Various - Cream CD2: Mixed By Max Graham

Yul Records: 2000

Fellow Canadian Max Graham's been DJing for over two decades now, building a tidy career out of it. Yet, all anyone remembers him for is his productions, specifically two of them. The first, his breakout single Airtight, came out when progressive trance was enjoying a creative and commercial high, and getting the tune playlisted by Oakenfold's popular Another World and Tiësto's even more popular In Search Of Sunrise 2 guaranteed its classic status among year-2000 trance lovers. His other was a dance remix of Yes' classic Owner Of A Lonely Heart, where he took the brilliant idea of adding a house beat to the rock staple and... um, that's all. Why was that so popular again?

Anyhow, he’s released several DJ mixes over the years, including a running series called Cycles on Armada that I only learned about just now because, well, Armada. This particular CD was his first commercial mix, released just in time to capitalize on the good will he was garnering thanks to Airtight. It didn’t catch on, so he tried again with the fourth installment of the Transport series, which undoubtedly has caused you to ask, “They did four of those things?” Seven, actually, but yeah, it didn’t catch on either, at least in any significant way.

Wait, that probably wasn’t the reason this mix didn’t catch on. I mean, just look at the label here, Yul Records. Has anyone outside of Montreal heard of them? No, not the Rational Youth label. That was a different Yul Records. This one apparently co-opted the name since the original Yul had been derelict since the mid-80s. They released a few other DJ mixes and singles in the early 2000s, but didn’t last long, and doubtlessly never made an impact outside Canada.

So yeah, not the greatest start for Max Graham to make his mark, but we all start somewhere, and Yul Records seemed to have its heart in the right place, starting up a DJ mix series that paid tribute to the Cream festival. That was the intent, right?

The mix itself? Pretty darn good, I’d say. It’s progressive trance from the year 2000 after all, and there were some dynamite cuts to be found. Of course Airtight’s here, but you got contributions from Bedrock, BT, James Holden, Breeder, Way Out West, DJ Remy, and a few others rounding things out. The only real problem here is these are well-known anthems now, so Cream CD2 falls into that “same tracks you already got in a different order” category of DJ mixes. For as solid a track list this is, ol’ Max doesn’t do much to stand out from the pack, save a couple nu-breaks cuts to start (and I never liked that Timo Maas remix of Doom’s Night anyway).

Not much else to say here. Hearing these tunes again was nice, and worth the price I paid at the used-shop, but, like so many trance mixes from that time, hardly essential listening.

Quadrophonia - Cozmic Jam

RCA: 1991

For a decade, I was obsessed with Quadrophonia (the song that is). It was a track that forever eluded me, my only copy being a backing soundtrack to an NBA Jam Session video I had on VHS. It contained everything that drew me into 'techno' during my honeymoon year: big punchy riff, chunky beat, robot voices, and Michael Jordan! Well, maybe not that last one, but stuff like this was definitely being played out at basketball games.

The 'stuff' in question is proper old school rave music, and Quadrophonia (the duo that is) is considered pioneers of the sound. Far as anyone can tell, their big single Quadrophonia was the first to use orchestral hits as a hook. Listening to it now, it sounds incredibly simple and dated, but in 1990 it was exciting stuff. Throw in raps and proto-hardcore rhythms, and you've got a track that would spawn countless imitators and knockoffs, some of which would go on to be much better produced and memorable than what we have here. But hey, Quadrophonia opened the door, so props for that.

And when you get a hit single, it’s a good idea to follow that up with an album. Trouble is, no one had done a rave album before, so there was no template to follow. And listening to Cozmic Jam, Quadrophonia had no idea what to do either.

Strike that. They had an idea, and it was a good one, the original Quadrophonia. So hey, if people liked that, why not do it again? And again? And again? Nearly every track sounds like I’m listening to the same song over and over, only with something other than orchestral hits as the main hook. Not to say these are complete rehashes - there are differences between tracks like Hardhead, Man With The Masterplan, and The Wave Of The Future - but it’s mostly window-dressing to the fact there’s not much musical variation from tune to tune.

I suspect Quadrophonia realized this, as they litter Cozmic Jam with sonic doodles in an attempt to break up the monotony; it doesn’t work. A little better is Find The Time, which gives Marvin D a chance to rap about relationships instead of how their sound is the wave of the future, but were two versions really necessary on this album? Why of course it was, when there are already half a dozen variations of Quadrophonia.

The closer, Theme Of Quadraphonia hints at what could have been if the duo had tried a little harder. Granted, it’s a style-bite of 808 State’s Pacifc, but dammit, it’s something different, and Cozmic Jam needed that. Maybe the album would have stood the test of time better as a result. As it stands, it's permanently stuck in the first rays of rave dawn it was created in, rendering it suitable only for the curious or fans of that era.

Various - Cosmic Trance 02

Substance: 1997

You know what astounds me about this release? The fact that, should you go to its Discogs page, the image I submitted way back for its cover art is still there. I submitted plenty of cover images in those days, and it heavily contributed to my decent Discogs Rank Score of 367, a Top 500 placing for a brief while (now, I’m not even Top 5,000!), so that’s not out of the ordinary. I am surprised, however, no one’s replaced that image, as it was a poor scan to begin with. Just look at it (to the left …yes, it’s the same one).What’s with those lines? None of the other scans I did were that bad. It’s embarrassing I’m responsible for this CD’s sad visual Discogs legacy.

The reason for this utterly pointless musing is there’s not much to talk about regarding Cosmic Trance 02. It’s a solid trance DJ mix from 1997 that’s mostly on a psy trip, released by a sub-label of Distance, known for the popular Distance To Goa series. Now that I think about it, ‘97 was a curious year for trance as a whole. Everyone could tell that scene was going to go big at any point, but no one really knew which sub-genres would dominate. The classic German sound was pretty much dead, yet the Dutch hadn’t made their mark either. Club trance - which fed off the carcass of a wayward euro dance scene - seemed likely, but those British progressive house DJs were injecting trancey songs into their sets, lending the music proper credibility. And what was the deal with goa? That Oakenfold guy seemed fond of it, so maybe that’s the hot new sound.

It’s the odd meeting ground between tough hard trance and psy that we find this CD. Structurally, it’s about as typical as you’d find for the genre: big opener (Moka DJ’s For Europe’s a lot of fun), chunky goa-psy for a while with plenty of acid to spare, a couple well-placed anthems along the way to keep your attention (De Niro’s Mind Of Man being the biggest one), and mellower tracks to ease out at the end. Oh, and rough mixing, but unless it was a Pro Tools set, that was the norm for these things back then, so it’s fine so long as the momentum is never lost, which it isn’t.

There aren’t a lot of well-known tracks here (fourteen in all), but most of them come from well-known labels: Transient, Tunnel, Superstition, Flying Rhino, Trans’pact, and Blue Room to name the most prominent. If you’re looking for a primer, I suppose Cosmic Trance 02 is reasonable, as it’s affordable either as a download or CD (at least according to that Discogs page). Sure is much cheaper than the near $30 I paid when it was new. Hey, don’t judge me, man. Owning imported trance CDs from Europe was a status symbol for West Coast Canadians in ye’ olde mid-90s, yo’ (not really).

Sven Väth - Contact

Ultra Records: 2000

Sven Väth is Sven Väth, a very important person in the world of techno, though that wasn't always the case. For the early part of his career, he was a very important person in the world of trance, running the influential Harthouse label. Right around the time trance was blowing up, he abandoned it, pursuing a fashionable German infatuation with techno instead. Also changing was his fashion sense itself, foregoing a harlequin-rave style and diving headfirst into doofy eurotrash, literally. He dunked his bleached hair into industrial-strength superwet-gel, and became synonymous with the look until a geeky Canadian named Richie co-opted it for himself, forcing Sven to adopt yet another persona, the grizzled Papa Sven we know today.

That’s jumping ahead. For Contact, he have to focus on the doofy eurotrash era. This was when Sven established his Cocoon parties in Ibiza, along with his new label Cocoon Recordings. It took a bit for it to properly take off, as the brand of techno Väth was pushing was seen as too hard and underground for mainstream acceptance. You’d think, in an effort to promote this particular brand of German techno, he’d release an album filled with such bangers. Oh, silly you.

Väth had shown eclecticism before, but there was a sense he had a specific vision in mind on his previous albums. Mind, he did have Ralf Hildenbeutel as co-producer on them, which quite likely helped guide a wayward muse. Contact instead brings in different co-producers, who were well known, true, but leads to a disjointed album.

Most prominent is Alter Ego, helping out on nearly half the tracks. On the other half is Anthony Rother, who was something of a rising star in the electro-proper revival going on at the time. Two more or handled by Johannes Heil, and two Sven went solo on (the goofy electro Apricot, and the beatless ambient-techno throwback Privado). Quite a collection of talent, and each tune they work on has its own unique charm. Unfortunately, there’s no cohesion among them. The Rother tracks mostly maintain an electro vibe (Pathfinder and Once More especially so), but are totally out of place when paired up with the minimal techno Alter Ego offers. Smuggler, which only Roman Flügel contributed to, is a fine techno workout, then clashes bizarrely with the Heil-hemmed hard breaks of Contact.

If this is sounding more like a compilation than an album, it’s because that’s what it’s like listening to this CD - a sampler of various techno sub-genres. To be fair, techno itself was going through something of an upheaval in 2000, fresher European sounds finding their way into playlists. Perhaps Sven was hedging his bets, experimenting to find what worked best for him. Or maybe he didn’t care, and rushed this out to meet label quota demands (he was signed to Virgin) while diverting most of his attention to DJing. Whatever the case, Contact is an odd listen with good moments, but not one enjoyed in a single sitting.

Kraftwerk - Computer World

Elektra: 1981

Computer World was the last album of Kraftwerk’s Fabulous Five (or second to last of the Sensational Six if you include Electric Café). What else is left to say about it? How about, of those seminal mid-career albums Kraftwerk put out, this is my least favorite.

Of course I still enjoy it, but compared to the albums that came before, it’s a muted joy, a nodding appreciation rather than giddy fulfillment. Problem is by the time I got around to hearing it in full, I’d heard it so bloody much that its potential luster had worn away long ago.

I’m not even talking about the actual songs themselves. Without a doubt, Computer World is the most influential Kraftwerk album within EDM’s sphere. These songs have been sampled, interpolated, pilfered, recontextualized, ripped-off, and paid tribute to so often, it’d be neigh impossible to make a reliable list of where they’ve cropped up. Trans-Europe Express may have been an inspiring catalyst for the Soul Sonic Force, but Numbers and Home Computer pretty much formed the backbone of electro (and by extension, freestyle and bass music). Also, much of the synth-pop world had caught up to the group’s sonic tricks by this point so all those weird, wonderful robotic sounds they produced weren’t as cutting-edge as before. Though few could match their attention to rhythmic detail and knack for charming melody, Kraftwerk no longer stood alone as the 80s took form.

This may be why Computer World always feels short to me. As Kraftwerk’s computer futurism would go on to be thoroughly explored in the ensuing decade by other artists, what’s offered here comes off as little more than a glimpse. It's unfortunate, considering their other albums provided far more compelling ‘journeys.’

Three types of songs are featured: the Theme, the Pop, and the Robotic. The latter is explored in the two I’ve already mentioned, plus closer It’s More Fun To Compute. Given their straight-forward rhythms and weird sound effects, it’s easy to see why they were so heavily sampled. Still, even in their original context, they’re solid tunes, plus anytime Kraftwerk breaks out the voice boxes is a win. Less effective are the two Pop ditties, Pocket Calculator and Computer Love, both too cute for my taste though the latter does feature pleasant synth melodies. Finally, the overriding Theme of this album stems from titular opener Computer World, which has a reprise midway through, and something of a return in the closer. As Kraftwerk list off government watch dogs, you get the sense the intent of this album is to convey a world where Big Brother’s always watching. Why yes, 1984 was just around the corner, why do you ask?

It’d be highly remiss of me to not recommend this album, but anyone breaking out from their early electronic music exploration should know Kraftwerk is essential listening. Just don’t be surprised if, like me, you’ll find an overwhelming sense of familiarity with Computer World.

Kerri Chandler - Computer Games EP (Original TC Review)

Deeply Rooted House: 2007

(2012 Update:
Kerri Chandler still remains one of those house producers everyone comes around to once the latest trend-house fad passes, which is cool. As for why this has come up in my list rather than the album proper, um, well, funny thing that.

See, I initially had Computer Games as a download, but lost it when the former laptop I had it stored frizzled on me. Oddly enough, I managed to retain the EP from which I wrote this review for, plus the track Locked Out, of which I've included as part of the ACE TRACKS, because dammit, that retro-cool cruisin' vibe's just so delicious! I've been meaning to get a hard-copy proper of the album, but it don't come cheap anymore. *sigh*)


IN BRIEF: Vintage, not dated.

It’s a good time to be a deep house producer again. Although veteran names like Kerri Chandler have long held respect within the clubbing community, recent years have seen growing interest in their output from a broader listening base. Might it be that, after so long having to endure rowdy nu-electro and navel-gazing minimal-tech, house fans have been clamoring for something with more soul? Or perhaps everyone really is just getting old.

Whatever the reason, the sub-genre’s uptick in popularity has given producers an opportunity to try their hand at concept albums, and in Chandler’s case we have the two-disc Computer Games as a result. That’s not what this particular review is about though.

Instead, let us focus on the EP of the same name that was released a little over a year ago. Why? To be frank, much of the strongest material was initially produced on this vinyl, and seeing as how the full-length album is filled with little inconsequential skits that aren’t worth getting into, we may as well just turn our attentions here anyway. Besides, I rather prefer the cover to this one, heh.

Chandler is, if nothing else, a true traditionalist. The music contained here is about as vintage a sound as you’re likely to find within the realms of house. Even with synthy elements like sci-fi zaps and sine-wave pads scattered about, the roots of the genre are ever present. You won’t find anything innovative or groundbreaking in Computer Games, but Chandler isn’t out to reshape the nature of house music - he’s here to provide you with some funky grooves and soulful licks.

And sure enough, he delivers on those grounds. The Invaders builds bleeps along some fine beats; Last Man Standing ups the funk quotient to some degree; Vector Graphics goes deep and spacey on us; and Moon Bounce, as per its name, bounces along to shuffling rhythms as Chandler improvises some jazzy melodies alongside. All said, an enjoyably agreeable assortment of house music.

Still, if you don’t mind having to sift through a bunch of little skits, the 2CD release of Computer Games is probably the one for you. Although most of the best cuts are found on this EP, it’s also unfortunately lacking a couple more that are quite good too (Locked Out, Fortran, Pong, to suggest a few). While this single is a tasty sampler of the project, it’s unfortunately not quite the full package.

Frankie Bones - Computer Controlled 2: Live In California (Original TC Review)

Brooklyn Music Ltd.: 1999

(2012 Update:
Mr. Bones doesn't seem as active online anymore, at least not on web forums. To be fair though, music forums in general have seen better times. Seems most online music discussion has migrated to YouTube, Facebook, and Twitter ...not that I'd call what occurs there 'discussion'. As for this review, it's alright though I can't help but cringe at anything that's 1000+ words now. One of those Randoms I'd do every month, which gave me the opportunity to talk about Frankie's legacy. Yay for that. Funny seeing my musings on how to score this, considering I don't do scores anymore.)


IN BRIEF: Brooklyn’s techno son tries something different.

Unless you are new to both electronic music and the internet, there's no reason you shouldn’t heard of Frankie Bones by now. As one of the founding fathers of America’s rave scene - and the unintentional originator of the acronym P.L.U.R., incidentally - his place in techno history is already secure. However, when the world wide web grew in prominence, he not only made ample use of web forums and networking sites to help promote himself, but also became one of the very few big names who actually interacted with folks online. Whereas many of his peers will answer a couple token questions or give thanks for an endless stream of ‘awesome choon!’ comments, Bones has no trouble mixing it up with regular guys in debates ranging in topics from the state of the scene to favorite drinks, and shows no fear if his opinions spark heated arguments. It’s as though he’s determined not to be placed on a Superstar DJ pedestal, in spite of the fact he easily could through his accomplishments alone.

And this is why he garners so much respect even though his brash Brooklyn attitude should have burned many bridges ages ago. Bones strongly adheres to the DIY mentality of raves, and does everything he can to maintain credibility, even to the point of sticking with spinning vinyl despite every other DJ switching to CDs or laptops. Granted, it could be argued he sees the scene with rose-tinted glasses, a certain romanticism that belies some of the frank truths out there, but considering it’s worked for him twenty years on, there’s little reason for Bones to need to change his ways.

Of course, he isn’t one to rest on his laurels either. Bones does look for ways to innovate in his own way. Late in the 90s, he found one.

The idea behind Computer Controlled revolves around Bones taking a bunch of his own tracks, playing the vinyls out at a party, and recording the proceedings as a live DJ set. On paper, it sounds simple enough and not much of a big deal. Then I thought about it for a moment, and realized this is something rare after all. Yes, DJs play their own tracks, but an entire set of them? And nor is it to be confused with a live PA set or a sequenced studio mix; this is Bones laying down the dub plates on the fly and presenting it to us as is, warts and all.

Still, this isn’t something Frankie and Frankie alone could do. Honestly, any number of DJ/producers could attempt such a set, and even do with Abelton Live these days (although there is something to be said in doing it with vinyls rather than on a laptop, raising the question of where traditional DJing ends and live PA begins with such technology). Very few do though, for the simple reason not many can even produce enough tracks to make it work. Even Mr. Tijs Verwest - an individual who has long expressed his desire to play a set of just his material - has never actually gone through with it. Perhaps over a long career, after accumulating a large enough discography, such a set would be easy enough, but even there Bones challenged himself.

Instead of relying on past releases, nearly all of the tracks on here were produced during a year’s time leading up to the chance Bones felt he’d have to make this set. As a result, many of these cuts are simple techno bangers, with little attention paid to nuances or creativity. The beats pound, a simple hook is established, and oftentimes a nonsensical looping vocal will enter the fray as well. While it doesn’t sound dated in the slightest, there isn’t anything here coming close to a hit, much less a classic. If techno of this nature holds no appeal, you might as well stay clear. Funnily enough, even Frankie realizes the musical limitations he put on himself. In typical Bones fashion, he calls out the music critics who’d ding him for such reasons in his liner notes, writing “Anyone could make a mixed CD using other people’s records, let’s see them play a full set of their own shit and make it work. If the critics give 1/10 for the music at least give me 10/10 for the continuing pursuit to push DJ culture further...” (He also gives his rating on how critics review music, 7/10 being the verdict) Bones may have been understandably pessimistic about the critics reactions to Computer Controlled, but it isn’t warranted. Yes, the music may be overly simple but the fact remains this set does work.

Frankie often opens his CDs with sounds of a party, as though you are arriving just in time for his set, and this one is no different. It’s a nifty trick to establish the mood of the disc, effectively placing you right there amongst the ravers. And Bones gets working in short time, laying the bangers down with gusto. It’s raw DJing, with rough transitions adding charm rather than hindering. And the tracks are effective party tools, a lot of fun and energetic. A few times they are darker (like Ready For The Darkness), other times they are anthems (like On The East Coast), and sometimes just transitional (like …oh, who cares about transition tracks). It may not be the greatest techno set you’ll ever hear but it’s certainly enjoyable, obviously more-so when you’re active rather than lounging around.

Although Bones’ liner notes are adamant I should grade Computer Controlled based on its DJ innovation, the consumer is still going to be more interested in how it actually sounds. As a DJ set, it’s good. As a producer’s album, it’s satisfactory. So that places this release in the 7/10 ballpark. Coincidentally enough, that’s the same grade he figured he’d get anyways. Perhaps Bones would enjoy a side career being a music critic, eh?

Originally Written by Sykonee for TranceCritic.com, 2007. © All rights reserved.

Asian Dub Foundation - Community Music

London Records 90 Ltd.: 2000

Within two songs, I realized I'd made a mistake. Maybe I should have listened to it first but there weren't any warning signs. With a name like Asian Dub Foundation, I had already conceived sonic images of thick reggae beats, Far East harmonies, and maybe the odd sitar or tabla. Eastern Dub Tactik hadn't led me astray (in fact exceeded my expectations), and Banco de Gaia himself tapped the group to remix one of his tunes. Yes, with such blinding faith as my guide, I purchased this out of a used shop. What could go wrong?

Let's focus on the basics first: the music itself. While I was correct there'd be reggae beats, I did not expect ragga jungle beats. And you know what? I'd be fine with that. I loves me some ragga; however, it's a rhythmic style that doesn't blend well with others. There's a reason why DJs who spin it seldom venture out of that genre unless into other forms of drum 'n' bass. This being a group that does draw influence from Asia, we get ample sitars and chants, but metal and big beat are thrown in as well (yes, a couple of years after 'electronica' was all but dead). There's a remarkable amount of melting going on in this pot; unfortunately, every component ends up in disparate clumps rather than a tasty mix. It amounts to glimpses of what makes all these unique forms of music work elsewhere but nothing specific to enjoy here.

Then there's the lyrical content. Hoo boy...

Anyone remember that guy with the dreadlocks and Che shirt? Who went to the community college and became over-educated in global issues? He may have had the best weed hook-ups but man, sometimes it wasn't worth it when he'd start rambling about New World Orders and the like. That's who this album's gonna appeal to the most. Nearly all the ragga raps deal in such topics, and how we gotta band together to fight the system and blah blah blah Rage Against The Machine did it better etc.

Look, I have no problem when music has messages and raises conscious awareness. What I do have a problem with is when the artist is lecturing me about it, practically guilt-tripping me into becoming active in protests or whatever. I don't appreciate accusing fingers pointing at me, especially when the whole reason I'm listening to music in the first place is for a bit of escapism out of the day. This does not mean I turn a blind eye to the world's problems, but music isn't my preferred avenue to learn about it. Sitting back with headphones does not solve them. Dancing does not solve them. Getting out on the streets and becoming active in fundraisers and politics ...well, it's a start, and far more productive than listening to Asian Dub Foundation ranting about it.

That all said, I bet Asian Dub Foundation kick ass live!

Sync24 - Comfortable Void

Ultimae Records: 2012

Yes, I can finally talk about something new! How ironic, then, that it’s a collection of music that’s rather old-school in design. Or maybe not, as there’s a lot of ‘retro-revival’ going on in electronic music now, like a deliberate counter to combat the recent influx of starry-eyed festival ravers gorging themselves on the latest brostep horror. But that’s a musing for another time.

Comfortable Void is interesting in how it contrasts with the music Sync24 shares a record label with. Ultimae remains one of the best-kept secrets for connoisseurs of downtempo and chill. Though names like Solar Fields and Asura are frequently dropped when talk of ‘best chill-out musics’ occurs on web forums dedicated to the psychedelic aspects of culture, you seldom see them or any label mates crop up in major publications - whether this isn’t a problem or a travesty probably depends on how ‘underground’ you like to keep music. For those who’ve discovered Ultimae though, they’ve been rewarded time and time again with “panoramic music.”

This album, however, doesn’t completely fall under that umbrella, nor Ultimae’s recent dabbling into the glitchier side of downtempo either. At its most basic, this is an ambient techno album as made in the 90s; most of the sounds - burbles of acid, subtle looping synth melodies, detached dialog - could have appeared on any number of Namlook records. Even the arrangements are old-school, sparse so things are just where they need to be but not minimal for minimal’s sake. Glitch effects are few, which is a welcome change of pace when so many producers seem adamant in filling their tracks with pointless fluff. About the only thing that makes this album obviously a product of the here-and-now is the Ultimae Mixdown™, which has always been light years ahead of the curve in making music sound gloriously expansive.

It’s that expansive mixdown that makes Comfortable Void an apt title. It’s a very spacey album, at times almost desolate, yet inviting all the same. The first half has a darker tone, with droning pads, thick bass, and lethargic beats comprising its backbone - Dance Of The Droids the obvious (and welcome) light-hearted exception as spritely bells, um, dance to a bouncy beat. Midway, Sequor gives us gentle ambient that wouldn’t sound out of place on an Eno record, after which the album picks up quite a bit. Something Something provides a wonderful building melody that’s on par with any of Ultimae’s all-stars, while Oomph and Wake does the ‘slow trance’ thing that the label’s practically made another of their many trademarks. And a barren bit of ambient drone to close out? Yeah, what’s with these Scandinavians being so good at that?

Oh yes, I definitely have detailed Comfortable Void in its entirety. Well, as much as I can in limited word count, but every composition deserves recognition. It’s an album whose only flaw might be its old-school leanings, but for fuddy-duddies like me, that just makes it all the more captivating.

Roger Sanchez - Come With Me (Original TC Review)

Ultra Records: 2006

(2012 Update:
Wow, is this ever a dated review, but then anything over half a decade old now probably will be. This came out just before the Swedish House explosion properly took off, so Sanchez' brand of NY garage-house still had success. Within a year though, he was tapping electro house remixers for follow-up singles, then his own output dried up. Guess he couldn't keep up with house music's changing tastes. Still, this remains a fun album, girlie as all hell though it may be. There's a degree of class to be had here that often lacks in SHM's material, and I'd sooner strike up a conversation with a lady that vibes on this music instead of anything Steve Angello puts out.)


IN BRIEF: Music for the missus.

The last couple times New York-based DJ Roger Sanchez came to my humble little Canadian city, the results have been chaotic ...at least in terms of ticket sales. It seems, due to the high demand of Sanchez’ presence, the nights either get oversold, super-scalped, or draw a much bigger crowd our typical Granville Strip clubs can handle (The Commodore exempt of course), causing premature shutdowns or clusterfuck line-ups. You would think such mismanaged organizing would swear folks off from seeing another Sanchez show, and save themselves the stress of dealing with it again. I’m willing to bet, though, it will happen on this next visit, and all those who swore “never again” will go through it again. Seeing Roger live has become the equivalent of super-fancy shooters for his Vancouver fans: quite costly, very tasty, and no matter how much you suffer from them, you’ll still indulge again when given the chance.

Wait, that’s not entirely accurate. One other factor, one very important factor, contributes to Sanchez being the draw he is: da laydeez; lots and lots of young, flirtatious womenfolk. Roger’s reputation for great club nights in New York is world renown, and many gals abroad would love to have a taste of his slick city style. He’s become an ambassador of sorts of the Big Apple’s mysticism: going to a Sanchez night is akin to going to a fancy Manhattan club, and many urban girlie girls jump at the chance to live out a Sex In The City-esque night, even if only in spirit. Naturally, where the women go, the men follow.

With Sanchez’ second album - Come With Me - I get the suspicion Roger’s clued into where his biggest audience lies. While he’s always had a club-friendly appeal, it’s usually been balanced with house music tapped from the source: a funk thing, a soul thing, a spiritual thing, a yada yada etc. This album does away with most of that, aiming straight for the glitzy expensive clubs, and those who attend such venues -specifically, da laydeez.

Pop quiz: what kind of music does your typical clubbing minx enjoy the most? Easy answer: pick up any Hed Kandi release, or Ultra House Hits, or A Trip In House, or.. Well, you get the point. Basically, house music with fun vocal hooks and groovy rhythms; although not too complicated so she’ll embarrassingly stumble while drunkenly dancing. From beginning to end, Roger delivers those sorts of tracks on Come With Me, in a variety of flavors.

Lyrically, most stick to predictable themes. If a gal is singing, it’s about failed relationships, break-ups, or being flirty on a dancefloor. If Sanchez is singing (sometimes with a featured guest), it’s with smooth, sexy come-ons. Yeah, not much for the guys to dig here.

Musically, Sanchez brings a nice, if safe, assortment of style. Amongst the sort of clubby disco you’d expect from vocal heavy house, there’s also soul and Latin influences to be found, especially in the second half; plus, a Bhangra inspired track with Take A Chance. While none of it breaks new ground, it is all finely produced, and perfectly effective for the targeted environment.

Of course, appealing to the fairer sex is all fine and good, but is there anything on this the male-folk can listen to without feeling like his nuts have been chopped off? (Er... not that men can’t relate to themes of broken hearts and past relationships; it’s just usually done in a different tone when targeted towards them)

Well, opener track Turn On The Music aims to be a rabble-rousing party starter for anyone in the club, and while the hook has some catchiness at points, the whole of it unfortunately sounds flat given its intentions. Sanchez’ spoken-word recounts of bad luck in Again works well for both sexes, although it does come across more for the gals. And the blissy, Ibizan-tinged Soledad is fine either way, simply produced for chill-out situations.

That’s about it though. While the guys can still groove to these and enjoy them on a purely aesthetic level, I honestly can’t see many playing this at home unless they are entertaining their female friends in a pre-clubbing drink session. There’s very little here a house-head laying back, noggin noddin’ with Sennheiser headphones, will get out of Come With Me, as the song-writing aims for a very specific demographic: one that isn’t too interested in clever beats or innovative hooks. This’ll probably disappoint long-time Sanchez fans, as they’ve come to expect more from him than pure pop accessibility.

A sell-out? Perhaps, but as far as cross-over house music is concerned, Come With Me succeeds in its goals. Sanchez has delivered music that is certain to appeal to the ladies with sexy flair and simple fun wrapped in a slick presentation. Can’t fault it for that.