Delerium - Karma (2013 Update)

Nettwerk: 1997

(Click here to read my original TranceCritic review.)


Oh my God! I had no idea Leeb and Fulber recycled the main melody in Twilight from their earlier Front Line Assembly tune Outcast. Have they no shame? Ah, who cares, it's a great melody. Okay, that sorted...

That Silence, a track receiving very little promotion when Karma first hit the streets, would go on to (sadly) define Delerium forever after - and who’s subsequent remixes would also inspire a whole slew of copycat vocal trance upstarts - has always surprised me. Reflecting on the whole phenomenon as I re-listened to this album, however, I was struck by something even more surprising: why wasn't this song more heavily promoted? I mean, Sarah f’n McLachlan’s on the vocals, at a time when her star was finally breaking through into mainstream recognition (or was that Canada’s hype machine going into overdrive?). Who cares about that chick from Single Gun Theory or Ms. McLachlan’s backup singer when you have the real deal providing pipes on a song? I guess Nettwerk did, tapping Euphoric and Duende for lead single duty instead (sorry, Kristy Thirsk, you already got two singles to your credit on the previous Delerium album).

I’ve already touched upon why such collaboration made sense in my old review. On the other hand, perhaps Nettwerk was uncertain whether the two had audiences within the same sphere. Despite a following career suggesting otherwise, Leeb and Fulber’s ambient side-project was still considered more in line with the industrial and goth scene most knew them by. It wouldn’t surprise me if Nettwerk saw potential in turning Delerium from dark, morbid, ambient drone into something commercially viable upon signing them, but even after Semantic Spaces, they fluttered between the two. Karma, however, was definitely taking a proper stab at ‘post-Enigma’ world beat and downtempo; yet only electronic music fans remained aware of the group, even in 1997. Lord knows I couldn’t namedrop Delerium to anyone outside my music circle without getting confused glances. The cliché may now be that both Delerium and Sarah McLachlan appeal to the same demographic (middle-aged housewives into spiritualism and that), but it was far from the case when Karma came out. Sarah had her fans in the folk music scene, Delerium had their fans in… elsewheres, and you’d never catch either of them interacting (unless by accident if they were watching a MuchMusic Countdown video with both making the list).

G'uh, I’ve spent way too much time on Silence, something I should instead do when I review the single-proper (which is never). Whatever the initial intent behind the song was, it went on to dominate Delerium’s sound forever after (ethereal, gothic world beat pop with guest female vocals). Ugh, it was okay as intermittent tracks spaced out between the pure instrumentals (if you can count a bunch of ethnic and Gregorian chants as ‘instrumental’), but not as their defining characteristic. Karma struck the right balance, and small surprise it remains a favourite for new and old fans alike.

Terry Lee Brown, Jr. - Karambolage

Plastic City: 2006

As Terry Lee Brown Jr., Norman Feller’s made a career of making deep house music for those who don’t really like deep house music. That’s not a criticism. The deep house scene has a long, long lineage, with many permutations and variations cropping up over the years, and as such several layers of ‘deep’ for any head to dig into. When Feller started producing under this guise (probably due to his proper name already being associated with hard trance), Europe already had a thriving deep house scene in swing, though of a decidedly different bent than America's take. Instead of drawing inspiration from soul, funk, and jazz, the Old World used blissy pads and Balearic vibes in their interpretation of 'deeper than thou' tunes, and Feller was no different when he started out. Yet, there was something a little different to his sound too, a tight techno aesthetic to his grooves (just can't escape being German). It was like... 'tech-house', or something, but no way such a silly term would catch on in the mid-'90s. Deep house was good enough.

A decade on from Terry Feller's take on 'deep tech-house', and suddenly the sound is all the hipster rage, made popular by several of his fellow Germans no less. Except it's not quite the same, more minimalistic, glitchy, and clinical than the classic euro deep house feel. Since that was where the trends were heading, ol' Norman had no choice but to step in line by ...making the exact same sort of music as Terry Lee Brown Jr. as he ever had.

So Karambolage has a win/loss thing going for it, depending on your stance. If you've always liked his sound, then you're in safe hands here, as this album is all sorts of class with that distinct, nicely approachable vibe Norman's long been ace at. The pads are warm and lush, the rhythms bump and groove, the vocal samples are tasteful, and the hooks are earwormy enough that you’ll never want a track to end. That said, there aren’t any surprises here, which has always been the complaint with a Terry Lee Brown, Jr. album. Feller’s found a formula that works, and four LPs in, doesn’t have much reason to shake it up.

If there’s anything that identifies Karambolage from the other albums, I guess it’d be more of a dubby, dreamy tone compared to the straight-forward tribal tone earlier Terry material had - tracks like Moody Afternoon, Dub_servant, and Time Out don’t sound too removed from Frameless Structure, while Side Of The Shark would be quite comfortable in a peak time late-‘90s Digweed set . Don’t worry though, denizens of the dancefloor, as It’s All About, Fix Me Up, and Cosmic Rise are just as indebted to Chicago of yore as any of Terry’s classic cuts.

Karambolage isn’t an album that will astound you with ingenuity. It’s Norman Feller doing his thing as always, and for anyone willing to give it a go, that’s plenty enough.

Various - !K7150

Studio !K7: 2003

I got this for exactly one track, which is a pretty ludicrous investment for a double-CD release. Oh, I had faith most of the other tunes would turn out good, as !K7150 came highly recommended by all the rags I gave a shit about, but I probably wouldn't have picked it up had Tiga's Hot In Herre not been among the cuts. And like Hell I’d pick up Ministry Of Sound’s The Annual 2004 for it. If I’m going the 2CD route for one song, I sure don’t want a case where it’s the only song I’ll like. Besides, everyone knows Studio !K7 is all sorts of class, and MOS is... whatever the opposite of ‘class’ is.

It didn't hurt some of the other names dropped in write-ups for !K7150 were acts I was mostly familiar in name only. What better way to finally check out Herbert, Trevor Jackson, Recloose, Funkstörung, Ghost Cauldron, and Tosca (what, I was a late to the Kruder & Dorfmeister party)? Pairing them with personally proven names – Swayzak! Princess Superstar! DJ Hell! Guy Called Gerald! Earl Zinger? - and this was about as far from a risky purchase for yours truly as I'd ever made back in my financially lean times.

More than just a celebration of one-hundred and fifty catalogue releases from Studio !K7, this double-CD collection serves as a strong statement of what the long-running German label had musically been up to. Quite a bit, turns out, with plenty of diversity between genres, though skewing towards the downtempo side of things more often than not (must be that K&D influence). Conveniently, these genres are mostly lumped together as things play through, so if you get tired of hearing dub or electroclash (hey, early 2000s), just skip some tracks and you’ll be hearing something entirely different instead.

Dunno why anyone would want to skip these tunes though. The opening stretch of jazzy downtempo oozes inner city cool, while brisk upbeat cuts like Guy Called Gerald’s jazzstep Humanity and Ashely Beedle’s remix of Smith & Mighty’s Same will get your festive vibes in full swing. And alright, the dub-cuts at the end of CD1 hit all the right head-bobbin’ centers in my noggin’.

CD2 goes into less familiar territory where Studio !K7 was concerned, but then electroclash in general still had plenty of unexplored ground to discover (and a shame it barely did anything in the following years). Most of the tunes included here’s closer to icy microhouse (because Swayzak) and techno, so more of an evolution from the coy irony that defined the genre in its early years (though Trevor Jackson calling his remix of Behind The Wheel an Electroca$h Mix screams it).There’s also some hip-trip-hop at the end that’s... um, there.

Okay, !K7150 isn’t perfect from end to end, but there’s more than enough mint material to justify nabbing this compilation should you stumble upon it. Exclusive, unmixed DJ-Kicks cuts? Hells yeah, that’s worth some digital-ca$h.

Various - Hypnotic: Electronic Purity

(~): 2002

Yeah, of course I'd make a burned disc based out of tracks from Hypnotic Records. Except most of the music I liked on their CDs was usually licensed out from Music Research. So really, this should be a collection themed around that. Yet only half of the music I did get was released by Music Research. So there really are Hypnotic exclusives on here? Nope. When I first started exploring sites like AudioGalaxy for music, I naturally punched in a bunch of names I was familiar with from all those mint Hypnotic CDs. Komakino, Sunbeam, Urban Trance Plant, and so on. In those pre-Discogs days (the Dark Times), info on artist catalogues could be rather sketchy, so I pretty much went into AudioGalaxy blind and nabbed whoever I could find, whether they had a Music Research or Hypnotic tie-in or not.

Still with me on this? If not, don't worry. All you need to know is the tracks I put on here were done by artists I felt were part of that 'classic Hypnotic sound', which was really just a bunch of hard German trance. That, in a nutshell, is what we got on Hypnotic: Electronic Purity.

Or not. Okay, it's my own fault for not realizing Sunbeam was only on Music Research for a short while, but how was I to know that they'd lasted through the turn of the century, long enough to release another proper LP called Lightyears. At a glance, it seems to be another round-up of their singles (including the much older Outside World and High Adventure), but you can imagine my surprise, stumbling on all these unknown-to-me Sunbeam tunes, and were mastered at such a higher clarity than their mid-'90s stuff. Oh, and they'd gone down the schlocky epic trance road too. Not that Sunbeam was all that credible even in their German trance days, so I included five tunes in this collection regardless. Yay?

Some good tracks then. One cut I knew I needed on that initial 'Hypnotic download spree' was Beyond Reality's Mind Runner, a true classic of hard German trance from a Danish duo that never made more than the one EP it featured on. But hoo, is it ever a blinder of a cut, hitting everything you could love of that era with perfection: acid, driving beats, one Hell of a spacey earworm hook, and claps - oh man, those claps are delish'. There were also a number of Komakino cuts I was missing, including their work as Final Fantasy like The Sequence Of Love and Sound Of The Atom Splitting. And rounding things out is A Passage To India from Urban Trance Plant, a group that could daftly be described as ‘deep German trance’. They love the slow build, the UTP does.

Yeah, I’m fanboy gushing hard here. Whatever. Hypnotic (or the sound I associated with them before I clued up) was there to lead me into the underground, so nothing but shameless love here, folks.

Public Enemy - Fear Of A Black Planet

Def Jam Recordings: 1990

This should have been the first Public Enemy album I reviewed when all their CDs I ordered showed up, but alphabetical stipulation forbade. Its significance couldn’t be overlooked though, even when focusing on Apocalypse 91 - how many times did I namedrop Fear Of A Black Planet on that one? And it must be a damn important album if the National Recording Registry added it to the Library Of Congress. Woo, government approval from a group that rallied against the government all the time. How the world can change in fifteen years (wait, there’s still a Bush as President...?).

The reason for all this heaped praise is Public Enemy set out to do nothing less than make the definitive concept album with Fear Of A Black Planet. Mighty bold of them to do so within a genre of music that was still relatively new to the populace, almost exclusively focused on party jams and clever world play. Who did Public Enemy think they were in going where no one in hip-hop had gone before? Oh yeah, the same guys that had made the critical and commercial success of It Takes A Nation Of Millions, etc.. Well, that settles that. Go for it, boyeee! (dammit, Flav...)

Since Fear Of A Black Planet is now talked about in reverential terms, Public Enemy obviously succeeded in their goals. It certainly helped that the group's production crew, The Bomb Squad, had all the swagger in the world, confident their 'wall of noise' sample collages could see no bounds. And holy shit, are these tracks ever dense with samples. Good luck IDing even a fraction of them without a cheat sheet (apparently the opening minute-long 'skit' holds some fifty samples alone). Getting a ton of (uncleared!) samples ain't nothing if you can't make awesome music out of it though, but The Bomb Squad were masters of their trade by this point, each track or interlude never losing the plot with overindulgent wankery. Fear Of A Black Planet's beats may not be as immediate as other Public Enemy LPs, but they hold your attention nonetheless, your brain picking everything apart to hear all the little details. This is definitely an album you'll come back to time after time to discover some new morsel missed on a prior playthough.

Now for the nitpick: not enough Chuck D. Ridiculously, it’s almost five tracks before we get some serious verbal attacks from the PE frontman (second track Brothers Gonna Work It Out does have some spit’n’fire for the Black community, but barely to the level of his best work), and it feels like he only shows up here and there. I get that this album’s practically The Bomb Squad’s show, and that a musical concept album such as this requires some sacrifices on the lyrical front (not much, mind, but it is noticeable), yet the lack of Mr. Ridenhour (!!) firing lyrical shots all throughout does leave me wanting. Then again, what does a Canadian cracker like I know?

Various - Dark Prog

(~): 2002

Since I'm doing yet another alphabetical backtrack, I may as well also touch upon a couple burned CDs I listened to but didn't bother writing reviews for because, eh, why would I? Who'd care about collections of music that I have nowhere else, uniquely arranged nowhere else, with custom covers you'll find nowhere else? Well, okay, the only reason I didn't before was because I didn't think I'd be able to put those covers up, but now that I've invested in a scanner, you get to see all my rank-amateur mix CD artistic creativity. The music on these is worth talking about though, so here we go.

Like dark prog. Not really a specific sub-genre of any kind, but all I have to mention is “that 2002 Digweed sound”, and any follower of progressive house will know exactly what I'm talking about. As trance kept getting more overblown on one side of the club, DJs and producers looking to maintain a level of credibility would jump on anything that sounded deep, dubby, tribal... dark. 2002 was probably its peak before prog went twinklier (the Schulz sound) or was nearly abandoned altogether in favour of tech-house proper.

The tunes I gathered up for this CD were ones plucked from old P2P programs, based on recommendations in Muzik Magazine's reviews section (truthfully, that's how I made nearly every burned CD back in the day). After noticing quite a bit of 'dark prog' in a recent download session, I decided making a full CD out of the stuff was appropriate. You’ll never find an official tracklist for Dark Prog, so here's a quick rundown of the tunes I used.

Trancesetter's The Saga opens things up, which with quite the powerful hook introduced midway through, doesn't really fit with the deep, dark, dubby theme I wanted; on the other hand, it's one banger of a tune to start a disc on! Following that is Tilt’s Headstrong, specifically the Relentless Vocal Mix with spacey lyrics from Maria Nayler. Yeah, that’s the deep, chugging sound of 2002 prog for ya’ ...but still a little accessible what with singing and a subtle hook in there. What’s so dark about this?

“Fine,” 2002 Sykonee says to my future self, “you want the darkness, you got it.” Slide (of ‘Cass &’ fame) vs Healey’s Fear. Hamel & Blackwatch’s Discotek. Innate’s Roots Rock... oh man, that’s some good dark, dubby prog, mang. No, wait, Sworn’s Dark Amendments (Detract Dub), that’s the shit! (psst, it’s Andy Moor)

Dark prog could also get pretty tedious though, as evidenced by the last two tracks, both drab sludges clocking over eleven minutes each. Of course, I included the Sorrento Terrace Mix of Headstrong as a quirky counterpoint to the earlier mix, but DJ Gogo’s Sayna doesn’t even have that going for it. Only reason I did include it was my obsessive need to use everything I downloaded. It made for some weird compilations down the road, believe you me.

Public Enemy - Apocalypse 91 ...The Enemy Strikes Black

Def Jam Recordings: 1991

Here’s a controversial thought: as awesome as The Bomb Squad were in producing Public Enemy’s first few albums, there were growing too esoteric for the hip-hop community. Cool, you guys can cram a whole bunch of sounds and samples into your tracks, creating works of music like dense collages, but dammit, the rest of Public Enemy’s getting lost in the shuffle in doing so. Just as well, then, that they’d step back from the studio following the copyright clampdown on sampling, donning an executive producer’s role for this here Apocalypse 91 album. If they can’t play with all the toys, then they ain’t gonna play with them at all …well, much anyway.

Replacing them for main beatsmith duties are Imperial Grand Ministers Of Funk. And straight up, the funk be back up in this trunk, booyeee! Oh, damn, I’ve been hearing too much Flavor Flav lately. Sorry about that. Seriously though, it’s great to hear beats that come fast and hard, but with plenty of bounce in them. Since raiding tons of samples to keep your attention just wasn’t allowed anymore, the music’s gotten simpler for the most part, relying on infectious funk and soul loops complementing rhythms that bang. Here’s another controversial thought: I like the production on Apocalypse 91 more than the lauded Fear Of A Black Planet and It Takes A Nation Of Millions To Hold Us Back. Not to take anything away from The Bomb Squad, and their touch still remains throughout this album, but if I’m reaching for a Public Enemy LP that’ll hit me with beats my EDM-tastes lean towards, this is the one that makes the cut for sure.

It also helps that Chuck D, Terminator X, and even Flavor Flav are hitting their respective peaks too. If Fear Of A Black Planet had them stepping back as The Bomb Squad took the spotlight, the three main stage players don’t hold anything back on Apocalypse 91. Chuck D’s as fiery as he’s ever been, going after targets ranging from political, corporate, and even criminal. Public Enemy’s often been called ‘militant’, their music the sort of rhetoric that’ll rouse the rabble, but Chuck D’s more focused in his attacks this time out, giving specific targets and even solutions when he can (quit all that boozing in 1 Million Bottlebags). And damn, here’s a third controversial thought: Flavor Flav’s gotten good on the mic. When did he find the time for that? He’s always been obligated one or two cuts to himself on Public Enemy’s albums, and they were guaranteed the weakest tracks. He still isn’t anywhere near Chuck D’s level, but I Don’t Wanna Be Called Yo Niga and A Letter To The New York Post are pretty strong showings from the comedy sidekick.

Apocalypse 91 may not receive the same level of plaudits as their prior albums, but it easily ranks high among hip-hop albums from an era filled with classics. This is Public Enemy with nothing left to prove and firing on all cylinders.

The KLF - Justified & Ancient

Arista: 1991/1992

I never really liked Justified & Ancient in its White Room incarnation. Despite a decent number to end the album on, it held none of the thrill Side A was stuffed with, and little to look forward to after the mostly bland slog of Side B. Of course, I had no bloody idea that the proper single of this tune was totally different until much, much later, but after learning such third-hand, I'd never find it, forever lost to the dustbins of time where- oh, there it is in a used shop. That settles that, I guess.

The evolution of Justified & Ancient is probably more interesting than anything I can say about the music itself. Already a running theme within Jimmy Cauty and Bill Drummond’s discography (popping up as early as the track Hey Hey We Are Not The Monkees in the album 1987 What The Fuck’s Going?, under the earlier The Justified Ancients Of Mu Mu guise ...whew, what a wordfull), it seems appropriate this would end up their final single before calling it quits in the music business altogether.

Ironically, part of their retirement was due to the success of this single, specifically revitalizing Tammy Wynette’s career after she provided vocals for the new Stand By The JAMS mix. Suddenly The KLF were getting requests from a slew of has-been musicians looking for the Timelords bump. Well gee, can’t go becoming a part of the system they’d worked so hard to subvert, so screw you Music Industry, we’re done.

Included in this single is the ‘original’ White Room version, which I’ve warmed to since those blinkered early teen years of mine. Plus, in case you’re one of those ‘progressive house’ DJs needing an instrumental tool, there’s the Let Them Eat Ice Cream mix.

Really though, we’re all here for the upbeat UK acid house, chart topping romp of Stand By The JAMS. It’s got Tammy Wynette bellowing out the verses (apparently time-stretched at points as she was unable to sing in time to the backing tracks – darn country singers and always getting their way with session musicians conforming to their needs), a bouncy rhythm that was quite popular with cross-over house music in the Isle O’ Brits, cheers, chants, raps, guitars, daft lyrics (no, really, what’s with the ice cream van?) and all the uplifting anthem choruses you can sing along to (and wonder just how sincere The KLF were being with them). Oddly, there’s also an All Bound For Mu Mu Land version, which has frequent KLF vocal contributor Maxine Harvey taking on full vocal duties (she also provided the choruses of the Tammy Wynette version). Was this recorded prior to Cauty and Drummond knowing they’d get the First Lady Of Country in the studio, or after when their session didn’t turn out as they’d hoped before Cauty manipulated them? Ooh, now there’s a hilarious set-up for a theoretical one-question-only situation, to have it wasted on something so trivial. I’m sure The KLF would approve.

Squarepusher - Just A Souvenir

Warp Records: 2008

You have to feel a bit sorry for all those pioneering IDM wonks from the '90s. They set the bar of ingenuity so bloody high in such a short period of time, that the expectation for them to continuously keep topping themselves would eventually be a futile effort. Not that they would feel the pressure to do so, of course, but some creativity burn-out would have to set in if they didn't explore other music for a while. So while some weren't too keen on Tom Jenkinson taking his Squarepusher guise closer to proper jazz-fusion realms (real instruments, what!?), in the long run it was probably for the best, letting him recharge before his braindance stuff wore itself out.

Still, he’d done his ‘jazz album’ with Music Is Rotted One Note, so even that could be expected of him, especially a full decade following it (ten year celebration! ...or is this just a coincidence?). So how about rock fusion then? Surely ol’ Tom could list several psychedelic and garage-fuzz jam works as inspiration too (much of it came out around the same time as Miles Davis’ peak). Yeah, sure, whatever, you’ve earned your right for musical self-indulgence, Mr. Jenkinson, by all means show us what you got in your one-man band cadre.

Well, not right away, it turns out on Just A Souvenir. The first few tracks are on more familiar ground, like the spritely space-funk works Star Time 2 and The Coathanger, while A Real Woman sounds more like what those late-‘70s avant garde French acts would kick out. Complete with vocoders? I’m sold! Shame the whole album isn’t like this, but the rest is good fun too, provided you have an ear for odd-ball jam-fusion music.

And you know it’s gonna be one of those when you hear that tell-tale tik-tik-tik of drum sticks at the opening. Then bass, guitar, drums, and occasional keyboards go at it, like some kind of demented punk outfit from a far-flung European province while wacked-out on acid. Though it’s just Squarepusher doing the music, you can almost imagine a three or four piece band giving their all on stage or in a garage. Considering there’s but one chap making all this racket, the music’s impressive enough that it sounds like there should be more there.

Yet, there’s something missing from Just A Souvenir that completes the illusion: it’s too tight. I’d imagine if this really was some long-lost psychedelic punk-jam band from the ‘70s, the music would come off even sloppier, wonderfully so; like the band members had all the inspiration in the world, but not quite the skill to pull it off, and you’d admire their gumption, if nothing else. As a musician and producer, Tom Jenkinson’s better than that, which has given him the chance to explore such diverse sonic avenues, but not the expertise to fully integrate into them. In the end, we all know what his bread-and-butter be, but thanks for the souvenir just the same.

2 Unlimited - Jump For Joy (BioMetal, Part 3)

Popular Records: 1996

(Click here to read my original TranceCritic review.)

“Dammit, Anita, what’s its weakness?”

“I… I…” The HALBRED’s scanner still drew blank, unable to identify the cloud of spores. “I don’t know,” she stammered, shaking her head. “Try the rockets.”

“I already have,” Ray shouted in her head. Why’d he have to keep shouting? Was he cracking under the pressure? What hope did they have if he couldn’t hold it together? “They pass through these blasted clouds. No effect at all.”

The HALBRED’s shields had held against the attack, but drained the ship’s auxiliary power fast. If she couldn’t find a way to defeat the spores, they’d overwhelm them, doing who knew what in the process. Maybe there wasn’t a way. Maybe the BioMetals had developed technology they weren’t prepared for. Maybe this was nothing but a fool’s mission, with no hope-

“The source!” she suddenly shouted. “Ray, punch it forward.”

“What? But-“

“Go! And get the main cannon ready.”

The HALBRED emerged from the hidden alcove, and instantly the spore cloud enveloped the ship, tiny balls of synthetic and organic matter attacking the shield spheres tightly orbiting them. Anita drew up another life-sign scan of the cavern ahead. Her first had yielded no BioMetals before, but then it wouldn’t if it was only scanning for familiar forms – frigates, humanoids, even insect types.

“Where am I going?” Ray asked.

“Forward. I’ll let you know when to fire.” With a sharp thrust, the HALBRED plowed into the cloud, carving a wake of yellow spores.

Anita recalibrated her scanner to pick up combinations signs of chitin and cellulose, and immediately her sensors flared red. No surprise the spores surrounding their ship would be filled with them, but she hoped her scanner could pin-point a concentrated area. Within moments, she spotted it, her eyes lighting up as an excited, “Yes!” escaped her mouth, nearly jumping for joy in the process.

“Here,” she said, punching coordinates into the HALBREDs computer. “Fire at this spot and don’t stop until the banks are dry!”

“But there’s nothing-“

“Do it! We’re almost out of shield power!”

A concentrated blast of white-hot energy erupted from the HALBRED’s main cannon. Though neither could see the target, Anita was certain it struck against a wall where three large polyps the size of their ship rested. An explosion rocked the cavern, the cloud of spores falling gently to the surface below soon after.

Anita couldn’t help but smile when she heard Ray’s bewildered request for an explanation. “All these spores were acting independent, yet together,” she explained. “Sort of like fungal communities. I figured they had to be controlled from a central source, but since we’ve never encountered BioMetals of such origin, the ship didn’t recognize them.”

“Huh. Well, let’s hope we don’t encounter any more of these things,” he gruffed.

Not even a ‘good job’, Anita sighed, but she wasn’t surprised either. If the BioMetals had evolved to adapt plant and fungal based organisms too, there was no telling what their deadly potential could be, especially ahead of them.


(If you're hopeless lost as to what's going on, click here.)