Cosmic Replicant - Mission Infinity

Altar Records: 2014

No, really, Altar Records is more than psy-chill compilations and AstroPilot albums. I know it doesn’t seem so if you’ve only learned about them through this lonesome blog in the backwaters of interwebland, but that’s because… Okay, for a good portion of their first couple years, Altar Records pretty much was psy-chill compilations and AstroPilot albums. It didn’t take long in branching out though, growing their roster of acts and expanding their offerings of ambient, dub, and, um, New Agey meditation music probably (some covers are suspect). They haven't strayed far from the scene that nurtured them, but considering their ridiculous rate of output (nearly triple digits in six years!), Altar's had plenty of opportunities taking a few chances outside their comfort zone.

Cosmic Replicant's one such act, another in what seems like an endless supply of Russian and Ukrainian producers involved in the psy scene in some way. Do they have breeding vats pumping out these guys in Eastern Europe or something? Mr. Pavel Shirshin's released a few albums on Altar already with this guise, Mission Infinity his third in a two year time span (there’s also a fourth self-released LP as well – geez, what a work rate). I haven't checked out the other two yet, and didn't know anything about Cosmic Replicant before buying this in my Altar splurge, if only to go through the blind purchase thrill even with a label I'm quite comfy with. If Mission Infinity's anything to go by though, I gotta' dig into those early efforts.


These tunes are some of the best, recent examples of the classic, bleepy ambient techno I’m always banging on about (obligatory Higher Intelligence Agency namedrop). Obviously these lean a little in psy’s direction, but primarily on the rhythmic front. Tracks like Overnight Journey, Perception Of Doors and Overnight Journey have that downtempo dub thing going for them, whereas latter tracks like Quantum Leap, Yesterday Tomorrow, and the titular cut wade into prog-psy’s waters. Other tracks though, like opener Flexible Minds and Waves Bubbles are totally old-school Bobby Bird.

It’s Cosmic Replicant’s choice of sounds that draws the strongest comparison though, synths, pads, acid, and samples harkening back to the days where ambient techno was more fascinated with space and the future. It’s not that this is a total retro homage either, the production quality as current as anything Altar’s put out – C.R.’s merely used plenty of vintage sounds as compliments to contemporary styles. And unlike the pure experimental tone of that Antendex album Photons (my last direct HIA comparison), Mr. Shirshin is intent upon writing proper pieces of music here, the sort that can take you on nice little journeys within your head. Mission Infinity isn’t quite so brilliant at as the masters of the craft, but it’s been a while since these particular pleasure centers have been tickled so wonderfully (obligatory Distant System namedrop). Do check Mission Infinity out if you’ve a little early ‘90s space-bleep ambient techno love kicking about.

Various - 6th Element (The Missing Elements)

Altar Records: 2011

Okay, now you're just milking your concept, Altar Records. Even going for a fifth was dubious, but the nebulous idea of a classical element that consists of ether or souls or whatever ('love'? Arrgh!) has enough traction within pop culture to allow it. A sixth though? I seriously can't even. What's this supposed to represent, the substance within hyperspace? The singularity centre of a black hole? The whiskers that makes up Evil Spock's beard? The last digit of pi?

I jest of course. A year after Altar wrapped up their Elements series, they released this download-only bonus of unreleased material that didn't make the cut for various reasons, hence Missing Elements as a subtitle (and why it's getting reviewed with the 'M's – t’was sorted that way). Normally such releases don't interest me, but since it came included with the purchase of the Elements set, here’s my six pennies' worth of opinion on 6th Element.

First off, holy cow, but do these ever sound 'unreleased'. Okay, under-produced is a better term, but that's only in comparison to the strong mixdown Altar typically provides on all its material. These feel like a layer’s cut off, or even missing an ele- *slaps self*.

What I mean is, the production quality isn’t that far removed from the sort of tunes you’d find on small sub-labels of Israeli psy trance in the mid-‘00s. Come to think of it, DJ Zen started out on one such label, Sunline Records (Quebec based), which was an offshoot of Kagdila Records (California based). I can’t say I’ve heard of anything from either print, so I’ve no idea whether their mixdown standards were up to snuff with the Twisteds and Ultimaes of the time. What I can tell you is when Zen went proper independent with Altar, he must have gotten his hands on Aes Dana’s notebook of mixdown techniques. No sense on spending that extra studio time on ‘unreleased’ material though.

So the production isn’t as exquisite as the rest of the Elements series, but there’s still some cool stuff on here. Zen gives AstroPilot’s Inside The Harmony an eighteen minute ethno-ambient remix, which may sound daunting, but the original off the Solar Walk album’s even longer! At the other end of 6th Element is Asura with a track that sounds like Vangelis at his poppier moments, suitably titled, um, Vangelis. Everything in between runs the usual gamut of psy dub, chill, and prog, from regular contributors like Zymosis, Tentura, and Chronos, to first-time outside helpers like Elea, Suduaya, and Dreaming Cooper (Lord Discogs lists this as his only credit!). And man, are there ever some corkers in this collection, tracks building as some of the best prog-psy goes. The fact these remain strong pieces of music even without extra engineering polish goes to show Zen’s surrounded himself with some incredibly talented people.

That said, I wouldn’t bother with 6th Element unless you’re already keen to Altar Records output. More a pleasant bonus to their main series, this one.

Moss Garden - In The Silence Of The Subconscious

Carpe Sonum Records: 2014

If you’re getting a sense of Namlook déjà-vu with that cover art, it’s deliberate on the Carpe Sonum’s part. Following Mr. Peter Kuhlmann’s death, many of his labels ended too, including several offshoots and cross-sea distributor partnerships. One of these, EAR/Rational, set up a short-term label called Carpe Sonum Records with the sole intent of releasing that tribute mega-boxset all you ambient lovers undoubtedly heard about and snagged up. Hell, are any of those left now? *checks* Holy cow, only three remaining? Bought! *whew* Almost missed out on that. Where was I now? Right, Carpe Sonum.

What began as a one-time effort has now evolved into a full-fledged label with the intent of carrying on Namlook’s legacy in the realm of ambient and chill. This includes the classic Fax +49-69/450464 art style, and even taking on a few latter-era FAX artists to their roster (Thomas P. Heckmann, Lorenzo Montanà, Mick Chillage). Carpe Sonum’s rounded up newer acts too, including this here Moss Garden.

Unfortunately, I’ve less background info available for this duo (and by “I”, I mean Lord Discogs and Prince Last.fm). One half is Lee Norris, who's released a pile of music across multiple labels and genres (mostly IDM stuff) as Metamatics over the last couple decades. The other half is Dimitar Dodovski, who's released far less material than Norris, and has stuck to the downtempo side of dub and techno. With plenty of crafty rhythmic skill behind them, naturally the two would find kinship in creating pure ambient music.

While I’ve gone on and on about the Namlook within this review, Moss Garden’s sophomore effort, In The Silence Of The Subconscious, has more in common with Biosphere’s brand of synthy drone. And no, it’s not just because the cover features a lone individual trekking across a snowy field, though that certainly wouldn’t be out of place on a Geir Jenssen release. Nay, the very nature of Moss Garden’s music has a chilly tone to it, delicate pads and timbre feeling like wide-open winter canvases. Even some track titles - Strange Terrain, Shadowland - conjure the desolate reaches of frozen tundra, though I could also be straining to find thematic links. Hey, maybe that’s why they’ve included a track called Daily Catachresis! Meanwhile, soft field recordings of winds, crackling footsteps, and static embers that dub techno types adore, add some warmth to an atmosphere that’s rather brisk.

So this is all very lovely, inviting ambient that never noodles too long or pointless dawdles about. Um... if I’m honest, I kinda’ wish these tracks did stretch themselves out a little longer. There’s only seven on Silent Subconscious, none of which break the ten minute mark – heck, most only average about five minutes, practically ‘skit’ length where ambient of this sort is concerned. Moss Garden’s style, though hardly unique, is still skilful enough they should indulge their synths a little longer. Ah well, maybe on the next LP they’ll feel emboldened enough to go for those truly epic Namlook lengths.

Various - Fire

Altar Records: 2009

I'm sorry, but I just can't take anything with a simple title of Fire seriously anymore. It's The Prodigy's fault, you see. Yeah, you know what I'm talking about, and if you don't, that's only because you haven't heard that old track off Experience yet. Or you did, but were too addled on goofballs to remember it. Believe me though, should you hear The Prodigy's Fire, you'll never see that word the same way again, the corny call forever imprinted upon that part of the brain that plays music from within. What I wouldn't give to have that bit of cellular membrane surgically scooped out.

The reason for this totally unrelated intro is I've run out of background information to discuss regarding Altar Records' Elements series. Wait, this is your first click into my coverage of it? Well, then check out my review for Air. Or Earth. Or Ether. Or Water, when I eventually get to it in my alphabetical order and have to recap what this series was all about since ya’ll will have forgotten about it by then. Or you can take the plunge for these CDs too, gaining the same intimate knowledge of Altar Records’ early years as I have thus far gleaned in my crash course. But Fire, now my fourth review in this series in a week’s time, has nothing more to add in the discussion. Except the music!

Obviously there’d be differences between each volume – little point in making a theme-based compilation if you don’t take advantage of it. And while these various CDs maintain a loose connection to the element they’re tied to, they’ve all kept within the chill side of psy and dub, only occasionally upping the tempo into the realms of prog psy. Not so with Fire, the near entirety of its runtime devoted to the four-to-the-floor groove. Only (proper) opener Crossroads Limiter from Asura (widescreen acid chill) and psy dub closers from Ra and Uth (Tears Of Fire and Around The Sun In Seven Days, respectively – whoa, what sort of planet travels that fast?) break the mould, which makes good sense as your bookmark tracks.

It’s not pure prog psy from the get-go either, Tentura’s Resonance easing the listener in with a dubbier outing. It’s off to the morning vibes right after with Aquascape’s Phoenix Dance, with tracks by the now-regular Altar contributors all pitching in (AstroPilot, Zymosis, DJ Zen as Astral Waves, and Chronos – ah, hm, it may be a while before I get to him after all). The Zymosis track, Summer Twilight, is an interesting contribution too, going for the psy-breaks business that we don’t hear nearly enough of. C’mon, psy parties, your scene’s already suffering from staleness, and injecting other genres into your standards is a perfect way of spicing things up (no dubstep tho’).

Fire’s a good compilation to get your feet wet with Altar Records if you’re curious about their uptempo style. The best of Elements though? Nah, guy, I just reviewed that one, remember?

Harmonic 33 - Extraordinary People

Alphabet Zoo: 2002

Who exactly was responsible for this style of music getting so popular anyway? Groove Armada certainly had huge commercial success, and Röyksopp got a pile of praise too. Wasn’t AIR on this even sooner though? What even was the trigger that had the collective European chill-out market suddenly declare, “You know what needs coming back? Golden oldies easy listening pop jangles, now with funk and hip-hop!” It’s gotta’ be Gilles Peterson’s doing. He was all up in resurrecting the past, and getting Radio 1 airplay broadcasting his tastes to a broader audience incited producers at trying their hand at it. Not that I mind of course, but for a short while at the turn of the century, it seemed everyone was getting in on that retro-sunny ‘60s pop-soul, or whatever the stuff was called back in the day. The past is always better, yo’.

Let’s assume Mark Pritchard’s foray into that style was more coincidence than bandwagon jump, that he simply felt a similar itch when a whole pile of other folks did. It wouldn’t surprise me in the least if he’d been sitting on ideas for Harmonic 33 for a while, even while doing all that seminal work in the ‘90s with Tom Middleton (Global Communication, Jedi Knights, Secret Ingredients). His output and collaborations (Dave Brinkworth in this case) since the start of the 21st Century points more to a love all things urban and modern, and though the tunes off Extraordinary People takes melodic cues from ‘60s, this is very much an album where contemporary beats dominate.

And hot damn, are some of these rhythms ever dope. They aren’t any more complex than what you’d expect out of typical Ninja Tune, but each unleashes the wormiest little shuffle that it’s impossible not getting your strut on. Plus, that bass, mang! I don’t know if it was sampled or synthesized, but many of these tracks contain one of the grooviest, cavernous cellos I’ve ever heard in jazz-influenced hip-hop, and is a total treat with strong playback options (I dare even the most jaded sod not bob their shoulders in Where Have They Gone). Adding to the funky business is Danny Breaks with occasional turntable scratches, though he doesn’t go as abstract as others do. A point of contention though: these tracks need an MC. A good chunk of them come off like conscious rap instrumentals, and while it doesn’t detract from the whole, it does take some warming up to Pritchard’s style, like it’s missing a critical component.

Back to the pluses in this album’s favor, nothing is taken too seriously, a light-hearted bounce running throughout. Even when a track goes for a melancholic vibe (The Rain Song, Underwater Lady, Kaleidoscope) or psychedelic weird (Extraordinary People, Exotica), they’re nicely contrasted with spritely pianos, light xylophones, or rugged basslines (seriously, that cello!). This is ‘60s easy-listening soul as remembered with the rosiest of tinted glasses, so if you need bitters in your margaritas, I wouldn’t bother buying this CD.

Various - Ether

Altar Records: 2010

The fifth element is ether? Was this officially sanctioned by the Ancient Old-Timey Classical Hold-Outs Consortium? I mean, it's definitely a better option than 'love' or 'heart', but what's ether supposed to represent? Spirit and soul? Immaterial ghosts and energy beings? Neutrinos and positrons? Whatever the Hell cosmic foam is supposed to be? Maybe it’s that pseudo fourth state matter can exist as, plasma. However you logically justify ether being an element, in the case of Altar Records’ Elements series, it’s just an excuse to worm in a fifth CD as a cap to the enterprise. And thank God’s ether blood they did, because this just might be the best of them all.

Without spoiling the other two editions much (Fire and Water, obviously), this compilation series does maintain a solid streak throughout. There's exotic instrumentation, trancey synths and pads, psychedelic sound effects that owe plenty to Shpongle's influence, moments of proggy groove (or nearly a full run-through, in one CD’s case), and more than enough ethnic dub that even Megadog should feel weak in the knees. Nothing ever sounds cheap or forced, seldom ever pointlessly overproduced, and flits between enough variations of the style to keep each CD engaging from front to back. However, this is all still quite standard stuff as psy-chill goes, which isn't that surprising as Altar head DJ Zen and his gathered roster grew within the scene itself. It does make a difference coming in from different music backgrounds though, as the Mighty Ultimae attests to.

Ether does right in shaking free of those tropes, though obviously not completely. Altar simply wasn’t established enough to go plucking artists from dub techno labels and the like, nor do I get the sense DJ Zen’s too interested in doing so. Still, what we do get here though gets me all atwitter.

First, the psy dub to open. Yeah, nothing terribly new there even for a 2010 release, but Mr. Peculiar’s Ancient Tribes has some gnarly world beat vibes going for it. Then AstroPilot show up with Answers, and it’s an utterly lush, ethereal piece of Balearic bliss. Shortly following that is Distant System with an exclusive track, Astral Map Error. *squeeee* You already know I’ll praise this kick-ass slice of spacey prog psy, but I dare say this standalone is better than nearly every cut off Spiral Empire.

The sci-fi nature of Distant System isn’t a one-shot on Ether either (read it out loud, you know you want to!). Tentura’s Free Your Mind and E-Mantra’s Emptiness skew in this direction as well, adding an extra dimension to the Elements series after being so generally grounded (though Air did have its floating moments too). In case space doesn’t project your consciousness high enough though, Ether closes out with Asura’s epic Everlasting. That track’s appeared in a couple places now, including last year’s Radio Universe, but it was on this CD first, and a perfect conclusion to a fine series of compilations. Upper astral waits.

ACE TRACKS: September 2013

Oh dear. Hockey Playoffs are about to start, and unlike these past two years, this one actually looks to be more fun for yours truly (so many teams I'm routing for!). It shouldn't impact my writing output that much, but if Vancouver, Winnipeg, Washington, Ottawa or Montreal make lengthy runs, I suspect many a drunken revelry shall be had upon victorious nights. But I'm sure you folks from across the seas and regions devoid of hockey rinks care not for this, so here's an ACE TRACKS playlist for the month of September 2013. *whew* Only one more year's worth of this backtracking to go...


Full track list here.

MISSING ALBUMS:
Faithless - If Lovin’ You Is Wrong
Carbon Based Lifeforms - Hydroponic Garden
Miguel Migs - Get Salted, Volume 1

Percentage Of Hip-Hop: 27%
Percentage Of Rock: 2%
Most “WTF?” Track: Nothing in particular, but ICE MC’s definitely way out of place in this Playlist.

So much hip-hop in this month, yet only one instance of Wu-Tang Clan. Guess they felt naming an album with some variant of ‘ill’ was a played out cliché in rap slang – or allowed Nas ownage of the term forever after. Also, hope you’re a fan of ‘90s Juno Reactor. If not, I back-loaded most of the tunes anyway, so they wouldn’t dominate too much of the early sections of the runtime?

Overall, this one turned out pretty well, which I’d never thought possible with early BT, angry Ice Cube, spacey Petar Dundov, and bouncy Banco de Gaia all making appearances. Remarkable how well some tunes can flow together with just a couple suitable linkers between them. Or maybe my taste in music skews in specific ways no matter what genre or scene I pluck my tracks from.

Various - Earth

Altar Records: 2010

Now this is a different approach. Most artwork depicting the Earth elemental tends to favor things dealing with rock, soil, and whatever images we associate with terra firma, the solid ground beneath our feet (or the fiery furnace further below, if you’ve read the Death Gate Cycle) . Thus, many of the colors that come with the dirt we dig into are tied to the element too - brown, burgundy, and such are often described as ‘earth tones’. Yet such colors are not exclusive to Earth, the planet, similar shades often found on other celestial bodies in various states. On the other hand, a color does exist that has thus far been found exclusively of Earth, a pigment that’s a by-product of photosynthesis within plant life: green. How cool is it that, instead of rehashing the same ol’ symbolism associated with the classical Earth elemental, they incorporated something scientifically unique to planet Earth instead. It, like, makes you think cosmic big, and all that, yo’.

Less unique is the style of psy-chill found on Earth itself, with influences from world beat and dub finding their way in. Makes sense as those are mostly ‘earthly’ forms of music, especially whenever things go more groovy and tribal – no sense rocking the ‘element theme compilation’ foundations too much. Earth was also the fourth in the Altar’s Elements series, released a mere year after Air had kicked things off, and some strain with the concept was already showing, label boss and compiler DJ Zen recycling many names despite everyone still offering up exclusive tracks. That’s fine if it’s point of these roster showcases, but the way it’s gone about with Earth is odd.

For instance, Zymosis shows up thrice (note: mistake from my Air review, AstroPilot (Dmitriy Redko) is not a member of Zymosis, but rather Dmitriy Lihachov; got my Dmitriys mixed up) with the following credits: CJ Catalizer vs Zymosis, Tentura vs Zymosis, and Zymosis vs Tentura. What on earth (Earth!) is the point of crediting tracks like the latter two? Trying to give as equal billing to the collaborators as possible? Why not just create a ‘supergroup’ alias then? It’s not like the tunes are that dissimilar anyway.

Other names on this compilation include Asura (Charles Farwell had basically set up a second home with Altar by this point), Chronos (don’t worry, I’ll get to him soon), Lab’s Cloud (who’s released two albums with Altar now), plus veteran acts like Vibrasphere, Ra, and Chi-A.D. rounding things out (literally, as two of them bookmark the CD). A solid enough list of acts, all said, but very little on Earth leaps out beyond what fans of the genre are familiar with. Only Ra’s March Of The Lunar Priests, a spacey goa thing with a rhythm that does sound like a march, leaped above the highly competent productions I’m already spoiled by from this label. That’s always the problem with these genre compilation splurges though, isn’t it? What’s stunning in isolation turns average in bunches.

Aphex Twin - Drukqs

Warp Records: 2001

Why, I remember a time when we took new Aphex Twin music for granted, by g'ar. You bet we received Drukqs with barely passing attention. “Yeah, yeah, it's fine,” we shrugged, “but when will you release Selected Ambient Works 3, Mr. James? Or redefine IDM again like with so many other prior albums and EPs?” How were we to know our lackadaisical interest in a double-LP opus would all but force the Aphex'd One into permanent production privacy, pulling a near KLF disappearance from the world of music. Yeah, there were all those acid singles as AFX, but not as Aphex Twin, the pseudonym everyone cared about (re: primarily knew). All these meticulously crafted drill’n’bass electro dancing in your brain, the attempts at ‘real’ music with pianos, harpsichords, and other assorted chamber instruments, all wasted on a selfish audience, wondering why Radiohead was going on about this guy so much.

Or, y’know, ol’ Richie had a pile of unused demo music and discarded braindance B-sides lying about and shoved Drukqs out for some quick dosh. Either scenario wouldn’t surprise me.

For all the music on these two CDs, this album honestly does sound like two different ones mashed together. Half of it is made up of the aforementioned drillin’ breaks, the sort that still sounds indebted to Squarepusher but with enough of Aphex Twin’s quirky fills, changes in tone, melancholic ambient, and irreverent sense of humor making it distinctly his own. If this just sounds like retreads of Richard D. James Album, I counter these tunes off Drukqs are far better polished, even the most extreme glitched-out moments having a logical sense of musical flow to them. Plus, the production is incredibly slick, sounds never mashed into senseless noise even as any number of digital bits and pieces are flying about. Of course, by 2001 much of the IDM world had caught up to such tricks, so that folks wouldn’t be as impressed by Aphex’s efforts isn’t surprising. That doesn’t make them any less mint though.

The other half comprises all the classically minded compositions, most running a couple minutes of noodling about on keyboards of various types. The only unique thing about these is how Mr. James recorded a fair amount of the mechanical process involved in these instruments: the shuffling of pedals, the light plonks of ivory within wooden casings, and even his occasional faulty human flubs. For all I know though, this is a technique many pianists employ – I’m simply not well-versed in that field of music for any comparison. All I can tell is Aphex does craft some lovely little ditties, and a few utterly ART-wanky percussion pieces too (that said, Gwarek 2’s fun with headphones!).

Many came around to Drukqs when it seemed no new Aphex Twin material would ever materialize, so the album has gotten it’s just due now. It’s still better served for folks with some prior knowledge of his music before going in though. Not a beginner’s LP, this.

Model 500 - Digital Solutions

Metroplex: 2015

Considering how very important Juan Atkins is among other Very Important People in the world of techno, it's remarkable how small his discography is compared to his peers. I suppose he gets a pass, what with practically inventing the whole genre while providing one of the first labels supporting his Detroit-bred style of electronic beatcraft. What's even more remarkable about all this, though, is Digital Solutions is the first, proper full-length Model 500 LP to be released on his Metroplex print. Every prior album came out on Belgium R & S Records, including the Classics collection that gathered up a bundle of Metroplex singles. Guess even ol' Juan was pissed off by the lame R & S Logo cover on that recent re-issue of Deep Space (seriously, so stupid).

Whatever the case, Digital Solutions marks the third such effort from Mr. Atkins, well over a decade since the last Model 500 album dropped. The genre he’d built had gone through several changes throughout the ‘00s, most significant the exodus of many faces and shakers to the clubs and warehouses of Berlin even as kids inspired by his early works came into their own. Though there wasn’t any need for a ‘statement album’ from one of the honoured elders, there was some buzz whether he’d use the Model 500 moniker to explore these trends, or perhaps find an entirely new avenue worthy of exploration. So many possibilities, mang!

Instead, Juan said nuts to all that and went way back to his roots, offering up an album of retro electro and techno. Huh, that’s… I’m resistant to say ‘disappointing’, but certainly not what you’d expect in a 2015 LP when previous Model 500 long-players (all two of them!) were evolutions on his futurism music. I can’t even compare it to an old rock band releasing an album of blues standards, since those musicians often have a huge swath of back-catalogue allowing for such nostalgic dalliances. Did Mr. Atkins just not have much to say regarding techno’s recent incarnations, or does he feel the sounds he created thirty years past (!!) are more future-leaning than all the minimal-plonk that dominated for too long? Perhaps that’s the statement us chroniclers of electronic music are deluding ourselves into believing!

Speaking of Digital Solutions, this is a fun little album of throwback electro and techno. In fact, the two tracks that do take stabs at relatively current trends (UK grime in Encounter, minimal in the titular cut) are the only wack moments found among the nine pieces. Even the titles seem culled direct from the ‘80s, simple things like Hi NRG, Electric Night, The Groove and Control. Though I’d have loved to hear a Model 500 album go deeper into the Deep Space style, hearing more in the Classics vein is mighty fine for my ears - even stronger modern production can’t dilute that retro-future charm. I can’t think of anything more suitable for this moniker in its return home to Metroplex.