Avenue is a nice, little chill electro number, and couldn't be more obvious about his inspiration if he tried. And finally, Daveeth brings the acid bass action in Utan Við Sig. Ooh, that's what this compilation needed: moar base aciiieeed!

Various - 006010

Intellitronic Bubble: 2020

Brace yourself, one more 'discography dive' is coming. Did I buy another box-set? Purchase a package deal? Acquire a collection of discounted compact discs? Nah, the truth is rather mundane. Some may recall me covering an Intellitronic Bubble compilation called 001005, essentially a label showcase of their first five singles released on vinyl. They never stopped making them, each subsequent CD coming out after an additional five new EPs, and I never stopped collecting them. Only thing is, because they remain numerically titled, they got slotted into my alphabetical queue way back at the top of it, patiently waiting until I finally looped around. That time has now come, and, well, I gathered up five more since then. Seems appropriate.

As 006010 gathers up the then-latest five EPs out of Intellitronic Bubble, it doesn't have much new compared to the first set. Which I guess makes sense for a young label still relying on trusted, familiar names hanging out within the same circles as Lee Norris and Árni Grétar. It takes time for a retro-leaning electro and techno label to make enough of a name for itself such that it lures in other producers looking to contribute. Yet with the print pushing out wax at about two releases a month, not to mention all those double-album items for a spell there, the early roster was a little skint with fresh faces. Don't come into 006010 expecting much different than 001005, is what I'm saying. And hey, if you're all the more down for an extra round of their tasty electro and Detroitism, all the better.

As with the first, the second kicks off with a Milieu track, and it's... much lighter and twee? Wow, this is some real synth-pop chipper vibe going on here, a rather bit like some of the stuff I heard out of Solvent's label. Well, whatever, ReKab (with Mihail P on the rub) once again brings the follow-up, and Is This The Year is as pure a slice of vintage Detroit techno as you could ever hope to hear in the current decade Elsewhere, _Nyquist brings his touch of ambient techno to the electro party, Devroka brings the shoulder-shakin' electro, and G-Prod drops two ultra-deep space-bass tunes. You already knew that though, what with me having recently covered their albums.

All the others, then, what do we get? Black Data's Wireless Connection reminds me of that turn-of-the-millennium strain of stripped, sleazy electro, though I'm hesitant to lump it into the actual electroclash camps. 01Cerulean's Icy is, well, definitely icy, in a bouncy, acidy sort of way. I can't help but sense a little Drexciya inspiration from Orang Volante's Planktro (it's the title, yo'!), while Scape One's Different Worlds, Same Stories keeps up firmly in the outer atmosphere of sky-craft cruisin'.

While I'd recommend getting both, if you have to only get one, I think 006010 the stronger collection of tunes. Everyone involved feels more assured in what Intellitronic Bubble's manifesto will entail at this point.

Sykonee's 'Sportsing' Surveys: TIPPER

You know the type of fan: those who are so enraptured by an amazing artist, they can't help but endlessly go on about their genius, all the multiple layers of ingenuity within each construct, and will make damn sure you know about it, whether you care or not. The Tool Fan is probably the most famous of the lot, but many such acts have had such fans over the years. Pink Floyd, Radiohead, Kanye West, and so on. And it's never enough that they simply enjoy their fav's while letting others be, oh no. They must preach the Genius Gospel to others any chance they get, as though they're revealing some forbidden knowledge to the plebs that only they understand.

And I get it. No, really, I do! I've had moments like that in my own musical crusades. Early on in my Trance Wars, I would invade any unsuspecting forum or chat going on about the latest Dutch DJ, proclaiming their prefered trance as the bunk, espousing the true artistic genius of such God-like names as Kox Box or Oliver Lieb. And you know what? I was wrong to do so. Nothing turns folks off from an act faster than some twat invading their space telling them their taste in music is wrong, and it would only be right if they would just listen to the finer details of this particular style. Nay, 'tis better to create your own podium (re: blog) if you absolutely feel the need to sermonize about your taste in music - let the people come to you.

Where was I? Oh, right, Dave Tipper. Yeah, he's got one of those fanbases too. Not nearly as obnoxious as some other electronic music acts (Boards Of Canada, Porter Robinson, Illenium, Ricardo Villalobos, nearly any popular tech-house DJ, really ...Bassnectar, before all that), but I've definitely had those conversations with Tipper fans. That he'd be so much more popular and recognized by the industry at large, if only more people heard and "actually understood what he's doing in his music". Yet when I listened to a couple tracks or watch a festival vid', I seldom came away thinking any more of his talents than what was presented. Maybe I needed to hear the whole story, then, all of his works (or at least, his albums), then I would see the light? Let's get that survey on, then!









After all that, I'm sure folks are wondering: do I feel Tipper's hype is justified? After a fashion, I'd say so. His attention to sonic detail cannot be denied, and if that's what gets your jimmies off the most about electronic music, then have at 'er. Whenever he'd get super-deep into the weeds, however, I more often than not would start checking out. It's just a style of excessive production I care little about, and truth of the matter is, not many others do either. Tipper's style fills a particular niche, and for those fond of that niche, he's their God favoured son. I just don't always need to hear about it.

*whew* All this Serious Artistic Music has made getting hype during my 'sportsing' endeavours difficult. I think I need to get back to some 'dumb' music again. Gonna' do another Mastodon poll, but don't be suprised if my next survey is significantly less musically challenging.

The Frozen Vaults - 1816

Voxxov Records: 2015

A super-group of modern classical? Well, I wouldn't know anything about that, but there are a few folk lending their talents to this project. Yuki Murata on piano. David Dhonau on cello. Tomasz Mreńca on violin. Whether they are major players or not, you'd have to sift through oodles of Discogs documents to figure that out, but they seem active enough. All well and good, but as usual, I'm coming into this from a different angle. Another player involved with The Frozen Vaults is Bartosz Dziadosz, whom I've covered here a couple times as Pleq. He's worked with the fifth member of this conglomerate, Harry Towell, who often releases similar lowercase ambient drone as Spheruleus. I guess they wanted to take their muses to another level, hence bringing in some modern classical musicians to craft this love-letter to one of the darkest years in modern human history.

Why so dark, you ask? The ridiculously massive explosion of Mount Tambora in Indonesia the year prior, is why. It ejected so much particulate matter into the atmosphere, the global temperature cooled significantly such that it was called The Year Without Summer – didn't do much good for crops, nosiree. And since this was still an era where communication across continents was limited by sea and sail, word of Tambora's mighty spew never reached the Western world, even if its after effects did. It was a mystery for many, this winter-summer, where good ol' uncertainty and superstition can take hold. Sounds like a perfect bit of inspiration for artists known for a little frigid, melancholic drone.

And this group doesn't waste time getting you settled into an appropriate mood. Opener First Moments features wind-swept field recordings with desolate atmosphere (yet also some chirping birds?), orchestral strings soon emerging as featured cello and violin solos forlornly glide along, finally ebbing to footsteps crunching under snowy streets. Not the most inviting introduction to the year 1816, but with cover art featuring an ice-encrusted sea vessel, what else would you expect?

The album mostly plays out in similar fashion. Field recordings place the listener into an old-timey environment, followed upon by Yuki, Tomasz, and David doing their thing in tandem. Sometimes the piano is given more prominence (God Rest Yet Merry Gentlemen), other times the violin or cello (Stilled), but throughout it all, always an omnipresent, low thrum and crackly white noise. Like, imagine you're watching some archival footage of folks trying to go about their business, even as an almost unnatural chill envelops their lives.

All well and cool, but one thing in particular sold me on this album sight-unheard. Okay, two things, but cover art notwithstanding, the fact that 1816 was mastered by Aes Dana truly sweetened the deal. His own label's output may be hit or miss, but that impeccable Ultimae touch on other artists' material always elevates things to another level. Bringing that to an album filled with lovely piano and violin playing? Can't be beat, yo'!

Various - The 50th Parallel

Suntrip Records: 2018

This is what I mean. Time skip a decade later, many releases between, now the quality of retro-leaning goa and psy trance coming out of Suntrip Records is much improved over what was heard on Ra's 9th. And their album wasn't even bad! It just felt a tad safe and mild compared to what I knew what was coming down the line. So it goes when indulging a label catalogue in non-chronological order. Sometimes the older stuff just can't hold a candle to the newer stuff. Then again, same can be said the other way around, but I cheated a little, splurging on Suntrip because I heard a couple newer releases first. Their ol' school rep' just helped sell the impulse buy.

By logical standards, I should be reviewing The 50th Parallel after having reviewed fifty of Suntrip's releases, but I don't do things that way. Instead, alphabetical standards decrees I must review this anniversary compilation super early into this discography dive. Yes indeed, this double-CD set marks the fiftieth outing for the little neo-goa trance label that could, no small feat considering how ultra-niche their sound is in the new millennium. Never mind folks hearing it always enjoy it, goa trance simply doesn't get the same broad recognition as popular full-on psy or trendy prog-psy does. As for why The 50th Parallel, I'm assuming it's referencing where Suntrip Records' head office reside in Belgium. And is just one parallel north of where I live, incidentally. Ah, the good ol' 49th, forever dividing Canadians and Americans across vast swaths of mountain and prairie.

As befitting a milestone release, all the Suntrip heavy-hitters are on hand for the party. Khetzal is here! Ka-Sol is here! Clementz is here! Cosmic Dimension is here! Cosmic Serpent is here! Uh, Crossing Mind is here. So is Hada, Triquetra, Morphic Resonance, Battle Of The Future Buddhas... Okay, I can't front – I have no idea if these are the A-listers of the label or not. Like, I know for certain Khetzal is, as his Corolle album put the label on the map. And I know Clementz because I reviewed his album last year. Ka-Sol I recognize more for the unique artwork of Fairytale than anything else. The rest though? Not a got'dang clue. Guess I'll find out in the coming year!

As or the music, eight tracks make up each disc, the first designated Sun (re: goa trance), the other Moon (re: psy trance). And, um, that's kinda' about it, if I'm honest. Whatever sound you associate with those genres, these CDs offer them in spades. Soaring melodies with a slightly Indian tonal scale? Sure thing. Twisty acid tear-outs with peppy rhythms? Yep, that too. I rather like the ones that dip close to vintage Juno Reactor waters, but that may be recency bias, having just re-listened to some of their early albums again. Regardless, The 50th Parallel is '90s as fuck, but it wouldn't be a Suntrip Records collection if it wasn't, right?

Ra - 9th

Suntrip Records: 2008

Okay, I could have sworn Ra were super old-school goa trancers. I mean, they certainly have been around since the early years, technically forming way back in '94 (so sayeth Lord Discogs). Apparently they never released much until well after the fact though, their debut album To Sirius coming out in the year 2000. I dunno', I'm just getting some serious Mandela Effect on their name, one I thought cropped up on numerous psy trance compilations throughout the '90s. They got some tracks on the endless Goa-Head series, but not until after the turn of the millennium. Is it because they also featured on numerous Altar Records CDs, including features on that label's 'Elemental' run? That may have something to do with associating Ra with a solid compilation game, but not thinking they've had numerous albums out before then.

It's the title of this one that's got me all confuzzled, isn't it. When an artist names their record 9th, I just assume it's their ninth record. But this isn't their ninth – it's their second. Why is this called 9th, then? Maybe I should actually read the liner notes, get some insight into the inspiration for this album.

Uh huh, uh huh... Hmm, something about the 'ninth insight' required to raise one's spirit density level. Erm, why does that remind me of New Age mumbo-jumbo? Let me check double-check that... *commences with the Googling* Ah, The Celestine Prophecy. Of course it is. Well, I won't hold it against them.

Anyhow, as mentioned, Ra have been around the block for some time, a pair of Norwegians teaming up to release a resolutely ol' school goa trance album with To Sirius. This actually garnered them some positive attention, as this was in the era of psy getting very minimal, proggy, fussy... y'know, all the things that classic goa wasn't. It makes perfect sense, then, that when resolutely ol' school goa trance connoisseurs Suntrip Records were getting their stride on, Ra would be among their earliest acts to sign. Despite a slight delay, the album came out in 2008 to much... appreciation, I guess?

I personally feel 9th is a solid enough excursion into what folks were (and still are?) calling the Neo Goa sound, which Suntrip are very much proponents of: classic goa trance vibes with (then) modern production values. In a nutshell, stuff that maybe wouldn't have stood out as classic 'back in the day', but compared to the prog-psy plod and full-on fluff that was making the rounds when it came out, definitely material that stands out from the pack. Aside from an opening vocal that reminded me Snap! sans Turbo B, I very much enjoyed the tunes on 9th, but generally only as they played. Perhaps Ra's use of synth leads are a tad too subtle to really stick after. Or I'm just mentally hedging my exceptions because, got'dang, have I got a lot more Suntrip to sift through in the coming year. Could be, could be.

Autumn Of Communion - 3

...txt/Fantasy Enhancing: 2013/2023

I cannot deny a little disappointment in the cover art of these AoC reissues. They're fine as is, but the originals were a class unto themselves. I get why its sometimes done, rights to original art perhaps only valid for the label they're originally released on. I don't understand why this particular release was changed though. The original Autumn Of Communion 3 came out on ...txt, another of Lee Norris' many labels. Shouldn't it track, then, that he could retain the rights to 3's artwork, even if it comes out on a different label? Polydeuces, also initially out on ...txt, kept its Saturn beauty shot for its recent reissue, so why couldn't 3 have kept the image of a wooden skiff in a dry lake at sunset? Right, its mostly playing to my weird fascination with land-locked water craft, while the alpine terrain of the reissue makes better sense as visual accompaniment for the ambient within. Just, y'know... abandoned boats, yo'!

So I didn't have much to say about 3 when talking up the rest of the Autumn Of Communion albums last review. I'll grant this is technically the last of the numbered self-titled albums that I finally heard (do single track 3.5 and remix LP 3.9 count in this? I wager not), so didn't have months or years worth of settling thoughts of it regardless. Even if I had heard this when it was new, however, I'm sure general consensus is this is the black sheep of the original four AoC albums.

I sense Misters Norris and Chillage spent plenty of hours just jamming away with their synths and such while crafting the first two AoC albums. Some structure in the final product had to be maintained though, since they were putting them out on other labels (Fax+ and Anodize, respectably). Same is likely true of Autumn Of Communion 4, initially a Carpe Sonum Records joint, so another LP with more variety of tempos. Something out on one of Lee's prints though? Hell, indulge to your heart's content in lengthy ambient drone sessions, and make a full CD's worth of it.

Right, things don't get too unwieldy on 3, the longest piece being opener In The Valley Of Tanaro at some twenty-three minutes. An ever-evolving track, it runs the gamut of gentle, wispy tones to wide-screen synth pads and burbling electronics, effectively capturing the sensation of being out and about open spaces – or cruising a river of northern Italy, in this case.

Follow-up Shoni provides the most rhythm of any piece, but is little more than the soft pitter-patter of ambient techno buried beneath grandiose synths. Rhea gets more mysterious and crystalline in its use of pads and echoes, is quite lovely, but not sure it needed an hour-plus exploration on 3.5. Disentastra gets back to the more opulent side of this album, while Teles feels of an experimental piece with its discordant layering of tones and timbre. Almost reminds me of Banco de Gaia's more minimalist moments.

Autumn Of Communion - 2

Anodize/Fantasy Enhancing: 2013/2022

For the longest time, I regarded this AoC album as one of their hardest items to procure. Yes, even more than the Autumn Of Communion debut on Fax+. Their second album on Anodize though? Forget about it. Never mind the short-lived ambient techno label is cultish even on the 'cult ambient techno label' spectrum, existing a mere two years and thus rendering their CDs extremely rare. Nay, saddle on the fact Autumn Of Communion 2 was released in a tin box, upping the 'collector's item' factor, creating one pricey item on the resell market. Definitely one in need of a reissue for those desiring a hard copy version, is what I'm saying.

It took nearly a decade (ignore the AoC box-set for now), but we finally got that reissue on Fantasy Enhancing. The first four Autumn Of Communion albums, in fact, with more on the way? Eh, I don't know if 5 and 6 really need them, but I see Polydeuces got one too. Point being, nearly everything worth having gets reissued eventually, if you're patient enough. One doesn't really need to break the bank on out-of-print items if you're a regular consumer of musical products. But man, some of those old, vintage tins, sure look nice and unique on one's shelves...

Anyway, Autumn Of Communion 2 is a great album, possibly the best of the duo's first run of numbered LPs. Not that the first and 4 are slouches, but if I were to do one of my 'Sportsing Survey' rankings, 2 would definitely rank tops.

For one thing, it refines most of what was presented on the debut, creating a much stronger flow between tracks. The Intervals, for example, are more evenly spaced, and feel like proper pauses between centrepiece tracks rather than sonic doodles there for their own sake. And while some may find them hokey, I quite like the included vocal samples of science talk and sci-fi jargon – really lends itself to that classic Fax+ vibe that inspired Lee and Mick's desire to work together in this project.

Opener Interpreter Of The Signs really hits those vintage Pete Namlook notes, what with the soft, slightly dubby beatcraft and spacious, spacey synths. So Powerful In The Mass gets more ambient techno, but does last a tad long at seventeen minutes in length, while Communion Signal does the tranquil, bleepy ambient for about a dozen minutes.

Then 2 practically shifts tone into Goodbye PK, Mick and Lee's tribute to Mr. Kuhlmann's passing. If this piece doesn't tug at all the feels deep in your chest cavity, you just ain't human, man. It kinda' leaves the brisk ambient techno of Cosmic Board Fusion out of sorts as a a follow-up, but the gentle field recordings of closer Perpetua grounds things back to Earth. So yeah, something of an album of two halves with a creamy middle. When most AoC LPs tend to come off just as a collection of tracks though, it's definitely a stronger listening experience.

ACE TRACKS: July - August 2023

So this sure has been a summer. Maybe not the busiest one I've ever had – how can it be when I didn't go to a single festival this year? - but certainly not for a lack of trying. One does not simply drive back to one's hometown when said hometown is at the literal ends of the Earth. A thirty-six hour drive, roundtrip, half of which I did in a single shot coming home (just to see if I could). What's a European equivalent, you ask? Start driving east from Brest, France, until you reach Moscow, Russia. Something like that, except with a lot more fuck-off mountains along the way. If that seems insane, here's a factoid I learned from this trip: the length of the Fraser Valley (where I technically live in) is about the same as the width of the Italian peninsula. Canada's real big, is what I'm sayin'.

Seriously, nothing puts the sense of scale into sharp focus like driving in Northern British Columbia. I used to travel those roads often in my younger years, but having since lived in the far more densely populated 'border regions' for just as long now, I forgot how remote it all is. A small town, followed by hours of rugged wilderness, the sporadic rest stop, gas station, or Native reserve dotting the highway between. Then you remember, there's another whole half province north of you that's even more empty than this! And let's not get into the Arctic territories. Such drives would be great opportunities to listen to some of these gargantuan streaming playlists, if I could be certain I'd get signal everywhere (note: you can't). Anyhow, here's a sampling of what you may have heard had you shared the drive with me:


Full playlist here.

MISSING ALBUMS:
Natural Life Essence - Wave Bio Generator
The Shape - Waveshape Fiction
The Future Sound Of London - We Have Explosive 2021
Natural Life Essence - Wetlands
Various - Sven Väth: What I Used To Play

Percentage Of Hip-Hop: 0%
Percentage Of Rock: 8%
Most “WTF?” Track: Nothing major, though Tracing Xircles' Closed Circuit certainly stands out with its acid breakcore.


The sound of my summer! Well, kinda'. Feel like I listened to a lot more than just what's in this playlist, especially what with my 'Sportsing Surveys' taking up almost an equal amount of my potential listening time now. Wonder if I should make playlists of highlights from those sessions as well, but figure it's just easier buying up the albums I liked the most and doing proper reviews of them.

This marks the end of the current alphabetical queue, wherein I now restart the loop once more. This will also be the first time doing a straight run front-to-back, no special attention given to particular blocks of pre-blog albums. This means I'll be constantly adding to this alphabetical queue as we mosey on through, potentially putting the end of it forever on the horizon! Okay, not really. Once one letter block is finished, anything new I get within that block will be added to the next alphabetical loop-queue, and who knows when that one will start (if ever?). This probably makes a whole lot more sense in my head than anyone reading this. Trust me, if you could see how I have everything stacked, it all tracks.

Yaghan - Yaghan's Land E.P

Liquid Frog Records: 2018

Before you ask, yes, this is titled Yaghan's Land from 'Yaghan', and yes, this is still the same Juan Pablo Giacovino project that would immediately after be referred to as Yahgan. And no, this isn't some weird typo or misprint on his part. Truth is the two had been interchangeable for centuries, with many other variants floating about in that time, depending on era and European interpretation. So it goes with Native American peoples, even ones living in as remote a region of the global south as one can get without crossing into Antarctica. If you want to be respectful and proper-like with their lineage, however, Yahgan is the correct name for history's southernmost mini-civ'. I'm guessing when Juan Pablo launched this side-project, 'Yaghan' was the version he was most familiar with, then promptly switched to the traditional 'Yahgan' after digging a little deeper into the subject. And since The Internet never forgets, just kept the original EP name and title as-was. 'Tis fine, really it is.

As for how early into Mr. Giacovino's catalogue this came out, Yaghan's Land came out quite early indeed. Bandcamp chronology dates this just after Wave Bio Collector, and since this was another release of his I had to submit to Lord Discogs' archives (that whole 'Yaghan / Yahgan' thing is gonna' be a doozy for moderators, no doubt), I have to assume it was self-released. Or maybe it came out on some ultra-obscure netlabel with, like, three releases on it? I'm getting way too deep into the weeds of these details! Somehow seems appropriate given how many of his N:L:E albums focus on micro-fauna.

Anyhow, the EP opens with a titular track, lasting a mere three minutes long. Okay, that may seem long if this was any other dance music genre EP, but as this is a pure ambient piece with cystaline synths and wind-swept atmosphere, you'd think more time would be spent settling us into the frigid Yahgan climate. It's also quite grandiose compared to the rest of the EP, follow-up Travelling a far more subtle affair. There's still that sense of being out on the frontier, but remote and isolated. Soft rhythmic patters and melodic pulses gradually emerge as singular synth strings ebb and flow in support, but never reach a rousing crescendo, keeping things on the calm and tranquil, even if a little epic vibe is implied towards the end.

On the other end of the EP are two parts of Rupture In The Echo, totally some twenty-three minutes of playtime. The first is also a mostly ambient affair, the softest pitter-patter offered as a sporadic rhythm. Simple synth drones and distant waves make up the bulk of this piece, a remarkably soothing journey of minimalist tones. In case you need a little more pep in your tunes though, Part 2 brings in actual ambient techno beat to the fray, dubby effects thrown on for flair. Cool, but I rather prefer the beatless option. Makes for nice dozing music.