Cosmic Gate - The Drums (Back2Back Mixes) (Original TC Review)

E-Cutz: Cat. # EC2005/05 

Released September 2005 

Track List: 

A. The Drums (Back2Back Mix) (8:45) 

B. The Drums (Back2Back Dub) (8:45) 

(2010 Update: Straight-forward enough. Typical 'average' release. Cosmic Gate's change of sound was still unanticipated though, so it dates this review somewhat.)

IN BRIEF: Not quite the hard trance version of Little Drummer Boy. 

Cosmic Gate's a funny group for me. Despite their tracks containing elements my personal bias often detests - specifically overlong breakdowns and builds - I've generally enjoyed what I've heard from the duo. Granted, it hasn't been much, but you can't keep tabs on trance without running into your usual suspects like Exploration Of Space or Tomorrow on occasion. Whether it's their interesting sound patches or their crafty use of rhythms, their songs manage to work for me. 

Yeah, that's it. Dem riddims! No matter how gratuitous the breakdowns get, the peaks in Cosmic Gate's work rarely feels anti-climatic because the following rhythmic payoffs are serious movers. Far too many hard trance producers seem to forget this, figuring four-to-the-floor hits with off-beat bass throbs are the way to go. Cosmic Gate knows better, hence their tracks are more memorable than their peers (some nifty hooks at times hasn't hurt either). So, you can imagine I was quite interested in this single from the duo with a title consisting of the most rhythmic of all instruments. 

Apparently, The Drums was the first single made and released when Stefan Bossems and Claus Terhoeven paired up to make some tunes. This recently released Back2Back version is taken from the second volume of a series of DJ mix compilations they produce called, shockingly, Back2Back. 

And things start out quite nicely on this single. With plenty of lead-in rhythm, The Drums has more than enough time to work its grooves. A mild breakdown three minutes later introduces a buzzing sawwave, filling out the aural background without being obtrusive. The energy building in this track is promising. Unfortunately, things slide down after a longer breakdown starts just after the four minute mark; this sucker is a whopping two minutes long! Despite a continuous throbbing beat in the far background, it isn't quite enough to keep the momentum going for such a long downtime. 

Making matters worse is the main hook, which is introduced as the build begins. It's far too simple and lacking enough punch to get you excited for when the peak finally hits. Striking a single note every second beat just isn't going to cut it. The Drums seems to finally get going again a little around a minute after everything comes back together but we're only a few bars away from your obligatory minute-long rhythmic lead-out. 

There's a dub on the B-side of this, which is the exact same song, sans some spoken dialogue in the breakdown. In its absence, you get a long stretch of just the throb of the distant bass. This actually helps in creating better tension than having some gal going on about taking you on a cosmic journey. The anticipation for a hook, or a hi-hat, or anything, absolutely aches for release. It's just a shame the hook is so drab; it can't hope to ever release all that pent up tension. 

I guess the big question on everyone's mind is how does this version compare to the original. I honestly couldn't say, as I've never heard a decent version of the original. After plenty of scouring the net for a sound sample, the best I found was a thirty second snippet of opening rhythm you commonly find at Amazon (and I have my reasons for not using a p2p to find it). From what I could gather, though, the Back2Back version certainly is more energetic, more finely produced, and makes better use of current sounds. In short, everything you'd expect of an '05 remake - a modern shine on a tried and tested track. Cosmic Gate fans will undoubtedly be excited to have a piece of old Gate goodness re-released for the modern times, especially since the original single of The Drums is getting harder and harder to find as time passes on. 

For the rest of us, however, this single may be a bit of a letdown if you were expecting something more along the lines of the duo's more famous work. It isn't all together bad but since this is a remake of Bossems and Terhoeven's earliest efforts, the lack of any kind of innovative or memorable hook shows the pair had yet to nail down a sound that would remain timeless as they would in the coming years.

Score: 6/10 

Written by Sykonee. Originally published 2005 for TranceCritic.com.© All rights reserved.

Ferry Corsten - Fire (Original TC Review)

Flashover Recordings: Cat. # FLASHCD002 

Released October 28, 2005 

Track List: 

1. Fire (Radio Edit) (3:44) 

2. Fire (Extended) (7:21) 

3. Fire (Flashover Remix) (7:21) 

(2010 Update: Man, confrontational or what? I guess I was itching to let out some of my gripes of Corsten's brand of trance for a while, and went for it here. Not a good review by any stretch -even the snarky attitude here isn't as clever as it hopes to be.) 

IN BRIEF: Give me 80's or give me death (by fire). 

Well, gee, what more can there be said about Ferry Corsten that hasn't been psychoanalyzed to death by scene scrutinizers and would-be historians? As a guy who almost single-handedly popularized an entire musical movement, supplanting nearly every other form of EDM as the premiere genre in the process, his place in history is pretty much guaranteed. I suppose the only debate that still rages regarding Corsten is whether that place will be remembered with reverence or infamy. But screw all that. I'm going to tell where Mr. Corsten stands with me. 

To be blunt, I grew to despise the Corsten style very quickly (so apologies in advance for any snide comments to come, as some habits are hard to break). Not so much the songs themselves (although they'd get a bit loony on occasion) but the way they were used by DJs. I'm sure you all know the drill: pumping rhythm gets you psyched for a minute or two, it recedes to introduce a happy-go-lucky melody for a minute or two, song builds back up for a minute or two, finally accumulating to an energetic climax played out for a minute or two. Vintage Corsten, right? This formula was so successful, nearly every new trance producer (and even a few older ones) shamelessly copied it, right down to the exact same synth patches Corsten used. 

To this day, the formula continues to be milked despite it having overstayed its welcome by a good three years (or six, for some). Worse yet, a great number of DJs ended up hammering these types of tracks endlessly through a night. While such songs make for good peaks in a set, when they are played over and over it creates an annoying stop-go-stop-go-stop-go flatline of momentum. Anytime you feel you get somewhere, you end up taking a few steps back due to killed rhythm. 

Is it fair of me to blame Corsten for this? Probably not, but it was his tracks and remixes that set the atmosphere for many a flatlined party for me, and those boring nights have become fixated with his sound in my psyche. As a result, nearly every time I hear a standard Corsten type of track, such memories come back, and I'm bored of what I hear. It cannot be helped, as that's just the way music and our brains work. Until some good memories are replaced with the bad ones, those Corsten tunes that were overplayed with such redundancy by bad DJs will continue to draw my ire unless something amazing is done with it (looking at the state of trance these days, I do not hold out hope). 

Of course, this has nothing to do with Fire. It's no secret Corsten's changed direction in recent years, moving on from the sounds that made him famous. While many seem to be calling his new style 'electro trance', I personally call it 'using a different preset because the sawwave button is busted'. 

Okay, jokes aside, the newer sound used in Fire is kind of refreshing if you've followed his career. I'd hardly call it trance, as it almost sounds like the kind of stuff you might have heard in the early hi-nrg clubs. The songwriting is stupidly simple, with the main hook repeating throughout as additional twinkly melodies and harsh effects come and go. 

Oh, what's that? You've already heard that hook? Well, sure. Fire is essentially a cover of Duran Duran's Serious, right down to Simon le Bon's opening lyrics being lifted and repeated throughout. I guess I could moan and bitch about how the pillage of the 80's continues unabated, but I like this track just enough to give it a pass. That hook is far too catchy to complain about the big picture right now. 

The Flashover Remix sees Ferry having fixed the sawwave button on his synth, so we get a pretty standard trancey overhaul of Fire. The main hook is subdued in the form of sweeping synths as it gradually builds throughout while all the other elements play out as they did in the original. And, of course, there's a standard breakdown and build, which is inoffensive enough provided it gets used properly in sets (I wouldn't hold my breath) but nothing revolutionary either. Granted, there was a breakdown/build in the original too, but it was much shorter and far less obvious, as there were enough noisy effects going on throughout it that it never felt as though the pacing was thrown off. 

And, to be honest, I think the fact we didn't have to sit through so many of the usual Corsten clichés is what helps this track out more than it really should. Yes, the hook can get a bit annoying if listened to for a while, but it is also perfectly catchy in that you'll find yourself humming it to yourself long after its been played. 

The rest of it sees Corsten sticking to his strengths and foregoing what I always perceived to be his one weakness: the danceable rhythms are still there but the peaks of the song aren't as anticlimactic as a number of his tunes have been in the past (yes, I know I'm in the minority on this one, but who's writing this review -you chowderheads, or me?). 

Although I'm covering the initial CD release of Fire, I thought I'd be generous and also do a quick bonus review of the vinyl-only Ron van den Beuken Remix. Ahem... This remix is sweet! Consisting of hard, driving, German (styled) trance that scrubs away all the goofiness of the original in favor of a sinister atmosphere, there's far more energy to this than the other mixes. Beuken's version is guaranteed to pummel a dancefloor with its aggressive edge. 

If you don't own a turntable (probably many of you) and you want to be honest and legally pay for this remix (probably not as many of you), I highly recommend you pester Mr. Corsten with e-mails to include it in future CD releases of Fire. Until then, I'd say hold off on picking this up, as you'll probably be hearing the original all over the place on radios (underground and popular), clubs, compilations, and passing trendster cars to get your fix in the meanwhile. 

Score: 7/10 

Written by Sykonee. Originally published 2005 for TranceCritic.com.© All rights reserved.

Coldcut - More Beats + Pieces (Original TC Review)

Ninja Tune: Cat.# ZEN CDS58 

Released 1997 

Track List: 

1. More Beats & Pieces (Daddy Rips It Up Mix) (4:03) 

2. More Beats & Pieces (John McEntire Tortoise Mix) (6:05) 

3. More Beats & Pieces (Obsessive Behavior) (4:20) 

4. More Beats & Pieces (I Miss You Blobula) (3:13) 

5. More Beats & Pieces (Meet The Weasels) (6:05) 

6. More Beats & Pieces (Beans & Pizzas Strictly Kid Teeba Jam) (7:06) 

(2010 Update: Er, yeah. I'm definitely grinding an ax here. Probably not the best idea to shoehorn an overlong rant into a review of a Coldcut single, but TranceCritic didn't really have a separate outlet for such bloggy editorials, so I went with this. Definitely is dated though -man, remember when the DJMag poll actually seemed relevant?) 

IN BRIEF: DJing: proper. 

Well, another DJ Mag poll has gone by, with Paul van Dyk fans rejoicing, Tiësto fans lamenting, and Armin fans still outraged with the results. Everyone else in the EDM spectrum couldn't give a rat's ass, especially many DJs. The fans of the Mega Trance Brigade seem to feel the fact their idols are ranked the highest in a DJ poll is a vindication that they do enjoy the best DJs in the world, and that those who say the DJ Mag poll is nothing more than a popularity poll aimed for the club kids are just jealous that their favorites didn't rank higher (or even make the list). 

However, these naysayers are, in fact, right. When it comes to, say, movies, which award ceremony has the most prestige? The Academy Awards, of course. Why? Because these are selected by a panel of judges whom have poured over countless movies in their lives: studied film techniques, acting techniques, production techniques, and the whole shebang. We trust their opinions because they are experts in their field. On the other hand, the MTV Movie Awards are voted by the fans: the popular choice. You would think this would garner just as much respect amongst their peers, but you will very rarely, if ever, see a movie claiming MTV's Best Movie Award in its promo spiel (unless its targeting MTV's crowd, of course) or an actress putting “MTV's Best Supporting Actress: 2003” on a list of amazing achievements in their craft. Oh, it may look nice to the producer to see that such an actress is obviously bankable, but it's always the Oscar folks in that profession are proudest of, not the MTV Popcorn. 

 To throw this analogy into the EDM world, the DJ Mag poll is the equivalent of the MTV Movie Awards: awards voted by the fans. As such, while a number of folks in the DJ communities may say it's nice to see a respected individual make the cut, very rarely will they give much respect to the poll itself for one main reason. It may sound elitist, but fact of the matter is many who vote in these polls are not experts. They have not spent countless hours immersing themselves into the whole spectrum, meticulously studying subtle techniques and tricks of the trade, digesting all there is to possibly know. Most will pick a genre they like (usually trance) and follow the more popular names thanks to the massive amounts of promotion such names get, ignoring everything else the DJing world has to offer. How can one make an expert opinion on DJing with that kind of dedication? 

Of course, this isn't completely DJ Mag's fault, as it's merely filling in a niche that seems to be lacking in the EDM community at large. Aside from the DMC Championships (which tends to promote turntablism techniques for the most part), there really isn't any kind of syndicate of EDM followers who are universally considered 'the experts' on DJing (and, no, I'm not saying TranceCritic is that either... yet *evil chuckle*). Granted, many publications have tried (indeed, some still do), but because DJ Mag managed to get its winners and runner-uppers to promote their list as the authentic one, it's the one that seems to get the most publicity - in trance circles, anyways. I doubt the jungle heads, techno heads, hip-hop heads, breaks heads, and ambient heads care one way or the other, as they have their own DJ polls to run. Yeah, the reason why there is no all-encompassing EDM poll is pretty apparent, isn't it. 

So, what does this have to do with Coldcut's More Beats & Pieces? Come on, you can't be that thick, can you? Coldcut (comprised of Jonathan More and Matt Black) is one of the most respected duos in the world of DJing. Like all masters of the craft, they can take damned near any snippet of a song and manipulate it with others to create fresh new tracks. They make a weary, overplayed track sound brand spankin’ new within the context of a set. They're diggers of rare and obsolete gems, scouring the landscapes for that one last, undiscovered northern soul 7" that everyone else somehow missed. They epitomize everything a true DJ strives to be when he first picks up those two Technics. And they are never voted into the DJ Mag Top 100. 

Really, that's fine and dandy by them and their peers. While I'm sure they wouldn't be upset at being picked the #1 in such a list (after all, who doesn't like to be the most popular?), it doesn't matter to them one way or the other, as they get into this music for the love of it, completely and utterly. Fame and fortune is not the drive; the essence of musicianship is. 

More Beats & Pieces takes the art of DJing as far as Coldcut can take it. Using a bunch of pre-pressed drum loops and samples, the daddies of sonic stupidity throw them down and get wild, keeping everything moving and grooving with funky fusion. I could not even begin to list how many drum breaks, guitar cuts, and sonic samples are used. There's probably more songs mixed in the four minutes this runs than Tiësto plays in an In Concert set. I can ID a few of them, and some sample credits are provided, but More Beats & Pieces really isn't for the trainspotters (however much fun they may have with it). 

Of course, this would all sound like crap if Coldcut weren't the sonic geniuses they are. It's one thing to mash random drums and samples together, but to create an irresistible piece of unique, catchy music in the process is a skill it seems very few DJs either use or possess. This is turntable trickery, DJ remixing, and expert track selecting taken to the extreme, and a far, far cry from the perfunctory beatmatching witnessed by your usual Dutch suspects. 

Not to be outdone, the Coldcut crew gave the custom vinyls to a few of their peers to do their own live turntable remixes. Kid Koala's Obsessive Behavior version makes more use of the original drum breaks rather than the synthesized ones, speeding and slowing them down throughout as vocal cuts get tortured through meat grinders. At one point during Koala's more indulgent bits, a worrisome cut goes, "I don't think I can dance to this." Yeah, I tend to agree since there's a lot of stop-and-go scratching going on. 

Q-Bert's own I Miss You Blobula mix is even more indulgent with the scratching. For sure, it sounds wicked cool (where'd that dialogue come from, a cheesy Fantastic Four reading?), and there's some definite funk to be had, but you aren't going to find any immediate hooks in this. Of course, that's not really the point to these two turntable jams, but considering how irresistible Coldcut's opening version was, Kid Koala's and Q-Bert's own versions seem a little lackluster overall. 

Beans + Pizzas is a live turntable jam session done with six turntable and various Ninja Tune jocks, including DJ Food, Kid Koala, and The Herbaliser. A little less manic than the original Coldcut version, there's definitely more flow in here as drum loops, vocal snippets, and melody samples get more playing time while the DJs fiddle with all their various tricks overtop. It may not be as thumping as Daddy Rips It Up, but Beans + Pizzas is still energetic nonetheless. So, I guess you’re wondering why I've gone out of order with these tracks. Well, I figured I'd get the turntable mix versions out of the way first, as they segue nicely together for the sake of this review. Hey, review writers can be DJs too! *snicker* 

Of course, DJing is about the remix just as much as it is the turntable, and Coldcut gave the 12" to a pair of producers to give their own re-rubs on them. The John McEntire Tortoise Mix is a slowed down groover of dubby bass and electro trip hop arrangements. There are a few bits and pieces (hohoho) of More Beats & Pieces scattered about but they bare little similarity to the original source. In contrast, T Power's Meet The Weasels mix makes use of some of the more atmospheric elements of the original to create a dark, moody bit of drum 'n' bass. Both remixes are quite good, and unique enough without distracting from the source material to make them worthwhile additions to this EP. 

And, as with many Coldcut releases on CD, there are some additional CD-Rom goodies, including a video and detailed descriptions of the process that went into making these tracks. 

I guess you'd think after the general slagging of mainstream DJs I gave and overall respect gushed upon these turntable technicians that I absolutely despise the beatmatchers over the scratchers. Eh, not so, to be honest. To think pure DJing is just about fancy tricks and quick cut-ups is just as bad as thinking DJing is just about laying down anthem after anthem. DJing encompasses a great deal, and, to be fair, for the first many years of DJ culture, all they could do was quick fade transitions; it was the track selections of many that would make or break a DJ. 

The thing that irritates me about these DJ polls is only one aspect of what makes a DJ is usually considered when people vote. As Coldcut proves on this single, when you have amazing skills and great track selection, your presentation is taken to a level seldom seen in those who stick to only one aspect. They bring the whole package together whereas your usual popular suspects only cater to a specific niche. And, until these DJing polls quit catering to such niches and start considering names based on every attribute a DJ is capable of, they most likely won't garner much respect from the DJ communities at large. 

To draw upon the acting analogy from earlier, it's like comparing Adam Sandler to John Malkovich. One may be far more popular, and even quite adept in his chosen field of expertise, but when bringing all the abilities that make up the profession head to head, Malkovich would bury Sandler in a heartbeat.

Score: 7/10 

Written by Sykonee. Originally published 2005 for TranceCritic.com.© All rights reserved.

Various - Planet Rave Vol. 1 (Original TC Review)

Triloka Records: Cat. # TR-8062-2
Released 2000

Track List:
1. Tulku - Meena Devi (Goddess Mix) (5:06)
2. Tulku - Journey Of The Warrior (The Funky Shaman’s Mix) (4:03)
3. Emer Kenny - Golden Brown (Tribal Edit Mix) (3:48)
4. Dissidenten - A Love Supreme (Club Mix) (5:03)
5. Tulku - Meena Devi (Funky Trigger Mix) (4:52)
6. Jai Uttal And The Pagan Love Orchestra - Malkouns (A Night On The Ganges) (Remix by Talvin Singh) (6:29)
7. Material - Ineffect (7:27)
8. Tulku - Meena Devi (Ambient Mix) (3:32)
9. Tulku - Live Force (Tripambient Mix) (7:27)
10. Jai Uttal And The Pagan Love Orchestra - Guru Bramha (Remix by Sunkist) (5:14)
11. Badar Ali Khan - Kalander (Trance Remix) (4:44)


(2010 Update:
Aside from the track-by-track stuff, this review also suffers from a rant that rambles too much at the end. In a nutshell, I was irritated by the herky-jerky way these songs were arranged. Meh, I was also kind of half-assing this one, since it was a Random Review I wasn't all that keen on doing, being the second sub-par one in a row.)


IN BRIEF: Cool concept; crummy presentation.

Anytime you see a pink elephant, chances are good you are incredibly drunk. However, when said pink elephant is on the cover of a compilation, chances are even better you have a collection of music that will have some Indian influences. The big question tends to be exactly how these influences will be used.

One of two possibilities exists in the EDM world. First, and most common, is the compilation is filled with psychedelic goa trance; knob twirlers and acid munchers re-creating their hallucinogenic journeys with Hindu gurus guiding you through a sonic assault; music that challenges your perceptions of thought while dancing on a West India beach under tropical starlights. It's good times to be had by all and the south Asia influences often make for very interesting cover art. However, that is not what this compilation is about.

Ah, so this is the other possibility, then. Western producers who sample ethnic songs and sounds to give them a contemporary feel. Acts like Enigma, Deep Forest, Banco de Gaia, Loop Guru, and so on. Surely this is what Planet Rave is about, specifically focused on the Indian influences, hence the four armed pink elephant. Nope, wrong again.

Well, if it's not those two, which could it be?

I may be preaching to the TranceCritic choir here, but I'm often stunned by how many in most EDM circles are quite ignorant of the third type of electronic music where a pink pachyderm wouldn't be out of place on a compilation cover. You see, standard dance music isn't just a Western thing. Cultures all over the world have managed to get their hands on drum machines, acid boxes, and sound sequencers. As a result, disparate cultures have managed to inject house, techno, hip-hop, and other assorted styles with their influences straight from the source rather than sampled from abroad.

Really, this isn't anything new, and anyone who's paid close attention to EDM trends was bound to notice bhangra beats slowly but surely creeping into Western musical acceptance, especially at the turn of the century. Sadly, its momentum was somewhat stymied due the 9/11 incident, causing American shores to be wary of any outside influence. At least the recovery seems to be on, though.

So, what we have here on Planet Rave is a collection of so-called bhangra beats from tiny label Triloka, all given a clubby shine to simultaneously showcase ethnic music and Western party vibes. Sounds cool enough; let's get it on.

And Tulku aims to get it on in a hurry. Often referred to as a 'world music supergroup' in the liner notes, comprised of Jim Wilson and Triloka head honcho Mitchell Markus (ah, self promotion is grand, ain'it?), Tulku's track Meena Devi barges right in from the gate with deep, acidy basslines and subtle stuttering synths. The fact there is no real lead-in here makes for a bit of a disconcerting opener, especially with the ominous tones on hand. Still, this opening bit is relatively mild compared to the chaos that quickly erupts in the Goddess Mix from Steve Snow, as scatter-shot breakbeats mix with steady, bouncy beats. There's plenty going on throughout, too: female chants, Indian woodwinds, and choking sitars all work together to create a sinister, is somewhat disjointed, bit of tribal music.

Ian Rich provides a minimal breaks-and-house funk remix on Tulku's Journey Of The Warrior, bringing the flow down a little with a quick crossfade transition that is quite jarring. Sure, this isn't a DJ mix, but if you're going to link the tracks together like this, you probably don't want to make the switch so abrupt. As for this song, it's a decent enough little transitional piece of funk. Nothing major happens, but you can groove to it easily enough.

With a tiger yelp and another incredibly abrupt crossover, we are slammed into Junior Vasquez' remix of Emer Kenny's Golden Brown. A cover of the The Stranglers' song, Ms. Kenny's traditional Celtic style (the, er, whitest of world music, I guess) is given a rather pumping, trancey overhaul by the former Madonna remixer. Her vocals are quite ethereal and Vasquez keeps the tempo building nicely from a pleasant ambient start by adding ever-increasing layers of rhythms. This energetic build seems to be escalating to a rousing climax but this is an edit of the track so it abruptly ends just as it begins. Fair enough if there's something to carry that wonderful momentum over, but there isn't. In fact, there's nothing at all. Ouch, a false build this overt is something that could turn off any casual listener. It's like listening to an incomplete MP3.

Okay, it doesn't exactly crossover into complete silence, but the pulsing bit of intro in Dissidenten's A Love Supreme certainly is quiet enough to pass off as silence. Enough moaning about odd, questionable transitions, though, otherwise I'll be doing it on every single track. Let's get back to the music for now.

A Love Supreme finally gives us a taste of those groovy Indian vibes, which is ironic considering Dissidenten is actually a German group. You certainly wouldn't know it from just this song, though, as the use of Indian lyrics is superbly flawless. To the rhythms of old freestyle, the hooks in A Love Supreme are pretty much carried by the singers, almost all of which has no Western influence (a few repetitions of the title through a slight vocoder notwithstanding). It's some seriously groovy stuff, to be certain.

Steve Snow gives us a different take on Meena Devi on the follow-up, throwing in hip hop breaks and turntablist trickery for a decidedly funky outing. Only some of the Indian instruments and chants are kept in to create the same moody atmosphere, most of which get stuttered up throughout as to not detract from the funk. The track also segues nicely into Talvin Singh's tabla heavy mix of Jai Uttal's Malkouns, which naturally suites Jai's vocal prowess perfectly. You can almost picture a row of Indian drummers jamming away while the ethnic singer croons along. I know typical bloopity-bloop-bloop-bloopity rhythms are often playfully mocked in the West, but Singh's funky breakbeats are incredibly infectious. Sitars and dubby electronics fill in the bridges for good measure.

Briefly moving us back in to club grooves is Ineffect by Material, a collective of rotating musicians that's held mostly together by bassist Bill Laswell. Of prominence in this track is international singer Fahiem Dandan, crooning along to bottom heavy rhythms (and, boy, does that bass kick some serious gluteus) while a myriad of ethnic string instruments bridge Dandan's performance together. The release notes seem to also make a big deal over some spoken dialogue done by William S. Burroughs, but there isn't really much he has to say until near the end. No, this is Dandan's song to carry and he does an admirable job of it, even if Ineffect does go on for perhaps a minute longer than it needed to (but then, that tends to be a Laswell trademark anyways).

And, with yet another abrupt crossover fade mix, we are thrust into yet another mix of Meena Devi from Steve Snow. Man, way to whore your own material Mr. Markus. This Ambient Mix is relatively uneventful, stripping the Goddess Mix down to just a bubbly acid workout, ominous pads, and the vocal chant. Fans of tweaking acid will most likely love it, everyone else mostly likely not.

After that acidy interlude, we are treated to one more Tulku track called Life Force, given a groove heavy ambient dub overhaul by DJ Cheb I Sabbah. Conjuring up images of Middle Eastern vistas as sampled conversations from those lands mingle with lonely woodwinds and chants, this is a wonderfully visceral piece of music. Thick bass rolls along to filtered, molasses-soaked beats, giving Life Force a wide-open sparseness fitting for exotic sojourns.

Jai Uttal returns with another vocal outing in Guru Bramha, but this mellow groover is kind of forgettable coming off the heels of Life Force and followed up by the wonderful Kalander by Badar Ali Khan. Steeped in the ancient style of song called Qawwali, this Trance Remix (though there isn't anything here 99.97% of folks would consider trance) provides a bobbling beat and pleasant string backdrops to complement Badar's vibrant chants. There is an intoxicating vitality to this song that inspires you to stand up and join in the chant, making it a perfect capper on any musical session, no matter the style that's been played.

So, given the generally nice things I've had to say about most of these tracks, I'm sure you’re wondering why the low-ish score? Well, let me get my rant on here:

The underlying problem with this compilation is the track arrangement. I can see Triloka wishing to expose as much diversity as possible, as there is a wide berth of world music that is criminally overlooked. Unfortunately, they seem to be trying to cram far too much in too short a space (this disc only runs an hour, kind of low for a compilation). And, aside from a few instances, the songs are so different from one another in the way they are arranged, it creates a very disjointed listening experience even without the bad crossover fades.

Ah, yes, the crossover fades. I tried to keep that gripe of mine until the very end but my displeasure of it managed to squeak in throughout anyways. Let me say this as bluntly as I can, since I can't think of any amount of tact to sugar-coat it: when you have very different styles of music in a compilation, a quick crossover fade mix just. Doesn't. Work. I can understand the studio doing this so there is no dead air time but when you have a house beat followed up with a very different hip hop beat, you almost need that two second pause between the tracks so it doesn't sound so jarring, abruptly taking you out of that nice little conscious zone music often takes you. Having this throughout a compilation doesn't let these songs shine they way they could.

The songs themselves aren't to be blamed here (although three different versions of Meena Devi is pushing it a little) but when there are better-arranged compilations of this sort of music, you'd be better off seeking those out instead. I'd only recommend Planet Rave Vol. 1 if you can't find these particular tracks anywhere else.


Score: 4/10

ACE TRACKS:
Tulku - Life Force (Tripambient Mix)
Badar Ali Khan - Kalander (Trance Remix)


Written by Sykonee. Originally published 2005 for TranceCritic.com.© All rights reserved.

808 State - 88:98 (Original TC Review)

Universal Records: Cat. # USD-53139 

Released 1998 

Track List: 1. Pacific (707) (3:53) 

2. Cübik (3:33) 

3. In Yer Face (3:55) 

4. The Only Rhyme That Bites (Extended Mix) (4:17) 

5. Olympic (Flutey Mix) (4:09) 

6. Ooops (4:44) 

7. Lift (EX:EL Mix) (5:12) 

8. One In Ten (2:41) 

9. Plan 9 (LP Mix) (4:02) 

10. Bombadin (Quica Mix) (4:44) 

11. Bond (5:06) 

12. Azure (5:44) 

13. Lopez (4:31)

14. Crash (5:11) 

15. Pacific (808:98) (5:56) 

16. Cübik:98 (5:11) 

(2010 Update: The info and descriptions are solid. The quips are clever (at least I think so!). The grammar's clunky. Not much more to say about this one, to be honest. It's pretty typical of the reviews I was writing in the fall of 2005: content's there, it's just 1000 words too long.) 

IN BRIEF: A decade of doing it for yourself. 

Poor 808 State. When major American label companies were scouring the British landscape for acts that could fit nicely into the coming 'electronica' strategy, this group seemed to get the shaft out of it all. Which is odd, really, considering since the beginning of their career, the sound crafted by Graham Massey, Andrew Barker, and Darren Partington, (plus former members Gerald Simpson and Martin Price) was one of the few techno acts that managed to cross electronic, jazz, and rock music effortlessly. 808 State were putting guitar licks over breakbeat rhythms long before Liam Howlett probably thought, "That hook would sound much cooler with a metal riff." It should have been an easy sell, right? 

Yet, somehow it didn't happen. Acts like The Prodigy and The Chemical Brothers became publicity fodder, old schoolers like Underworld, Orbital, and Apollo 440 became soundtrack fodder, and eclectics like The Orb, Goldie, and F.S.O.L. became compilation fodder during The Year of Electronica. 808 State, one of the oldest groups about, was left in the dust to remain in obscurity, their only contribution seemingly being their original seminal track Pacific to be played on regular video rotation at athletic shoe stores. 

Perhaps this ten year retrospective of their material (ironically released a year after the electronica movement fizzled out) can shed some light on the subject. After all, what better way to get to know a group than to delve into a Greatest Hits package? Surely the clues to the answer lie in 808 States history. 

Unsurprisingly, we open up with Pacific 707, a track that may have sealed 808 State's fate regardless of what they did next. By no means the first song they did, it certainly is the one that stands the test of time the best. Sure, the rhythms and chirpy sound effects may have early techno written all over it, but with gentle pads that wash over you with wonderful bliss, you can't help but get sucked into that special place only the best music can take you. Add to that a wonderfully crooning saxaphone to give Pacific soul, and you have a track that folks will fall in love with again and again. 

808 State and Pacific were forever tied together after it was released, even over fifteen years later when the EDM landscape, and even 808 State themselves, had seen amazing changes and evolution since those innocent acid house days. As will become evident in the course of this release, creating a timeless song can often be a blessing and a curse. 

Having released one of the all-time greatest acid house anthems ever, 808 State would need something just as irresistible yet different sounding enough as to not get pigeonholed. Enter their second biggest single ever: Cübik. Tapping into the burgeoning intense Belgian beat of the 90s, the group crafted one of the grittiest, grimiest, ugliest, and infectious hooks to emerge from that era. It is unapologetically coarse, essentially techno's answer to power chord metal. And, just like Pacific, Cübik still manages to resonate despite the obviously dated sounds on display - the only thing that probably held it from the limelight as much as Pacific was its obvious made-for-Madchester vibe. Intentional dance tracks like Cübik aren't quite as an easy sell to mainstream music lovers. 

One thing is certain with Cübik and the not-quite-as-catchy-but-just-as-energetic In Yer Face, though: the seeds of every anthem ever created are ever present. The synths remain distinctive and blast out so effectively, you probably wouldn't even need those funky techno rhythms to get off your nutter. This stuff's just a quirky rap and diva vocal away from the brand of techno that would soon come to dominate the charts for a few years. 

Oh, hey, what's this here? A techno song with quirky raps, that's what. The Only Rhyme That Bites sees 808 State very aware of the dangers of being tied to a single track, so they open the song up with a brief bit of dialogue: "The ones who brought you - opening of Pacific plays for a couple seconds - bring you something different." And, boy, is it ever different. Back when hip hop and techno still held an uneasy alliance, this undoubtedly was killer, and MC Tunes' lyrical prowess shames most modern rappers, even if he does resort to lots of metaphors that don't make much sense. However, it is also firmly rooted in the early 90s so folks not too keen on that era will undoubtedly skip past. Also, because it is so different from both Pacific and Cübik, if you came here looking for more of that, you came to the wrong place, which is going to hold true for a lot of what's to come. 

For now, though, let's pay close attention to a couple more tracks that some would call definitive 808 State: Olympic and Lift. Even more so than the classic hits, these two tracks meld raw techno sounds and natural instruments so effortlessly, it's small wonder the group were rave darlings. Even when incredibly dated sounds as heard in Lift blare out, it still has just as much soul as the little flute melodies in Olympic. Granted, it's still nothing as memorable as you-know-what, but these are very pleasant groovers in their own right. One thing's certain, too, is 808 State didn't seem concerned if some of the sounds used were relatively ugly compared to the rest of the song. In fact, one could surmise they relished in their cheeky use of it, saying these absolutely inhuman sounds have just as much right to be here as any piano, guitar, or saxaphone.

Still, they could craft a normal sounding song just as easily. Ooops features a then relatively unknown Björk on lyrical duties while the Cowbell Machine Association provide a proto trip-hop rhythm with strumming guitars and cavernous effects complimenting the Icelandic chanteuse's vocal prowess. As for Björk herself, well, she does what she's always been known for. Her style is one that is practically impossible to describe, as there's really no other comparison to her on the planet (that I've heard, in any event). It's a method that, for all intents, just should not work, yet it does. I doubt anyone else could sing like her and make it sound nearly as credible. Sadly, for all the dynamic production that was offered from 808 State at that stage of their career, they never quite were able to connect to the mainstream crowd quite the way they did with the rave crowds. 

The next batch of songs seems to indicate an attempt to reach the other crowds while remaining true to their sound. One In Ten is a perfect example. Featuring UB40, the song certainly sounds tidier but with an eclectic rhythm that could be construed as a hybrid form of reggae and jungle (no, not ragga jungle). Your natural instruments like saxaphone remain but the electronic ones are subdued now. Even more so is Plan 9. This is a very pleasant track using Mediterranean sounds like acoustic guitars, chirpy effects, and sun-swept beach atmospherics, all with great sounding production to bring the organic elements to focus. In fact, one could cynically say Plan 9 is an attempt to replicate the success of Pacific with guitars. I'd rather just say it's an 808 State trademark instead of a rehash. 

Not to be outdone by the pleasantries of Plan 9 is Bombadin, a fierce slice of tribal-something. Hmm, it's not really house, and far too natural sounding to be techno. Yeah, there are electronic elements about but as with the previous two tracks, 808 State manages to hide them so effectively, you'd think they actually hired a twenty-piece percussion group. As we move on in the years to some of the most recent material on this release, it becomes very apparent 808 State has left its ravey techno roots far behind. Bond, a thumpy, grungy tune, Azure, a smooth, jazzy d'n'b track, and Lopez, a mellow, morning-after bit of Brit pop, all see the non-electronic instruments and guest vocalists dominate completely. Heck, Lopez is mostly carried by a slide guitar, an admittedly cool sounding instrument that even The KLF used effectively, but is more commonly associated with the country & western camp. 

I've heard a number of 808 State's old fans were put off by the group’s latter material, and I can see why. The Don Solaris tracks (of which these last three are from) suggest the group gave into the electronica movement, as these songs certainly wouldn't sound out of place on a This Is Electronica compilation lodged between The Chemical Brothers' Setting Sun and Goldie's Inner City Life. Yet, if that was the case, why didn't we ever see 808 State appear on any of these kinds of comps? In addition, it's not like these elements were never apparent in the group's work even in their early days. If they wanted to do the techno stuff, they were obviously quite capable of doing it, as the track Crash demonstrates. 

An exclusive new track to this North American version of 88:98, you hear the trademark 808 State sound in full effect as erratic rhythms, natural instruments, and quirky electronic sounds meld ever so easily together to form a delightfully jazzy outing. Therein lays your biggest clue as to why they were never tapped for the electronica movement. No matter what, Graham, Barker, and Partington are musicians first and foremost. Regardless of the instrument, whether organic or synthetic, they will make use of it to do exactly what they please, friend or foe be damned. 

I really don't blame 808 State for moving on from the techno sound that made them, as that scene had basically sputtered out by the mid-90s, so they were actually quite free to now do things they may have been wanting to without being tied down by their past. If you didn't like the direction of their newer sound, it didn't really matter to them. They were going to make the music they wanted to make. Major labels hate that in the acts they sign. It's no small wonder the Don Solaris material ended up getting picked up by the "What!? No one else grabbed the rights? Oh, we are SO on that!" label, Hypnotic, for a stateside release. 

There are also a pair of updated remixes of Pacific and Cübik tagged onto this release. The basic structure of them is relatively unchanged but they sound much more cleaned up as 808 State make them ear-friendly for the newer generation of party kids. I'm personally more partial to the originals but that may be more due to nostalgia than actual aesthetic. Like so many others, Pacific was my first introduction to the group, and it still remains their most endearing track. 

Why were they unable to replicate the success of it? Truth be told, it would seem Pacific was mostly the work of former member Gerald Simpson, who left shortly after. Was he the sole reason for 808 State's major success? I doubt it. Even without Pacific, 808 State would have still been a sonic force to be reckoned with. They may not have had an all time classic in their catalogue, but then they wouldn't be constantly tied to it either. The results of their genre-smashing work would have earned them the respect of their peers despite having a classic track. While not everything on this collection may be the most stellar music crafted, it will definitely keep you interested as you continuously try to figure out all of 808 State's little musical tricks. 

Score: 8/10

ACE TRACKS: 

Pacific 707 

Cübik 

Written by Sykonee. Originally published 2005 for TranceCritic.com.© All rights reserved.

Institute Of Frequency & Optical Research - Subspace Messages (Original TC Review)

Jump Cut Records: Cat. # cutupcd006 

Released 1994 

 

Track List: 

1. Subsonic Carrier Wave (23:00) 

2. Lightspeed Re-Entry (7:38) 

3. The Billion Dollar Conspiracy (8:41) 

4. Spaceport Evac (7:51) 

5. The Aliens Made Me Do It (10:36) 

6. Destruct Sequence Eco (11:05) 

7. Transfer Interface (8:07) 

(2010 Update: My second Random Review, and future whipping boy for many future reviews. Anytime I needed an example of how a release shouldn't sound, I just referred to this album. Probably ended up giving it more attention than it ever deserved.) 

IN BRIEF: Mastering can be your friend. 

With a name like Institute Of Frequency & Optical Research (or I.F.O.R. from here on out), you'll probably have some alarm bells ringing on your Pretentious Detector. Indeed, quite often producers or groups that take on long winded monikers with such egg-headed words like 'institute' or 'future' or 'radiophonic' tend to make serious conceptual music that only highbrow tech-heads seem to comprehend. Chart toppers are usually furthest from their minds, even if a few happen to squeak in every so often. 

This is actually interesting stuff at times, though. After all, I'm sure radio astronomers, quantum physicists, and Mir residents need background music too as they unlock the secrets of the cosmos. Heck, it was such technicians that started this whole electronic music thing in the first place. Chances are they'll still be making it as music for their elevators to the moon even as human society crumbles around them in the coming Apocalypse, clinging onto the last remnants of technology while the rest of us are forced to beat each other up with big rocks for little scraps of radioactive blades of grass. Well, maybe not, but you get the idea. 

This form of astro-physicist ambience grew quite popular amongst chill rooms during the mid-90s, finding a pleasant equilibrium with the trance and techno of the time. A great number of acts came and went (probably Pete Namlook the most prominent of the bunch) but very seldom made an impact on the more mainstream audiences. It was just far too weird sounding for most folks to latch onto, which probably suited the ardent fans of it fine. Why should lowbrow commoners be privileged to listen to the sounds of the future, after all? Hnn... bunch of stuck up- 

While I.F.O.R.'s music somewhat falls into this category, the duo don't. Comprised of DJ Decline and VJ Freewind, they were more known for doing a live music (frequency) and video (optical) show, melding the two to allow visual and audio stimulation on the senses. It's a presentation format I quite enjoy myself but, to be honest, has little to do with this release in particular. While details are sketchy over a decade since this release, Subspace Messages seems to be a collection of tracks used in their shows. The inlay is filled with all sorts of sci-fi computerizd pictures that are probably part of their show, but I can only speculate what I.F.O.R. actually did for their visuals. Instead, I'll just have to go by the music on hand here. 

Opener Subsonic Carrier Wave starts out with some distorted radio chatter -really distorted, in fact, as I can actually hear the sound clipping. It didn't garner my attention for a bit, though, as many producers like to use this trick as a quirky effect. However, as layers of sounds are gradually brought in, I came to an ugly realization: the clipping is a result of poor mastering. This becomes very apparent as the song carries on. Drum loops and samples are quite muffled while eerie pads and a bassline are incredibly overbearing. Nothing here sounds EQ'd properly. It's either too loud, causing clipping distortion, or too quiet, getting drowned out in the process. 

How on earth did such a bad master get by? If this was a live recording, I could possibly see why the sound would be muffled, but I couldn't find any indication it is. As far as I can tell, this was how the source material came, and the studio just transferred it to the CD like this. 

But let's ignore production gripes for a moment. If things had been properly EQ'd, would Subsonic Carrier Wave be a good track? Hardly at all, I'm afraid. At twenty-three minutes in length, there just isn't enough going on to maintain our interest for such a long time. The closest thing coming to any kind of hook is some repeating radio chatter going "We have a problem at 1000 degrees. Um, come again?" It melds quite nicely with the rhythm but the novelty of it runs out by the halfway mark since nothing else is done with it. 

In fact, that's the main problem with this whole track. Even with the bad mastering, if the song was decent there'd still be some enjoyment out of it. Instead, it just sounds like a couple of guys fiddling with two different drum loops, two different pad sounds, one bass loop, a few different samples and effects, and recording it using a tape recorder mic for twenty-three minutes. Maybe this would make more sense with a video playing along, but not for a CD album. 

As we move on from the tedious first track, the good news is the songs do get more intuitive. Lightspeed Re-Entry has more going on in its 'short' seven and a half minutes than the last behemoth. Brisk, electro breakbeats, chirpy acid getting an excellent pitch workout, and gentle pads make up the bulk, while additional effects and sounds work to provide minute melodies during the bridges. The bad news is the mastering is still whacked. The acid and rhythms drown out a lot of the other elements. If it weren't for the sparseness of those two features, you'd have a difficult time noticing anything else. In addition, the overall quality of sounds is kind of hollow. Well, at least it's better than muddy. 

The music quality gets better on The Billion Dollar Conspiracy, a kind of tweaky acid breakbeat track with samples and effects moving in time to the rhythm. Cool stuff but it's a shame the production doesn't do it justice. Things still get drowned out and distorted but at least this one isn't as tedious to listen to as the previous two. I really do wish the mastering were better, though. Then I might have been able to hear all the details of that opening bit of dialogue concerning the infamous Face on Mars. 

Moving on past the muddy acid-and-808 chug-a-lug borefest that is Spaceport Evac, we come across a pair of noodly ambient pieces that, really, aren't all that bad. As far as these kinds of soundscape tracks go, the minute twinkling melodies of The Aliens Made Me Do It, sprightly sounds of Destruct Sequence Eco, and clever use of speech samples and spacey pads on both make for some engaging, if at times indulgent, music. Oh, the production problems still persist, but they aren't as glaring here, if anything because less attention has been paid to the rhythms on these two tracks. It was always the percussion and bass that was causing the problems before. Without much attention paid to those elements here, things don't sound as bad. 

Destruct Sequence Eco would have been a nice track to end the album on but I.F.O.R. have one more trick up their sleeve: an actual properly mastered track! No, not really. Transfer Interface is pretty much a moody bit of acidy ambient techno with one feature that will grab your attention right from the start. Freewind makes no secret of his love of Star Trek: The Next Generation, giving a shout-out to the crew in his respects liner notes. There's been some speaking samples about that may or may not be from Star Trek, but the opening bit of technobabble being described in Transfer Interface most certainly is. Heck, I even know the exact episode that it... er, not that I am a big trekkie myself, that is. Um, moving on. 

Now, don't let the very low score be totally misleading. There's been some interesting stuff on offer here as I.F.O.R.'s talent at making acidy ambience does come through on occasion. Unfortunately, there's far too much needless meandering in some tracks and crummy mastering in all of them to make Subspace Messages all that engaging. 

Yeah, I'm still bitching about the mastering. I'm sorry, but it is just unacceptable in any official release within the last thirty-five years, no matter how small your label may be. I've heard tinny, I've heard mono, I've heard scratchy, and I've heard muffled, but that's bearable within reason. However, when you have to deal with unintentional bass clips ad naseum throughout a release, it can put you off in an instant. It just sounds horribly amateurish and whether it's I.F.O.R. or Jump Cut that are responsible, I can only deride them for such apparent lack of professionalism when bedroom kiddies with Fruity Loops can make more polished sounding music. 

Score: 3/10 

ACE TRACKS: 

The Aliens Made Me Do It 

Written by Sykonee. Originally published 2005 for TranceCritic.© All rights reserved.

London Elektricity - Billion Dollar Gravy (Original TC Review)

Breakbeat Science: Cat. # BBSCD009 

Released 2003 

Track List: 

1. Billion Dollar Gravy (6:23) 

2. Different Drum (7:22) 

3. Fast Soul Music (6:22) 

4. To Be Me (6:16) 

5. The Great Drum+Bass Swindle (7:09)

6. Cum Dancing (7:15) 

7. Main Ingredient (4:35) 

8. Harlesden (5:44) 

9. My Dreams (7:24) 

10. Born To Synthesise (6:41) 

11. Syncopated City (5:57) 

(2010 Update: This is about the time us writers at TranceCritic were getting more personable in our grammar, making the reviews much easier reads. Well, at least until you got to the wordy track-by-track detailing. That was still a chore to read, even if the quips were coming much faster than before. It'd still be at least another half-year before we finally figured that out for good.)

IN BRIEF: Soulful sweet sound with city cool stylee. 

You know, I really do enjoy me some jungle. When it comes to EDM, the rapid pace and frenetic rhythms of the genre easily encourage you to indulge in the middle word of that acronym. If I just want to cut loose on the dancefloor, jungle gets the job done better than anything else. It matters little to me if my Caucasian heritage leaves me unable to look good going at it -I'm just in it for the fun. 

If this is so, then I'm sure you're wondering why it's taken nearly nine months for me, much less TranceCritic in general, to finally get around to reviewing a true blue, honest-to-God, one hundred percent legit jungle album (or drum 'n' bass, but seriously, the difference is negligible in most cases and artists go between the two of them so frequently, it's simpler to just refer to the whole as one -since jungle was the original term, it gets precedent). 

Well, funny thing about jungle and I is it is one of those styles of music that comes and goes with me. I'll be headstrong into it for a month or two, then be completely apathic to it for long stretches at a time, sometimes never returning to the genre for months, or even a year. Unfortunately, as TranceCritic began, I was on one of those downswings, and it's taken this long for me to feel the vibe again. I'll admit this isn't an exclusive thing to jungle; the same thing tends to occur with other subsets of the EDM spectrum as well. So, if you ever find a style not getting much attention from yours truly, you now know the reason. 

Okay, so now that the jungle bug has bitten me again (going to a prolific jungle night certainly helps) I feel I can give the release I've had on my To Review list some proper attention: London Elektricity's Billion Dollar Gravy. Why this one? To be honest, it was the first jungle release from my personal collection I randomly grabbed to review. Yeah, real revolutionary methods we utilize here at TranceCritic, isn't it. 

The man behind London Elektricity and Hospital Records, Tony Coleman, is yet another of the label's artists that has taken jungle down exciting, new roads with the soul-and-house jungle fusion dubbed 'liquid funk.' Don't ask me why it's named that, although I admit the music does fit the description better than some other names. With this revolutionary, new- 

Wait a moment! That's not right. Liquid funk is hardly new at all. Have we forgotten the work done by Gavin Cheung (as one example) in the mid-90s (Coleman hasn't, as Cheung's Nookie alias does get a shout-out in the liner notes). If house heads or trance heads or any non-jungle heads haven't heard of him, I can understand. But junglists? That's quite criminal if you ask me. It'd be like trance heads not knowing of Claudio Giussani. Hmm... then again, perhaps it isn't so surprising after all. 

So, really, liquid funk isn't all that new or revolutionary after all, despite certain media's claims the stuff High Contrast and the ilk are producing is. However, because the Grooverider tech-step, LTJ Bukem atmospheric, and Aphrodite jump-up styles grabbed all the attention from way back (as well as jazzstep being tapped for the 'electronica' wave), it's understandable some of the other stuff was overshadowed for so long. It seems it took the other jungle styles to run their templates so far into the ground, by the time junglists were ready for something else, the liquid funk sound seemed like a stroke of genius. Huh, well that's what happens when folks dedicate their musical horizons to such a small microcosm of style, I guess (hint hint, tranceaddicts!). 

I guess you're starting to wonder if I'll ever get around to actually reviewing this release. Okay, fine. Man, are people impatient these days. You'd think they would be able to sit through my ramblings to learn something about this music in the process. I mean, it's not like there aren't more important- oh, yeah. This review. 

Billion Dollar Gravy opens with Billion Dollar Gravy, which is as fine a jungle track as any I've heard. Using orchestral strings to provide the backing melodies while frenetic rhythms and smooth, swinging bass energize you, this is certain to move you physically and emotionally. Funky leads and soulful samples provide the padding, as they will for most of these tracks. I could complain the percussion comes off a little tinny, when more refined production would have made this track more intense, but this is only the opener; plenty of room left on this release for Coleman to flex his musical muscle. 

If you thought Billion Dollar Gravy was funky, then hang on tight for Different Drum. Along with Blaxploitation guitar licks (or a very good replica of them), mild horns, and that single high-note string heard in many a house track, this is a smooth, soulful slice of music to be had. Throw in some great lyrics from house legend Robert Owens, and the link between jungle and house is complete. Your typical bridges heard in jungle are filled with little piano solos and while the climaxes aren't as intense here, that oh so smooth bassline gets you grooving just as emphatically, especially as you hear Liane Carrol's soulful wails in the background. 

Things mellow out a little on the next track, letting orchestral strings and Liane Carrol carry the bulk of the track. Don't be fooled, though, as like the title suggests, Fast Soul Music is quite brisk as well, utilizing the strings to build to little peaks, embellishing sound effects bubble about on the other side before repeating the process throughout. 

To Be Me continues the inner city cool trend expertly, spicing up the formula by utilizing a bass lick that goes more wwum wwum ww-ww-ww-ww-ww-ww-wwum rather than the smoother versions we've had on hand thus far. Also, expect to hear mellow horns and single piano notes rather than strings to build the peaks up. It may be the exact same template as Fast Soul Track, but it still sounds remarkably different.

The Great Drum+Bass Swindle takes the Different Drum template and cranks the energy up with rolling basslines, spastic rhythms, and sampled singing getting chopped up throughout. This track is also a great example of why the breakdown/build template works so effectively in jungle no matter how much it gets used. Whereas it tends to get redundant in other genres if abused, the rhythm is just so intense here, when you get that respite that can sometimes last up to a minute (although it doesn't here), it is quite welcomed to have a breather on the dancefloor. In addition, when it builds back up again, the payoff is rarely lacking, thrusting right back into the thick of that mad rhythm that you'd have to be either very athletic, jacked on amphetamines, or plain crazy to match pace. You just don't get that with most typical four-on-the-floor dance music. 

We're now halfway through this release and, while everything that's been heard has been top notch, I'm starting to get a little antsy. The formula has remained very consistent thus far and, while having similar sounding songs may work fine for singles, you expect a little more variety when it comes to album releases. Can Coleman prove hes more than just a purveyor of funk and soul samplings while making use of just a mostly CHA wiki-CHA, CHA wiki-CHA rhythm in the second half? 

Cum Dancing (stop snickering back there, you) aims to prove this isn't a one trick pony, but only halfway. Very synthetic in nature, this was an earlier single for the London Elektricity moniker that seems like the odd man out on Billion Dollar Gravy. Sure, there are still string samples being used, but they are mostly background elements rather than the focus. Instead, Coleman takes a feral bassline and tweaks it about while eerie effects flutter about. However, the same rhythmic template as already heard thus far is still in usage. It's good, but something needs to break up the similarity between all these tracks soon, otherwise things aren't going to stick out as much in later songs. 

Main Ingredient seems to indicate Coleman's made his bed with the current rhythmic template and sticking with it, though. More jazzstep than liquid funk in nature, this one's focused more on the lyrics sung by Liane Carrol than the music surrounding it. Definitely a different take, of course, but the rhythm's been just so similar this far through, and it's not sticking out as well as it should. This holds Harlesden back from being as good on this album as it is on its own as well. Yes, it's another fine example of the liquid funk sound, but we've already heard this done on the album, Mr. Coleman. Let's hear what else you can do. 

Ah, no dice I see. My Dreams brings Robert Owens back for another smooth little bit of soulful jungle. Much like Main Ingredient, it's quite restrained on the musical department (word to the 808 cowbell though!) so Owens gets the chance to showcase his vocal range, but, please, Coleman, can we get something a little different before this album ends? You've proved you're a master at this liquid funk game now. A new direction would be nice, I'm begging! 

Actually, My Dreams was a nice segue into Born To Synthesise, where Coleman finally does something out of the ordinary. The sparseness of the former managed to take us out of the more energetic nature of the rest of the album, and this track brings the energy right down to a crawl with a simple, jazzstep take on, well, acid jazz, I guess. It's quite nice to listen to, as Ms. Carrols lyrics carry quite a bit of weight now that she has the opportunity to embellish a bit without losing pace with quicker rhythms. However, I'm feeling this track is coming almost three songs too late. It would have been perfectly placed after The Great Drum+Bass Swindle to break up the rhythmic monotony that was starting to affect this album. Instead, I guess Coleman decided to go for the "come down at the end of the night after an energetic barrage" feel to this album. 

Syncopated City certainly helps maintain that feeling, as it's book-ended by pleasant strings and nice vocals, with a stuttering bass and a completely atmospheric rhythmic middle that helps ease us nicely out to finish. Unfortunately, as nice as it is to finish out, because there was such a long stretch of similar sounding tracks, Billion Dollar Gravy doesn't quite stick out as well as an album with such great songs should. 

In fact, therein lays my main gripe about many jungle albums: that damned near absolute refusal of some producers to never stray from a given template throughout. It's no surprise to me that some of the best jungle albums I've ever heard are diverse throughout, and don't have a few token different tracks tagged on at the end. However, this is still an expertly produced album, and recommended to anyone either curious of liquid funk or just how good soulful jungle can sound. The track arrangement may be a little lacking, but they are all fantastic in their own right. 

Score: 8/10 

ACE TRACKS: 

Different Drum 

The Great Drum+Bass Swindle 

Cum Dancing 

Written by Sykonee. Originally published 2005 for TranceCritic.com.© All rights reserved.

Various - A Trip In Trance 4: Mixed by Rank 1 (Original TC Review)

HiBias Records: Cat. # HIB-10272
Released Jan 25, 2005

Track List:
1. Inner State - Changes (6:49)
2. Rachael Starr - Till There Was You (Gabriel & Dresden Mix) (6:42)
3. Ridgewalkers - Find (3:03)
4. Alt + F4 - Alt + F4 (6:19)
5. Benjamin Bates - Whole (4:50)
6. Jan Gustafsson - True Fiction (5:48)
7. Ernesto vs Bastian - Dark Side Of The Moon (5:46)
8. Sherrie Lea - No Ordinary Love (Kyau vs Albert Mix) (5:18)
9. Sandler - Theme Song (Sandler Mix) (3:32)
10. Hemstock & Jennings - Passion (John O'Callaghan Remix) (5:18)
11. Precursor - Pulsar (4:49)
12. Kenny Hayes - Daybreaker (Airbase Mix) (5:46)
13. Rank 1 - Beats @ Rank 1 Dotcom (6:00)
14. Jesselyn - Omnia (Tech-trance Mix) (5:03)


(2010 Update:
Kind of sloppy, this. I think this was a case of my so-called 'chatty' stream-of-thought writing getting the best of me but I didn't really take this release seriously. As all those contemporary trance reviews from earlier in the year can attest to, I'd grown quite cynical of the sound, and wasn't expecting much. Folks thought I was utterly daft in giving this the score I did, though were I to review it today, it'd probably earn a 5 or 6. It's still fun in portions.)


IN BRIEF: The true sound of reverb.

When I saw the promo sticker on A Trip In Trance 4 claiming "this is THE only domestic release to feature the true sound of Trance", you just know I got a little twinkle in my eye. The true sound of trance? Really? You mean to tell me everything in the last ten years is forgotten and we are now offered a compilation that contains the true sound of trance, as the name originally was used? No supersaws? No useless vocals? No halting breakdowns? No Corsten pre-sets? Just hypnotic loops, spacey pads, sci-fi samplings, and acid to spare? Hah! I think not.

I can see you are already thinking, “Oh, great. He's just going to use this review to gush over old stuff while bashing new stuff.” Don't worry, my friends. I'm not that petty.

Having accepted the fact the word trance has come to encompass more music than was initially intended, I've just learned to be a little more wary of anything with the genre's title on it. Unlike the old days where you'd know what you'd get with trance in the comp's title, it's gotten riskier for those preferring either mainstream or underground styles. Granted, you can usually tell what a release will have by track lists or label influence, but sometimes you may be tricked into getting something you hadn't intended.

While this series tends to aim for the more underground side of things, A Trip In Trance 4 is still a commercial release, so I wouldn't expect to hear, say, psytekk, on here. However, I do hope to hear more than just a bunch of euro trying to pass itself off as trance. Fortunately, Dutch producers Bennio de Goeij and Piet Bervoets, more commonly known as Rank 1, have been tapped to compile and arrange this edition, a pair that have had enough experience in the game to have an idea of what the true sound of trance is.

As is my tradition when delving into a new release, I plunked the CD into my player, threw on my trusty Sennheiser 580 headphones, cranked the volume to an appropriate level, and lay back on my couch in preparation to be swept up in the sonic assault. And what an assault! Opener Changes by Inner State sounds mellow enough with its Mediterranean atmosphere, but erupts with a wall of reverb so intense, the details are drowned. What kind of crappy mastering-

Less than a minute in, I slapped my head and turned the surround sound on my player off. I'd forgotten modern trance loves to crank the reverb effects to eleven, rendering the need for surround sound obsolete, especially on headphones.

Ah, now I can hear what's going on with Changes. And you know what? This isn't half bad at all. The hooks are simple and succinct, the vocals are rendered unintelligible enough as to not be distracting from the music, and the downtime doesn't dawdle. Then there's that rhythm! Bottom heavy and driving, it gets you grooving wonderfully despite the floaty effects about. Perfect opener, this song is.

We get a perfunctory mix into the next track, as they will mostly be on here. Really, this is more of a compilation than a DJ mix, so I won't be judging Piet's mixing abilities. I'll still be watching for track arrangement, though, so there'd better not be any lost momentum throughout.

The 21st century versions of Jam & Spoon, Gabriel & Dresden, give us another trancified remix of a pop song, this one Rachael Starr's Till There Was You. The sinister, pulsing synth that growls in the background is wonderfully apt to the song's lyrics about a girl who sings about her growing addiction to drugs. Well, it could also be an addiction to love, but I like my interpretation better. It suits the choking depressive sound of the remix. Till There Was You feeds off the initial thrust of Changes nicely with its sparseness, and the little vocal respite of Find by Ridgewalkers (Andy Moor's remix, I am told, but there's not indication of this on the credits) works decently as a follow-up. Only two and a half minutes of the track is used, though, as were quickly heading off into more energetic territory.

Yikes, but is Alt + F4 ever a cookie-cutter trance track. If The KLF had ever made a book called The Manual: How To Have A Number 1 Trance Hit, this track would have been their blueprint. Corsten rhythms? Check. van Dyk pre-sets (the other overused pre-set)? Check. Harmonizing basslines and melodies? Check. By the numbers breakdowns, builds, echo, reverb and pad effects? Check. A unique melody featured after the main elements have played out for a bit to make this track your own? Check.

Still, it isn't really all that bad. As The KLF proved, you can have fun music even in templates, and Alt + F4 is a fun tune thanks to the one unique element on hand, a twinkling little melody at the peak of the song that you really can't take seriously. Which is a good thing, as the next track is about as silly as it gets.

My God, but is that ever a horrid sound! What on earth is that playing, a vocodered accordion? Haha, it’s great! Benjamin Bates' Whole is the perfect antidote in case you felt Alt + F4 was too cliché, as it seems the true sound of trance has gone on to include Discovery era Daft Punk styled house music. Yeah, it's a stupid song, but comes out on here so unrepentantly, Whole sounds pure genius.

A Trip In Trance 4 has already given me some startling surprises, and things just keep getting better as we again move into completely different territory with Jan Gustafsson's True Fiction. If I was ever to refer to a song as epic, this is definitely one. To me, something epic has to be energetic and adventurous without crossing that line into over-the-top theatrics. True Fiction strikes that perfect balance with an invigorating riff, spacey pads, driving rhythm and just enough reverb to give it a grand feeling.

Onto something completely different again now, as the true sound of trance also includes darkwave with a dance beat. Ernesto and Bastian's Dark Side Of The Moon has more melodrama than any trance track than I've heard but then that's always been the draw of darkwave. This is so incredibly over-the-top, though, it actually works. Okay, so Dark Side Of The Moon is about as gothic as an Evanescence song, but it's also another fun track on this compilation that continues to show how diverse this music can get. Can't complain there.

I can complain on this next track, though. I was afraid of this but, given how much fun A Trip In Trance 4 had been up to this point, I'd held out some hope the diversity would continue. Instead, we get a weak Silence imitation with Kyau and Albert's remix of Sherrie Lea's No Ordinary Love. Despite all the fancy little effects, pads, and reverb thrown about to try and give the song substance, the energy in the compilation is drained nearly to nothing. This song is just far too boring with no vibe at all. Sure, Lea does a competent Dido impression here, but Kyau and Albert's material is limper than soggy noodles. This tends to happen, though, when you follow up songs with good rhythms with weaker ones.

From here, the compilation never regains the spontaneity that was so effective on the first half. There are some decent tracks to be had but for a long stretch, nothing seems to regain the energy lost from No Ordinary Love. The wall of arpeggiating reverb in Sandler's Theme Song can't manage it. The Passion of Christ-theme sampling Passion from Hemstock & Jennings can't manage it (does this track remind anyone else of Gouryella, though?). And the two stuttering supersaw anthems in Pulsar and Daybreaker don't manage it, either, although Precursor's track does pull a valiant effort. There's just not enough attention paid to creating energy in the rhythm, figuring all the arpeggiating melodies and reverb will do the trick instead. Maybe if these were the only types of tracks on here, it would work, but we had a long string of songs doing rhythm right to start out and this last batch just can't compete as a result.

For the climax of this release, Rank 1 decide to give their own release of Beats @ Rank 1 Dotcom the special treatment, more or less mixing it in from the very beginning of the intro percussion. This track builds up the rhythms for quite a while, capping off with a little ode to The O.T. Quartet's (Rollo) Hold That Sucker Down before the breakdown. Maybe.

Anyhow, this track is actually quite interesting. Sure, there's a lot of downtime as they build up the tension for their big riff. However, they pull a nifty little delay trick with the reverb on their main hook, spicing up the usual templates far more than the last five tracks managed to do between them all. It marks a return to the reckless approach to trance that was so apparent in the first half, and I'm actually quite intrigued in this compilation again. It's just a shame this comes right at the end, but Piet finishes out with a wonderful little growling slice of techno from Jesselyn to take us out.

And that, my friends, is the true sound of trance to me. Not supersaws, or reverb, or pads, or loops, or acid specifically, but the willingness to experiment with those attributes. As easily as Rank 1 could have just used a standard synth for Beats, they instead tried something unconventional with the reverb trick, and the songs much better for it. Sometimes such experiments fail but the results are always far more memorable than the same ol'.

For a domestic release, A Trip In Trance 4 has its fair share of eccentric takes on your usual trance templates (aside from Alt + F4 of course, but I wonder if this track is actually a piss-take), but the more commercial aspects of it will probably turn away those wanting underground material. Still, despite that tedious stretch of flat-lined momentum near the end, the mainstream audience will undoubtedly get a kick out of this. Just remember to turn your surround sound off before you play it.


Score: 7/10

ACE TRACKS:
Jan Gustafsson - True Fiction
Rank 1 - Beats @ Rank 1 Dotcom


Written by Sykonee. Originally published 2005 for TranceCritic.com.© All rights reserved.

Various - Turbo Studio Sessions Vol. 1 (Original TC Review)

Turbo Recordings: Cat. # MARCD007-2 

Released 1999 

 Track List: 

1. Hans Niewswandt - Mental Madness (6:28) 

2. Thomas Krome - The Real Jazz (Erot Remix) (7:31) 

3. Turner - Multiorgel (Marathon Mix) (3:29) 

4. Universal Tongues vs DKMA - Shiver Me (ADNY Remix) (7:33) 

5. Swayzak vs Theorem - Bad Hair Day (8:38) 

6. Steve Bug and Acid Maria - Down With Us (6:57) 

7. Russ Gabriel Pres. Audio Spectrum - At7 (Live In Detroit) (6:01) 

8. Isolée - Beau Mot Plage (DJ Q Remix) (7:18) 

9. Dietmar Lehner & Thomas Biebel - Bobby R. (7:58) 

10. Blaze - Lovelee Dae (Isolée Remix) (6:32) 

11. Nytolbooth - Orange (4:09) 

(2010 Update: This was the first of my Random Reviews, where I would just randomly pluck a release from my collection and review it. I figured it would occasionally and unexpectedly spice up what we covered for TranceCritic. Lord knows it did that, considering some of the Randoms I'd go on to do. Also, this review has somewhat dated, as Turbo Recordings - and specifically Tiga - has gone on to do much more since I wrote this. Perhaps of interesting note, though, is that much of the minimalist style that was featured on this compilation would go on to be quite popular in the years following this review. That's Turbo for you -always well ahead of the curve.) 

IN BRIEF: Get to know Turbo a little better. 

So you think you know Turbo Recordings, do ya? Tiga. Sunglasses At Night. International Deejay Gigilo outlet to North America. Swedish, Finnish, and Nordic DJs you've never heard of but are able to spin circles around your usual suspects. 80s revivalists and trendsetters by tapping and exploiting the electroclash and disco punk sound before anyone else. Is that the Turbo Recordings you know and love? If so, then allow me to introduce you to the Turbo you may have never met. 

Starting out as mostly an outlet for Montreal based DJs and producers, Tiga's label managed to make a name for itself using the tried and tested genre of house. Along with simple yet nifty urban photography on most of their releases, Turbo quickly gained notice from house aficionados for providing quality deep, funky music (with a few token releases showing off other genres on occasion). The Studio Sessions compilations were started up to offer CD buyers a chance to have rare vinyl releases all on one disc, unmixed so you'd be able to enjoy them in all their full-length glory. 

It's a wonderful idea, which is often executed by many labels (although not nearly enough these days) but prone to some hiccups. Sometimes there is a reason for tracks to not be released in a more domestic manner: they just aren't as good. However, Turbo's track record of consistent quality even at this early stage of their run was impressive, and I'd be amazed to be let down by them. 

Sure enough, things get off on the right foot with the funky, soulful Mental Moments from Hans Niewswandt. Starting off quite mellow with some spoken Rasta words overtop low filtered bass, rhythms are gradually layered as the soulful samples and minute melodies are added. By the time everything builds to a peak over four minutes later, the funk has fully infected us and I deny you to not feel it flow through you. The fun plateau of the track lasts a good two minutes before we are gently brought back down as layers are stripped away, ending on the loops of soulful singing. Mental Moments certainly is a warm, inviting track to get us started on. 

Keeping with the upbeat house vibe established by the opener is Erot's soulful remix of Thomas Krome's The Real Jazz. Just like Mental Moments, the rhythm is infectious in its way of moving your body. As the title suggests, the loose melodies of jazz are the name of the game here, letting Hammond organs and flutes alternate in leading the song as they see fit, every so often allowing the percussion to get a little indulgent as well. 

So you think you now know the Turbo label sound? Not quite yet, then, as we are taken into slower, chilled tech-house with Multiorgel by Turner. Mind, this track isn't worth getting into. Despite some mellow, loopy vibes to be had, nothing much is really done with it either. It's best served as a transitional track. Instead, let's focus on ADNY's remix of Shiver Me by Universal Tongues and DKMA. Yeah, gorgeous, those opening strings are, aren't they? Tilt your head back and be swept away in morning-after Ibizan bliss as xylophones and heavenly lyrics sing your troubles away. 

The follow-up of Swayzak and Theorem's Bad Hair Day keeps things on the chilled out run, doing what Multiorgel failed to in making a loopy track have feeling. These guys are masters at the minimal sound of house and techno, managing to suck you in with dubby sounds gradually building over the course of the song. Chances are you won't even notice the rhythm doesn't change one bit throughout. 

Sadly, Down With Us from Steve Bug and Acid Maria is a step back, not really amounting to much of anything throughout its murky stretch. So now you think you know what Turbo's all about? Prepare for a bit of a shock, then, as we leave the mellowy house fronts and engage in straight-up techno, specifically of the old, Detroit kind. Strangely enough, despite the obvious synthetic overtones in the bass and somewhat piercing synth, Russ Gabriel's (as Audio Spectrum) At7 will probably get mistaken for another tech-house track due to the funky nature of it. Somehow, someway, it bears a great deal of semblance to the tracks that came before. 

In fact, I may as well mention here that this compilation as a whole up to this point has a feeling of sameness throughout. Yes, there are differences from track to track but the atmosphere, one of funky, loungey vibes, has remained persistent. This wouldn't be so bad if it was a themed compilation or DJ mix, but when it comes to studio samplers, especially from one as eclectic as Turbo, I kind of expect a little more variety from track to track. There's a definite quality to what's been on offer but it doesn't feel like they're given the best chance to stand out from one another. Hopefully this will improve on the last third of this CD.

Isolée's Beau Mot Plage (DJ Q doing the re-rub) doesn't offer much hope, as it's another loopy track, more on a techno trip with sampled guitars strumming a Mediterranean ditty as percussion gets filtered throughout. It's definitely a groover, though, and probably a fine set piece as well. Along with the rest of what's come on here, however, it doesn't stick out as much.

Dietmar Lehner and Thomas Biebel seem to be willing to slap us out of this samey vibe with Bobby R. -quite literally. I'm not certain, but it sounds like this song opens up with some women being slapped! By the tone of their voices, it sounds more like it’s done for slapstick than abuse, but they are speaking French so I'm not certain. The song then starts out on an ominous tone, with sinister sounds and grimy synths. Along with simple 808 breakbeats, this comes close to the style of music Turbo came to embrace a couple years later. Best of all, Bobby R. completely changes the vibe of this compilation without interrupting the flow. All fine and good, but perhaps this comes a might bit late with only two more tracks left.

Isolée's mix of Blaze's Lovelee Dae is another step in the right direction. Rather sparse, the simple breakish rhythm and slight, echoing electro synths compliments Blaze's vintage soulful chorus. This is some smooth dub to be had here as little effects on the percussion and synths keep things unique throughout. And, just in case you think you've finally figured out the early Turbo sound, final track Orange by Nytolbooth finishes off with a bit of ambient techno reminiscent of many an old morning-after chill room setting. It's a pleasant little thing, making good use of thick bass and warm pads as a synth bubbles about. 

That’s a wrap for this compilation, then. It's a fine collection of tracks that you can throw on at any time but I don't think it'll make much of an impact on one's personal collection either. With such a long stretch in the middle of tracks dedicated to the more minimal aspects of tech-house, this just doesn't have enough weight behind it to leap out and grab your attention as it plays. However, while Studio Sessions: Vol. 1 may be one of the weaker releases I've heard from Turbo Recordings, it is still a notch above many contenders.

Score: 6/10

ACE TRACKS: 

Universal Tongues vs DKMA - Shiver Me (ADNY Remix) 

Blaze - Lovelee Dae (Isolée Remix) 

Written by Sykonee. Originally published 2005 for TranceCritic.com.© All rights reserved.