Speedy J - Bugmod

NovaMute: 2002/2021

The last single to be properly spun off from Loudboxer, this. Yes, I know Tanga kinda'-sorta' was too, but none of those tracks featured on the album, no matter what the similar artwork suggests. Speaking of, holy cow, I can't believe I didn't notice it before, but gander at that black stripe beside Bugmod there. Know what's under it? It's Krekc! And Tanga had both this and Krekc blotted out in white above as well. Oh man, I love it when spin-off singles maintain a running theme – makes them feel more like part of a proper series than some disjointed association.

But wait, you say, there be no Bugmod on Loudboxer either. Is this another Tanga situation, where we'll get a Bugmod, a Buugmod, and a Bugmood? No, but we do get a little more Krikc and Krekc, by way of remixes. The other two tracks on this EP are strictly Speedy J originals, so let's have a listen in.

And Bugmod pretty much picks up where the rest of Loudboxer left off, an unrelenting pummelling of percussion, the snare and hi-hats tasting a touch of flange. An off-beat bleep is the only thing resembling any sort of hook, but earworms is not the point of this cut. There's also a nifty little 'fade it down, bring it all back' peak, which makes Bugmod a little more useful for set construction than just another tool to throw down, but better be quick on your next draw, 'cause this track ends quite abruptly. On the flip, Glov at first seems like it might be the 'deeper' option, the pounding beatcraft simpler and steady. Then what's this? An actual hook? Okay, it's still just synth stabs keeping pace with the rhythm, but they build upon each other, retreat, coalesce, retreat, and so on. It's the closest thing to a melody that Jochem gives out of the whole Loudboxer enterprise, and you'll love it, darn it all!

The remixes, then. DJ Rush handles the first, on Krekc. I'm not really familiar with this techno veteran, though he is Jeff Mills Approved, so there's that. Lord Discogs also tells me I have at least one other of his tracks, on... wait djmixed.com/keoki? Really!? Haha, never would have expected that. Anyhow, his go with Krekc is pretty much more techno bosh, with a little transistor tweeting knob twiddlin'.

On the other end is Umek, who I definitely know, so no need to get into details there. He gets to have a go with Krikc and holy cow, is this ever a blinder of a cut. I'd actually forgotten just how much of a banger the original is, and Umek sees no point in taming this beast for his use. Instead, he throws in an actual hook, a simple sweeping little thing oscillating as it carries on. It's not even harsh or gritty as you'd expect of techno in this vein, surprisingly gentle on the ears even as the beats punch your chest cavity into submission.

Dance With The Dead - B-Sides: Volume 1

self-release: 2017

Yep, I've still got Dance With The Dead material too. Man, have I ever been burning through a lot of those bulk-buy bundles this past month. Something about the letter 'B' artists just love utilizing in titles. And you'd think, having reached the B-Sides of Justin and Tony's band, I've finally come to the end of their discography. Like, how can there be anything more after the also-ran tracks from their back catalogue? If I was reviewing their stuff in sensible order, that would be true, but no, there's still One (1) more album I've yet to cover. Talk about timely.

Incidentally, having snagged all their stuff off Bandcamp, you'd think getting a b-sides collection would be redundant. After all, aren't such songs the extra cuts you'd find on the backside of singles or bonus tracks off albums? Traditionally, yes, but we're in a brave new world of digital now, where obscure cuts are easily available with an artist's entire library. Instead, b-side collections serve the purpose of rounding up wayward releases that have appeared on label compilations or guest features on other artists' albums. So more like rarities and such, but B-Sides: Volume 1 has a nice ring to it nonetheless.

That said, I'm wondering if this compilation of songs should mostly be called 'rare and unreleased', as by Lord Discogs' count, barely a quarter of them have appeared elsewhere. And the ones that have, hoo boy, are they ever Dance With The Dead at their absolute best. Pumping Outrun rhythms, bright synth riffs in overdrive, and Tony's impossibly epic shredding in spades. I mean, if you're gonna' get a feature on any ol' synthwave CD, you generally want to send your best shit for all to hear, get them intrigued to hear more. Hell, it worked on me, though it was that remix they did for GosT's Reign In Hell that got my curiosity piqued. Hey, why isn't that on here? Or any of their remixes, for that matter? Huh, guess they gotta' save some stuff for Volume 2.

So this volume may or may not have many unreleased songs, since I've no way of confirming so few of them actually appeared on other compilations. Oh alright, I could dive deep into the ditches of the synthwave compilation scene, but dear God, do you have any idea how stupidly vast that is, with so few folks having actually gotten any? I'm not surprised Lord Discogs has many supposed gaps in this info.

What I can tell is B-Sides: Volume 1 does seem to be in chronological order, the band's earlier emphasis on the metal side of things quite prevalent in the first run of tracks. There's a couple slower songs too (Stoic, Blood Moon, Surrender, They Only Come Out At Night), which confirms to me many of these are just unreleased tunes that didn't make an album cut. Which does make the lengthy fifteen tracks of this kinda' ironic, what with most DWtD LPs quite svelte and tightly sequenced.

Moss Covered Technology - Brick And Air

Audiobulb Records: 2022

I've gone on about all these other endless Bandcamp discography buys and box-set purchases, yet somehow have quietly almost completed another one just like that. Right, I didn't get the totality of Mr. Baird's material, only settling for a select few. Still, the handful I did wasn't a small amount, and now that I've nearly completed those, I find myself compelled to get more, just to complete the set. The fact he makes some captivating drone pieces doesn't hurt either.

Since it was the Neotantra album Sodium Light that first drew my attention to Moss Covered Technology, it's only fitting that I scope out its pseudo-sequel Brick And Air. I call it as such not just because it was the (year in the making) follow-up to the former record, but more that they cover similar themes, in this case the rather desolate isolation of urban night. This isn't really a concept Greig typically explores, more content casting his muse towards pastoral settings and foggy coast lands. And while I'm quite drawn to such settings myself (particularly the latter), I'm always fascinated by how some interpret wandering the cold concrete of back streets and dimly lit industrial sectors that make up our cities. Burial practically made it a whole genre, and fact of the matter is many artists find themselves residing in such locales. Some make music to escape, but others take it on, grimy alley gunk and steaming machinery steel warts and all.

In typical Moss Covered Technology fashion, Brick And Air came out on a totally different label from all his other works, this time Audiobulb Records. It's another one of those experimental prints that I barely knew existed, but has been in operation for two decades - is there really no end to such labels? A couple names I'm familiar with have appeared on Audiobulb (Darren McClure, Porya Hatami, Autistici) but most are utter blanks to my eyes. Artists like Otaru, Calika, Aria Rostami, Monty Adkins, :papercutz, Hans Van Eck, He Can Jog, A Dancing Begger, The Hole Punch Generation, The OO-Ray, and Craque.

As with most M.C.T. albums, each track is self-titled, though Brick And Air does come with an Intro and Outro as well. Anyhow, though I gave a Burial namedrop up there, this is most decidedly not in that lane of urban drone. Brick & Air I is almost modern classical, through fed through quite the haze of atonal hiss and analogue fuzz. II gets more glitchy with things, while distorted tones penetrate a gritty wall of static in III. Meanwhile, IV and VI feature more glitchy melodies, but V takes a turn towards the dark ambient side of things. I could totally hear this piece being featured in a God Body Disconnect album on Cryo Chamber, with additional field recordings of inner city existence among the distant harmonious pads. Hmm, now there's an intriguing label for Greig to appear on. Why not? He's appeared on Dronarivm, as has ProtoU. Drone ambient has all the connections, man!

Denshi Danshi - Brain Chemistry

Suntrip Records: 2018

I've got a lot of goa CDs to get through, but don't think it's some sort of chore for me. Yeah, there looks to be a fair bit of repetitive material in Suntrip's catalogue, but I wouldn't have bought the whole damn discography without anticipating a few items. Names like E-Mantra, Khetzal, and Ka-Sol, who I've seen beyond the close confines of the morning trance scene. Or old vets like Prana, Astral Projection, and Ra making appearances. Even the ones I haven't a clue about, but at least have intriguing cover art beyond the usual fractal weirdness. The Merr0ws, the Radical Distortions, and the Celestial Intelligences, all with albums that get my imagination sparking. It cannot be overstated how important cover art is for us LP snobs.

So it goes when I spotted this Denshi Danshi duo among my Suntrip pile. Holy cow, a psy act with a logo! No, I'm not talking about having their name in some fancy fonts. There's structure in their art, including both Western alphabet and kanji, the latter enclosed within diamonds. It's eye-popping, it's distinctive, it's made really darn trippy with all the added fractal bullshit included in their sophomore album, Brain Chemistry.

Of course, I've been led astray by cool cover art before, especially within the psy trance scene. Still hedging my bets going into this one, but the first track, Parallel Universe, bodes well. It's clear Denshi Danshi aren't interested in fussing about with elaborate intros or pretentious concepts, strictly go-go-go full-on psy trance from the jump. Yeah, it's retro leaning with the synths and acid – wouldn't be on Suntrip if it wasn't – but that ultra compressed rhythm is strictly nu-skool. Yet what's this: a change of key and tone two-thirds through? Oh yeah, psy trance used to have multiple sections within single tracks, not just relentlessly going on the same idea for the duration. Now that's a retro notion!

Wish I could say all the tunes on Brain Chemistry do that. This is pretty much a full-on outing wrapped in goa accoutrements. And that does grow weary for a full-length, the sort of peak time party music that's wildly fun flailing under the stars but in desperate need of some variation when sitting at home with chai and malpoa. I'll grant the climax of these tracks are generally strong enough to sustain my interest, and the usual wibble that comes with full-on doesn't overstay its welcome. There's also some rather cliche stuff though, the track Sukha really laying the Indian influences on thick – I want to love that drop, but gads, its so hammy. That said, I know I'd go wild hearing it live, so there's that.

Yes, Brain Chemistry is very much a 'get out and do shit' type of album. Play it while going for a run, or a power walk, or shuffle under a bridge. Denshi Danshi make no apologies for the energy they bring, so best make proper use of it wherever you can.

N:L:E - Botanical Adventures

Liquid Frog Records: 2021

You can see how these Natural Life Essence releases kinda' run into each other now, right? This is the third one I'm doing with light green cover art (forth if you want to include the album on Neotantra). All of them featured some sort of naturalistic theme (woods, wetlands, etc.) and came out all within the same year of each other.

Mind, Juan Pablo is quite relentless in his rate of output regardless. I bulk-bought his Bandcamp discography thirteen months ago and he's released an additional twenty-five items since! That's nearly two releases per month! Man, imagine if I'd waited a year to do such a deed – I'd be buried in N:LE and Kiphi and H:U:M and Yahgan, more so than I already am. And while I haven't disliked anything I've covered thus far, it can't all be mint material, can it? I dunno' about that, but considering the reason I did bulk-buy was because I couldn't decide off any particular few sampled, it would be one Hell of a ratio for an artist.

The other thing though, is after a dozen items thus reviewed, I'm starting to hear Mr. Giacovino's sonic tricks and such. And hey, that's not such a bad thing, artists having signature styles and all. If falling back on a successful formula makes it easier for him to keep the creative fires burning, that's totally fine. Unfortunately, it makes individual albums difficult to stand out from the rest, familiarity leading me to believe I've already heard certain ideas explored. I honestly thought as such as Botanical Adventures played out, but comparing it to the last N:LE item I reviewed, Bioluminescent Forest, revealed that not to be the case in the slightest. Hmm, maybe I needed to go all the way back to W:O:O:D to confirm?

I mean, you can forgive for thinking there's some mighty familiar sounds going on. Fluid Transportation has those spacious, flowing pads and dubby melodies gently growing in prominence, the sort of sound that's about as definitive N:L:E as anything I've heard. Then the beat emerges, treading similar ambient dub grooves as- no, wait, all that digital spittering and sputtering in tandem. Huh, that's new. Mind, it ain't a touch on Tipper's digital manipulations, but certainly something unique.

Still, the rest of the album plays out in typical fashion as I've come to know N:L:E albums. The calm ambient pieces that make for lovely meditation music, the ambient dub cuts bringing some rugged contrast to the gentler tracks, the multiple versions of a track showing off either side of Juan Pablo's muse, and that one outlier tracks you didn't expect, in this case drum 'n' bass! Actually, Photosynthesis just barely could be considered as such, the 2-step rhythm and bassline working in spite of itself as the rest of the track is almost too happy and chipper for the totally serious d'n'b scene. Like, imagine if Banco de Gaia did an uplifting jungle tune.

Merr0w - Born Underwater

Suntrip Records: 2009

And back to mermaid psy-trance again. No, wait, is that really a thing? I know U-Recken had one on his debut album Aquatic Serenade, an image that really stuck out to me because of the lake-bound lass tootin' on a flute. Like, that just doesn't make a lick of sense, a wind instrument working underwater. At best you'll generate bubbles, not much of a melodic sound. Unless it's a magical flute, which given that its a mermaid playing it, must be. Sorry for this tangent on something I reviewed well over a decade ago, but that incongruity still nags at me.

Where was I? Oh yes, mermaid trance. Are there any others? I feel like there should be, and if I dug real deep into the bowels of numerous psy labels, I'd find more covers sporting ichthyian-hominid hybrids. Can't say I'm in any hurry to confirm this, but it does seem rather rare. This here Born Underwater is just the second time I've come across it, at least within my own music collection. I'm sure if I searched through insipid vocal trance releases, I'd stumble upon mermaids aplenty. Seems like a genre replete with sirens of the sea.

Anyhow, Merr0w. One Brice Fruyt from Paris, he's another in a long line of psy artists getting their break with Suntrip, contributing to a compilation or two before releasing a full-length. That partnership didn't appear to last long though, his Discoggian data showing a half-decade hiatus from producing before striking things out independently. He seems to be on another producing hiatus, his last album Odysseus (complete with mermaid cover art!) released pre-pandemic. Boy, did that ever mess up a lot of music careers.

I want to say this is another top notch neo-goa release on Suntrip, as it does all the things I like hearing from the genre. Solid leads that get the blood pumpin' at the peaks, check. Good use of acid without overstaying its welcome, check. Little in the way of wayward wibble, every track progressing in logical fashion, check. Rhythms... okay, they're kinda' soft, but that only adds to the retro charm, so I can give it a pass. There's even a couple downtempo cuts, though bookmarks of the album, so nothing adventurous there, but at least some variety is provided.

Yep, Born Underwater does about everything I could hope from this genre, but something just holds it back from truly sticking in my head. Best I can figure, its the somewhat 'soggy' aesthetic applied to much of the synths and acid. I know that's a weird description, but it's the best adjective I can think of. I'm assuming it's intentional, Merr0w aiming for an aquatic vibe and all (cover art gives it away, to say nothing of track titles). I just don't think he quite achieves it, acid at times sounding squishy and such. It's honestly a minor quibble, but enough to hold this one back from being among the upper echelons of Suntrip CDs I've thus covered.

N:L:E & Kiphi - Blurred Milkyway

Liquid Frog Records: 2021

Juan Pablo may have set up a specific alias in H:U:M to explore the space music side of his muse, but he wasn't quite there yet when he released this. Only one month away, in fact. Not that this was the first time he set his sonic sights to the outer cosmos, the three part Space Caravan series making up a tidy chunk of the early Natural Life Essence discography and all. This was his first return to something specifically spacey though, and I'm assuming after completing this three track single, Mr. Giacovino realized, yep, he's got more in the tank for this style of sound, so lets create a whole new alias for it.

I also kinda' 'hummed' and hawed about even doing this one. I've got a lot of Liquid Frog Records material now, maybe even more than Suntrip or Cryo Chamber (!!). Do I need to cover everything? Not really, especially if they're single-song releases. There may even be items down the line which are just re-uploads of prior material, as I've discovered with some of these N:LE & Kiphi tracks. Plus, I've already established a release has to be at least twenty minutes long for me to consider it a proper item worth review, right? Eh, you say I've already broken that rule? Oh, right, that Daniel Pemberton Silent Sky thing... that was barely ten minutes long. Okay, fine, ten minutes is the absolute minimum ...which Blurred Milkyway easily breaches. Ah well.

Actually, this one lasts nearly half an hour, with two versions of the main track, and a lengthier ambient 'b-side' in Deep Breath. Not that the original Blurred Milkyway wasn't ambient in of itself, but as this is partially a Kiphi joint as well, that means we get some nice, rhythmic synth arps joining in on the flowing pads and shimmering sprinkles of spritely synths. Deep Breath is basically the same, but stretched out to a languid pace, the Kiphi arps in no hurry to move along. Much like when actually watching the Milky Way move across the night sky.

If you find yourself in need of picking up the pace (it's not like the universe will last forever or anything), the Fast Star Mix adds a beat. Okay, it's about as slow as a prog-psy rhythm gets, momentum not much brisker than the original Blurred Milkyway. It's also rather deeper than the main cut, lacking the flair of twinkling synths, which really sells that feeling of being lost in the gaze of the darkest portions of our galaxy.

Speaking of, I cannot deny some envy of Juan Pablo's perspective in star gazing. Alpha Centauri, the Southern Cross, the Magellan Clouds, Eta Carinae, Omega Centauri, the Coalsack Nebula... so many object I've never had a chance to see, forever in his night sky. I know, I know, I should just make a trip to the Southern Hemisphere if I really want to see them. I still am overdue for that Kerguelen Island voyage...

Robert Hood - The Blueprint EP

REKIDS: 2021

I guess it's rather sad that it's taken me this long to give minimal techno legend Robert Hood some proper attention 'round these here parts. At least I finally have, right? Sure, but as usual I just can't do things logically, like grab one of his seminal classics such as Internal Empire or Point Blank. Not even a DJ mix like his contributions Fabric or DJ-Kicks. Okay, fine, at least I settled for a single, of which there's numerous, but even then it's some cock-eyed way of doing things. No Minimal Nation, no Red Passion, nothing from his usual labels like M-Plant or Music Man Records, while ignoring his time with the almighty U.R. Nope, just a second EP out on Radio Slave's label, REKIDS. Look, it just happened to be the one I glanced at, and if releasing new techno on Matt Edwards' print is okie-dokie by the Detroit don', it's good enough for me.

It'd be easy to spend the bulk of this 'review' going on about Mr. Hood's history, as if my regular readers haven't a clue of his legacy. And hey, maybe I will, should I finally spring for some of his Very Important records that you should have, even if you're not a Robert Hood fan. Doing so here and now though, feels like I'd be doing his recent output a disservice. Like, cool and all there's respect for the back catalogue, but sometimes artists would prefer it if folks hyped up their recent efforts too, put them in just as loving gaze. Is The Blueprint EP one such record that can be brought up as such?

Well, it starts out unfussy enough, opener Chroma Light doing the classic minimal techno thing without any of the stupid ticks the genre gathered in the following decades. The beat thumps proper, occasionally with extra bass, the twitchy hook is simple with plenty of flange at appropriate points, and backing synths build tension as the tracks plays out. Shame it's not even six minutes long, I coulda' grooved to this for longer.

The main attraction, however, is The Majestic, as there's two versions on this four-tracker. There's not much difference between the two, besides the Deeper Edit being, well, deeper. Both clearly have 'main room' or 'peak hour festival' written all over them, a big, boisterous hook coming in and out as straight-forward minimal bosh carries on. I guess that leaves closer Ultrasonic Room one for the 'real heads', barely a hook to be had, but a fun, subtle build featured just the same.

Should I mention there's a slight difference between digital and vinyl of this record? For some reason, both Majestics are lumped together in the middle here, but are separated as A1 and B2 for the black crack addicts (the Deeper Edit way off on the far side, naturally). Mind, this may have just been a pressing error, since they're labelled the same as the digital version. Talk about vintage.

Solar Fields - Blue

Droneform Records/Sidereal: 2014/2018

I made a big hullabaloo about having two 'beyond' albums in a row, but let's be honest here: I have far more 'black's and 'blue's. And why not, artists always eagre in finding ways of combining sensory input such as sight and sound. It's easy for us to associate certain colours with types of music, especially when something goes 'darker' and such as. Lordy, for 'blue' alone, I have Blue Lines, Blue Mountain, Blue Planet, Bluenote Cafe, The Blueprint EP (spoiler!), bleu, and Blumenkraft. Oh, and Solar Fields' Blue Moon Station, that one too. Hay, guess what song's on this compilation!

Yep, it's finally time to wrap up another box-set, the quite small yet somehow long gestating three-CD collection of Red / Green / Blue. Which I, naturally, reviewed out of order, though at least the Blue CD came last. Good thing I didn't start this from my usual alphabetical placement, eh? Throw everything into utter chaos, everything I says!

If you've forgotten what this coloured series from Magnus is about, they're essentially round-ups of all his wayward tracks, singles, and remixes as found on various label compilations, primarily from his '00s body of work. Considering he managed to gather three album's worth of material is a testament to his relentless work-rate throughout that decade but to be honest, it feels like Mr. Birgersson was stretching things to fit the concept to meet Blue's quota. For instance, that track I mentioned two paragraphs above? Yeah, there's an alternate version of it on here, but rather subdued compared to the grandiosity as heard on Blue Moon Station proper. It's fine as is, just can't stand toe-to-toe should you feel inclined to compare.

And that's the impression I get with most of Blue. Granted, I've been so got'dang spoiled by Solar Fields over the year that even what I might find 'mediocre' is still downright brilliant when stacked against the yearly bilge. Good Times? Such a deep, groovy slice of world beat and psy chill. Just, y'know, I've heard similar stuff from the man before. Water Silence? Oh yeah, that's a dope tune, but that was on Ultimae Records' Fahrenheit Project Part Five: aka: the one with so much amazing music, Solar Fields actually sounded ordinary on it!

Okay, let's get some neat/interesting stuff out of the way. The opening track, Life: where's this from? Lord Discogs seems to have no record of this chipper world beat tune existing elsewhere. Closer In Motion (Good Morning Edit): ah, good ol' prog-psy Solar Fields, gotta' love those slow, considered builds. Small Little Green Cubes: vintage opulent Magnus, and classy of him offering it to help kick off the Electrik Dream Records print. And finally, a remix of Cloud-Kingdom by Filteria, which really had me thinking Solar Fields was going a little synthwave at the start, before getting back to typical psy-chill territory. Still, that name, Filteria, seems familiar to me somehow. Let me check on Discogs a moment to... Oh son of a...!

Dance With The Dead - Blackout

Neuropa Records: 2020

Hey, remember when me reviewing one Dance With The Dead release per month for half a year felt like over-exposure? Good times. Actually, I don't know if that really was this case with this synth-metal duo, but I cannot deny I was personally running out of things to shoot the shit with in short order. Maybe a new wrinkle here, or a dodgy bit of production back there, but by and large, you throw on one Dance With The Dead record, it's probably gonna' sound like any other.

Fortunately, it's been a whopping ten months since I last talked this band up. On one hand, holy cow, has it really been that long? Considering the last album I reviewed was The Shape, it just goes to show how massive this ongoing alphabetical queue of mine is. Yet that also means much of what I've said about Dance With The Dead has probably left all of your brain-noggins (yay short-attention span internet generation!), so I could start all over again, as though this was my first DWtD review. Wait, it's just another EP, and a three tracker at that? Dang it, that's not much to go off of at all.

Actually, the fact this is an EP is something of a talking point, in that the duo seldom released them. I know that may seem weird considering I've already covered two (Into The Abyss and Send The Signal ...itself barely stretching what should be considered an EP), but those came early in DWtD's existence. When the creative fires are burning bright enough for full-length albums, what need is there for short players keeping one's name out there? Especially with what was undoubtedly a productive tour schedule to boot. I guess things were taking a little longer to materialize after Loved To Death though, so here's a little something in anticipation for another road trip and what's that? Everything gotta' shut down for a year or two? Well shit, guess Blackout will be all that's heard from Dance With The Dead for a while after all. Timely, that.

Scar doesn't waste any time getting us into the action, a gnarly bass lead and propulsive rhythm kicking us into high gear. I'm almost reminded of Felix da Housecat's Rocket Ride, but once the bright synths and bleepy fills join the action, it's familiar Dance With The Dead territory. All that's missing is a bit of Tony Kim's shredding and... there it is, at the peak, but so brief. Huh, guess this was Justin's moment to shine. Just as well, since second track Ravens In The Sky slows things down a little, providing more guitar action among all the epic synths and whatnot. Man, almost too epic, getting into Dutch trance territory. Final track The Dawn is pure head-bangin' fare, or hair whip if that's your game. For those of us who are follicly challenged, however, a simple neck snap and throwing up of the devil horns will suffice.