The Light Of The Night

Well...

2011-07-28T00:26:00.009+03:00

Dear friends, as most of you with an IQ over 17 have gathered, I'm out of blogging since quite some time now. I've totally stopped participating in the share net in all ways and have neglected this blog for good; I even forgot to celebrate its 4th birthday. I actually spend less and less time online, as I find it too exhausting and distracting. I must be getting really old.

The truth is that, putting aside my already busy schedule (see: family life, day job, part-time job #2), I've finally decided to devote my virtually non-existent and oh so precious free time to meddle again with music production. And yes, if the stars are right, even to fulfill a project I have in mind since I was 20+ (aaargh, has it been that long? anyway...) To go along with that, I try to sort out my house, starting from the record collection, a challenge for the brave indeed. Which I'm halfway through btw, yet the hard 50% is ahead of me and I'm sorting vinyl only...

I tried to build a new blog from scratch in order to post my to-be vinyl rips as I had so pompously announced, yet didn't even managed to come to the end of that - too many distractions, so little time. When it came to ripping, I did a dozen of tests; yet, due to a (totally silly) mistake I had to get rid of everything I had recorded - and that was another blow.

And then it just dawned to me that OK, failing always annoys me (I'm that type of guy...) still there is time to do certain stuff and there is time to fold back and gather your strength; to think about your life and organize your space and time, or even to do completely different things. I simply have to sort out my life a bit before I can get back on any track. For how long, I really don't know. After all, Time Is Time, as they say in Zion.

So. I plan on leaving this blog intact, for as long as it takes them (?) to take it down - or until my RS premiums expire for good, which will surely come first. I'll think about what I'll do with it when the time comes. Some links are already off anyway, yet even thinking about digging those CDs out and ripping them... Maybe I'll keep the blog inactive with a possible comeback in mind, maybe I'll just let it rot or just sweep it like a sand mandala.

On the other hand, if someone is interested in running it, in keeping it going, best thing you can do is to send me an e-mail or comment here and we can possibly arrange it. Only serious proposals, as they say in the ads; I may be about to quit this blog, yet I still feel close to it...

So, dear friends. I feel this is not the last we'll hear of each other. Still, since Life has its magnificent twists now and then and we never know where we will land after the ride, I bid you farewell in advance and hope the best for you and your people.

Love Is The Law, Love Under Will.

Everything Popular Is Wrong

2011-05-06T22:23:00.008+03:00

I have to admit that as much as I like some of his music works, I often get bored by the rest of them. That's just me, I guess; but I had to get this out of my chest.

Putting that aside, Stefan Goldmann's opinions on the current situation concerning our music today (as expressed through Silo Magazin and Little White Earbuds' lovely site) seemed to me a quite accurate synopsis of what went wrong during the last decade, business- and creatively-wise. I agree with at least 95% of his views (save the PS...), so I felt I had to share this. Just in case some of you missed it - it has circulated a bit, as far as I can tell.

Please take some time and read it.

Great title for such an article, isn't it?

(I'm buying time for my not-yet-ready posts. You know that.)

Back from the grave

2011-04-14T19:16:00.007+03:00

OK, I have to admit it was a really big surprise for me to see this blog back up again. I sincerely had lost all hope about it and was thinking about creating a new one, what it would be about, if there was a way to re-post all previously upped CDs, etc. etc.- and had decided I have absolutely no time to do that anymore. And suddenly I visit my account and see it's up again, for a few weeks at least, judging from your comments. What can I say...

Some great news, people. I bought a Mac and managed to get my audio stuff together, creating a mini-studio - which gives me the ability to rip from vinyl. Finally. So, now my record collection is up for grabs. Needless to say, I won't be ripping any recent stuff, unless it's decidedly out-of-print and unavailable elsewhere - I haven't done anything like it in the past and I won't start now. But I have a lot of good stuff from the (late) '90s and early '00s that's mostly unknown yet marvelous stuff, deep and punchy techno and house, or some rare releases from well-known artists, so I'll start with these first.

Vinyl ripping is definitely slower than CD ripping. I'll just do my best, just don't expect daily updates. And while the state of my 12"s is far from being 'mint', I'm afraid I won't do a lot of corrections, pop- and hiss-wise, I just don't have the time. But we'll live with it. Also, I'm thinking on posting high quality links, possibly FLAC - give me some feedback on that, won't you?

So glad to be back. I now know that I missed this. So nice to see you again, dear friends.

(No, these are not my records. They are better kept and organized but, sadly, only slightly.)

Force + Form

2011-01-19T19:13:00.002+02:00

This was a request, I had honestly forgotten about it; but after listening to it again after those few years, I have to say it has aged extremely well. Full of loopy, dark techno with industrial references both sonically and thematically (see Coil), it's a classic Surgeon album revealing in full his idiosyncratic tendencies for bastardizing righteous techno beats with weird atmospheres and post-breakbeat loops. On that account, he always reminded me of early PWOG, amongst others; but that may be just me. Anyway, it's no wonder he made a turn towards the tech/dubstep crossover during the last few years.

His downtempo interludes are (according to Anthony Child himself) influenced by the work of his mentor/friend, Napalm Death's ex-drummer Mick Harris aka Scorn or Lull, who also contributed a dub in a 12" of remakes of tracks from the album.

Surgeon - 1999 Force + Form
Info here.

Most people would call it 'experimental techno'. I like to think that techno music is experimental by nature, although I would have to be braindead and/or deaf to believe something like this for all that music categorized as 'techno' and published in the last two decades.

P.S. I found the EP (not my link), so check it here:
Surgeon - 1999 Force + Form Re makes
Info here.

P.S.2: Link updated. Original post 2010-05-05

The Way Eye See

2011-01-16T16:25:00.009+02:00

Late '90s techhouse, somewhere between Svek's minimalistic house excursions and the various US hybrids of house and techno, from Alexi Delano - who has of old built his reputation in creating soulful and deep tracks with dancefloor appeal and still releases quality stuff under various monikers, in collaborations and through various labels. This is an one-off project
through Germany's Plastic City, full of lush chords and groovy elements over tight and phat beats for house lovers with open ears.

A.D.N.Y. presents Leiva - 1999 The Way Eye See
Info here.

Resuscitation

2011-01-13T23:39:00.005+02:00

Out through Ersatz Audio, this is a compilation of several 12"s released by ADULT. on E.A. as well as labels like Intuit-Solar, Bolz Bolz' Electrecord and Clone.
"Working class electronic music", they say. I call it retro electro with edge, cold synth influenced. Not dancefloor material per se, yet that's its appeal, in some sense. The artwork is also essential and a big part of the concept, Ballard-like in essence, so check more of their artwork where you can find it.

ADULT. - 2001 Resuscitation
Info here.

Sheen

2011-01-06T19:04:00.010+02:00

It's been some time since I posted some music from KK Records, so here's a classic compilation - full of techno, harsh industrial beats and dark atmos.

Highlights include legendary Test Dept.'s excursions in electronics, plus classic stuff from artists already presented in this blog, like Uwe Schmidt's Lassigue Bendthaus project, PWOG, Riou, etc. The first CD focuses on technoid beats, the second one is more abstract and experimental in its sound.

VA - 1995 Sheen. Kk Records Compilation
CD1 - CD2
Info here.

Objects D' Art

2010-12-30T23:38:00.009+02:00

From New Electronica, this was a strictly limited 4LP compilation, gathering the similarly strictly limited first 12"s of Kirk Degiorgio's Applied Rhythmic Technology (see ART) label.

Presented here are Carl Craig's early stuff as Psyche and BFC, some Black Dogs operating under the names of Balil and Atypic, Redcell, Neuropolitique and of course Kirk Degiorgio himself as As One, Future/Past and Esoterik. No need to say that it's a must hear for all lovers of the electronic sound; listen-and-learn stuff.

I seem to remember someone had requested this one ages ago. Found somewhere, sometime, it's supposed to be a 320 rip, although it doesn't sound like it. Still, the original LPs reach 50GBP prices, so...

VA - 1994 Objects D' Art 4LP
Info here.

As for the year 2010, well... I have mixed feelings. It was a really really hard year, that yet filled me with unsurpassed joy with the birth of my daughter - and was eventually so full of experiences that I can only compare it to a long rollercoaster trip. So, no big talks and resolutions and stuff from me. We're here, we survived and we're heading to the future, one step at the time.

For reasons that hopefully will be revealed soon, I recently revisited In The Nursery's 'Duality' with its Max Ehrmann quotes and finally found the whole poem ('Desiderata') and read it. Cast its moral teachings aside and see if it works for you.

So, happy new year to everyone. Take care of your loved ones and yourselves; and if I may, strive to be happy. It is still a beautiful world.

Dream Injections

2010-12-28T22:53:00.005+02:00

Well... I was planning a big post of the Dream Injection epic; a crossover series of Sub-Terranean, showcasing Europe's darkest electronic tendencies of the second half of the '90s, Spanning in six volumes (typically of 2CDs, while Vol.5 is a 3CD release), the series focused more on IDM-ish electronics, yet also included everything from dark ambient to trance. Most (if not all) of the stars of that time were included there in their various pseudonyms, so it's difficult not to find at least some of the tracklists attractive.

While searching around for similar posts around the web (a habit I have to get back to, as it seems), I noticed that there are all of them posted at Deep-And-Beat, so go there and down them all and enjoy. Heartily recommended.

Now I have to think of something else. Hmm..

Leichenschmaus

2010-12-19T17:45:00.004+02:00

C64. Romero. Gigolos. Atomic energy. Splank! & Mooner. TV. Cars. Machines. Machines.

Zombie Nation - 1999 Leichenschmaus
Info here.

Datcha Studio

2010-12-13T00:52:00.001+02:00

Two compilations full of artists from eastern and central Europe, compiled by Jean-Marie K., for Le Maquis.

Including works from the finalists of Radio France International's contests 'Prix RFI Musiques Electroniques', with Ludovic Navarre and Laurent Garnier in the chief jury positions respectively, it's a honest attempt to capture the multi-faceted 'sound' of ... half-a-continent or so. The project brings in mind certain french releases, with their glossy productions and eclectic, semi-intellectual approach to 'ethnic' sounds; which in this case means a lot of strings and unidentified vocals. On the other hand, it brings forward several direly neglected heroes of european electronics like Random Logic and Octex (see here for more), while post-breaks, loungey downtempo sounds have the biggest representation with shining stars like Yonderboi or Alexandroid (also mentioned here).

VA - 2002 Datcha Studio
Info here.

VA - 2003 Datcha Studio Vol.2
Info here.

Share Vari

2010-12-12T21:54:00.006+02:00

The song that started it all gets remixed.

A 2x12'' Puzzlebox release, trying to reinterpret an axiomatically absolute classic. You'll be the judge of whether it's successful or not, although it's sure you'll check it out.

A Number Of Names - 2001 Shari Vari Remixes
Info here.

Found around the net somewhere, sometime.

Pink Eyed Pony

2010-12-07T13:07:00.005+02:00

Wonderfully titled, this is the only album by Crane A.K., a project known for its releases in ForceTracks (*) and a couple more 12''s in Poker Flat and Audiomatique. Teutonic techhouse that still sounds fresh, fat and groovy.

Crane A.K. - 2001 Pink Eyed Pony
Info here.

Morgernstern

2010-12-07T01:00:00.002+02:00

I had promised a Christian Morgenstern post ages ago. You've waited for long, so it's gonna be a big one. A large bio can be found in his discogs page, so check there first.

I first encountered him in Kanzleramt (*) compilations and for years mistook him for a typical techno artist; then it came that I listened to Forte and realized there was more, so much more to like. I won't try to describe his style, as it shifts from record to record. The only thing certain is that as time passed, as he gathered experience through his (numerous) releases, his music became more and more personal, more than an amalgam of his various influences - attempting a crossover sound with electro and techno elements and pop sense, keeping his attitude and aesthetics underground and uncompromising.

All albums posted here were found through the net at some time or another. They're generally low bitrate, yet who cares... I consider 'Hawaii Blue' to be his masterpiece, but you knew anyway I'm a sucker for retro electro. Although the tracks I have (and have posted here) sound weirdly like a bad cut-up; don't know if it's bad ripping or the CD is like put together that. His last one 'Carolea' was left unfinished and released post mortem. He had also compiled his Kanzleramt records in two CDs. The only album missing here is 'Re:Death Before Disco' of which I have only half of it, I hope I'll up it at some time later on.

Rest in peace, man. You did more than well.

P.S. Mario was kind enough to send us a link for missing CD 'Re:Death Before Disco'. I added it below. Thanx, man.
Original post 2010-11-15

Christian Morgenstern - 2000
The Future Is On Fire. The Kanzleramt Years
Info here.

Christian Morgenstern - 2001
The Future Is On Fire Pt.2 More Kanzleramt Years
Info here.

Christian Morgenstern - 1999 Death Before Disko
Info here.
.

Christian Morgenstern - 2000 Re.Death Before Disko
Info here.

Christian Morgenstern - 2000 The Lydia EP
Info here.

Christian Morgenstern - 2001 Hawaii Blue
Info here.

Christian Morgenstern - 2003 Carolea
Info here.

My Sol Dark Direction

2010-11-27T22:42:00.010+02:00

James Pennington's only album, out through Peacefrog.

Hardware-based Detroit techno and electro, just like that.

Suburban Knight - 2003 My Sol Dark Direction
Info here. (Link removed)

P.S. Oops, it seems he released a digi album in 2010 as well. My bad. Although I couldn't find it anywhere.
P.S.#2 Link removed due to complaints.

Radioactive Man

2010-11-26T01:05:00.006+02:00

From Weatherall's Rotters Golf Club, here are the first two albums by Keith Tenniswood aka Radioactive Man. For all lovers of electro with attitude.

Previously posted RGC compilation here.

Radioactive Man - 2001 st
Info here.

Radioactive Man - 2003 Booby Trap
Info here.

Time Boom X De Devil Dead

2010-11-21T20:33:00.010+02:00

An On-U Sound release back from 1987, repressed with extra tracks at 2001 (as noted on discogs).

More from Lee Perry here. As for Dub Syndicate, I saw them once playing a double bill with Jah Wobble's Invaders; it was one of the most flawless performances I've seen in my life.

Lee 'Scratch' Perry & Dub Syndicate -
1987 Time Boom X De Devil Dead (2001 RP)
Info here.

Interestingly, I found in here some of the weirdest samples used in my personal favorite by Friedmann ('Nuf Said').

Tempovision

2010-11-11T09:51:00.007+02:00

We've met Etienne De Crécy before in the Motorbass posts (*,*). Here's his last solo project, an album of great craftsmanship and undeniable beauty; I'll only say that it's kept me company for all these years without losing even a drop of its appeal.

Where 'Pansoul' was a nocturnal urban affair, this one is full of sunlight and melodies - expect slo-mo filter disco, electronic funk and breaks, plus lots of twisted synths and sensual voices. Its commercial success was rather easy to predict; it rightly deserved all the attention it got. I also posted the remix compilation released a couple of years later, mostly top notch french house at its weirdest, along with three included videos.

Although Zdar continues releasing stuff as Cassius, I've lost de Crecy's tracks. An early retirement, possibly?

Etienne de Crécy - 2000 Tempovision
Info here.

Etienne de Crécy - 2002 Tempovision Remixes
Info here.

Etienne de Crécy - 2002 Tempovision Videos

More from him later on.

Life's A Gas

2010-11-09T22:56:00.009+02:00

One of Wolfgang Voigt's peak moments in my opinion, collecting his mature work as Love Inc.,out through Force Inc. From groovy techno to sample based chilled soundscapes, his minimalistic approach and those beloved and characteristic obsessions of his leave us little room to comment on - you'll either love it or just pass it by. As for the final track, I could listen to it anytime, anywhere, on repeat for hours.

Love Inc. - 1995 Life's A Gas
Info here.

I've been playing it a lot these hard days, so I'd thought I'd share it. CD rip by UOU...

Ocean Club

2010-11-03T14:11:00.007+02:00

I've mentioned Gudrun Gut and the Ocean Club before here and here, so I won't go into all that again. Just remember: Malaria! and Monika Enterprise. Anyway, this is the 2CD version of the Ocean Club album I was looking for back then (took me a year and a half... nice...).

The first CD is a reprint of the original 1996 album, with some video clips added (posted separately). Honestly, sometimes it sounds like trance made by non-dancers and it did so back when it was first released; but a couple of tracks are good and guests include Blixa, Anita Lane, etc (see pic above).

The second CD is a compilation of remixes from the several 12"s they released, by artists like (...deep breath...) Klaus Schulze, The Orb, Thomas Fehlmann, Ian Pooley, Paul Van Dyk, Ellen Allien, Effective Force and more; definitely the one to check first, some dreamy moments inside here, plus a lot of trancey tracks for those who can take it.

Gudrun Gut - 1996 Members Of The Ocean Club
Gudrun Gut - 1996 the Ocean Club videos
Gudrun Gut - 2004 Mixes For The Ocean Club
Info here and here.

The Music Hall

2010-11-02T23:52:00.005+02:00

Spencer Kincey's last album as Gemini. See previous posts here for info and more.

After this one he disappeared, I don't know what happened to him. Sincerely, I had overlooked this one for years; then last week I played it in my car and it stayed there all these days on repeat mode.

Gemini - 1999 The Music Hall
Info here.

Ambient Ibiza

2010-11-02T23:29:00.005+02:00

From Kenneth Bager's danish Flex, this is a compilation of downtempo tracks I'm posting mostly for the contributions by Lucky People Center (*), Dub Tractor (*) and the divine 'Journey' by The Gentle People (I think I have their debut somewhere...).

A couple of other known names in here as well, although many of the tracks barely escape mediocrity. And another unfortunate cover/title combination, by the way.

VA - 1996 Ambient Ibiza
Info here.

Kraftwork @ Nu Skool Elektro 2

2010-10-31T08:07:00.015+02:00

It's been a while since I did a solid electro post, so here's a compilation of robo breaks and nervous basslines with acid tweeks from all over Europe.

Contributions include a few tracks already posted before (by Scan X and A1 People), others by established artists like Scanner (*), Luke Slater, Carl Finlow (*), Stanny Franssen, Zzino, etc.; and a host of less known names of whom Ultradyne and Prozack are the only ones I knew and most of whom have disappeared ages ago.

Bad artwork and ridiculous titles are long-standing traditions for generic compilations like this one, solid soundwise but full of less known names - and we shouldn't like it otherwise. Awful covers scare away the hasty customers that don't reach the tracklist at all, leaving the CDs stored in dusty shelves, waiting for us to pick them up.

There was a Vol.1 (obviously...) that sounds promising, which I never managed to track down anyway.

VA - 1998 Kraftwork @ Nu Skool Elektro 2
CD1 - CD2
Info here.

Triptych

2010-10-29T09:47:00.003+03:00

Future Funk + Voltage Control

2010-10-27T09:24:00.008+03:00

Some more web finds concerning Russ Gabriel (*). From General Production Recordings' sublabel Input Neuron Musique, these are the two LPs he released there in 1995; sadly in low bit format (160 and 192kbps respectively).

'Future Funk' is more tool-like and dancefloor oriented; the real treat here though is 'Voltage Control', a sublime mix of all progressive tendencies of the time: Detroit elements, IDM and electrofunk forge the style soon to be named techfunk and to become UK's primary underground techno export. A hidden classic.

This was a request - and at the same time a wonderful opportunity to revisit Russ Gabriel' masterpiece. Once again, credits to the Unknown Original Uploaders.

Russ Gabriel - 1995 Future Funk Vol.1
Info here.

Russ Gabriel - 1995 Voltage Control
Info here.

Adventures In Techno Soul

2010-10-27T00:12:00.000+03:00

From Russ Gabriel's label, here are the two compilations that along with the '[313] Soundtrack' should be enough to establish Ferox in our minds as a forward thinking label to respect and cherish. With tracks and remixes by the likes of Carl Craig, Derrick Carter, Bjørn Torske, Aubrey, Mark Broom, etc., etc., these are a must for all lovers of the '90s sound, be it techno, house or whatever.

The first one is in 192kbps, found around the net; the 2nd one is a typical 320kbps CD rip.

VA - 1996 Adventures In Techno Soul
Info here.

VA - 1998 Further Adventures In Techno Soul
Info here.

P.S. New 'Further' link added. I think it's OK this time; although I noticed that ripping took some extra time, so it's probably a typical damaged CD case. First posted 2010-10-24.

The Beat Diaries

2010-10-25T12:04:00.010+03:00

This is Luke Solomon & Justin Harris' debut album as the Freaks, through their own label named, eh, Music For Freaks.

Groovy house with electronic funk elements and attitude, raw and minimal technoid tools, occasionally aided by the quirky vocals of Stella Attar, it still sounds as if it was released yesterday - it's really weird that they don't even sell it through their shop. Anyway, it was a great start and a clear sign of the greatness to come.

Freaks - 2000 The Beat Diaries
Info here.

Staedtizism

2010-10-23T15:26:00.005+03:00

Seminal nu-dub vs. clicks 'n' cuts compilation by Stefan Betke aka Pole's ~scape label (see *,*). Everyone here is a star (just check the tracklist) and all tracks are more than just good backdrop for smoking. For those who don't have it already, just don't miss it.

VA - 2000 Staedtizism
Info here.

Unfiltered Sky

2010-10-21T01:29:00.005+03:00

Here's the CD by David Alvarado & Kenneth Graham's project Sunkiss, appropriately released through Plastic City.

No time to write much. Check earlier post here for descriptions, though this one sounds more like typical Plastic City late '90s techhouse.

Lovely artwork, by the way.

Sunkiss - 1998 Unfiltered Sky
Info here.

Airbag Craftworks compilation

2010-10-12T14:56:00.007+03:00

From the same guys that were mentioned here and later built the Workshop label, here's an early compilation of mostly unreleased tracks I managed to track down only a few years ago.

Airbag Craftworks is a fashion design company producing tasty and rather expensive bags, t-shirts, etc. - and putting out music apparently. Unsurprisingly, I first spotted Out To Lunch in one of those tasty and rather expensive shops Berlin has by the dozens, where my wife was window-shopping overpriced bags, coats or whatever. I found inside a bunch of CDs and two packs of 12"s, respectively parts 1 & 2 of Airbag Craftworks Compilation Vol.2, which I unthinkingly grabbed for less than a fiver each, if I remember correctly. I'd very much like to post them as well, yet I haven't found them around the web (and vinyl ripping is still not an option). Anyway, this one came later and sealed the deal; now I watch Workshop growing and I feel that there is some justice in this world after all.

Besides artists mentioned before, there are also contributions by Isolée, Soylent Green and Freestyle Man vs. Corrado Izzo (*). It could have been a Source record, don't pass it by.

VA - 1999 The Airbag Craftworks Compilation
Info here.

Raw Elements Vol.1

2010-10-11T14:01:00.007+03:00

A Superstition compilation of funky techno and house tracks with acid flavor, compiled by Steve Bug, showcasing early material, his and his friends - most notably Hans-Georg Schmidt of label mates Humate and old rave dog Fred Giannelli.

VA - 1995 Raw Elements Vol.1
Info here.

Utopia. The Big Chill

2010-10-09T08:39:00.005+03:00

This is a mixed compilation by Miss Elke K. and Henny V., an obscure DJ duo also going by the name of Dutch Ambient Federation; out through Guardian Angel, a trancey sub of Basic Beat.
With a cover pointing to just another mediocre compilation of easy listening 'balearic' music and an equally unexplainable title, the CD contains two mixes, one from each of the DJs.

The first mix by Elke K. partly borrows from the british tradition of chill-out DJing, yet without resorting to sloppy fem-vox stuff or anything like that, keeping the tones down and (like most successful female DJs) aiming for the heart with sentimental tunes and rich melodies. With tracks from the likes of Dr.Atmo & P. Namlock, Dub Tractor (*), Neotropic and A Reminiscent Drive, it's great for coming down, which probably was the purpose after all.
The second part on the other hand is a rather darkish, more abstract and experimental excursion, including some obscure tracks and highlights from Chain Reaction's one-off Ridis, Experimental Audio Research vs. Thomas Köner, Wolfram Spyra, etc. I could have actually named this post "What were they thinking?" judging from that 2nd part; if this is Utopia, what would Dystopia sound like I wouldn't know. Besides the more unconventional tracklist, this one doesn't flow that well as a mix but most of you will probably like it anyway.

VA - 1997 Utopia. The Big Chill
mixed by Elke K. & Henny V.
Info here.

Digital Disco

2010-10-04T11:29:00.012+03:00

This is ForceTracks' (*) disco vision; german techno and minihouse icons combine the original dance archetype with their repetitive rhythms, trying to build what they obviously hoped to be the new hyped resurrection. History proved that their bet was misplaced, still some efforts were genuine and still sound interesting. Others did worse; also, some tracks in here have little to do with disco (like that Swayzak exclusive). Interestingly, many of the relatively unknown artists contributing in Vol.2 later became really well known in the electro house circles. Anyway, I think that as compilations go they're good; and also tacky, cheesy, or kitsch - call them what you want.

There was also a later 3rd part, mixed by Unai, but I never did persuade myself to buy it.
.

VA - Digital Disco (2002)
Info here.

VA - Digital Disco 2 (2003)
Info here.

Lakeside

2010-10-03T18:52:00.007+03:00

Estelle Montenegro is Kenneth Graham's alias for Electrolux, this one being his debut there.

I only have a couple of his 12" and the Sunkiss album; besides that I know very little about him; some info on HisSpace. The keyword here is techhouse; repetitive arrangements of traditional house sounds and themes, deep dubby treatments and (as far as I can understand) mostly hardware made. Closer to the mid/late '80s sound than to the over-produced '90s typical house stuff. Also some chilled electronic stuff in here, being an Electrolux record; but over all it's an uptempo album.

Estelle Montenegro - 2000 Lakeside
Info here.

Microfunk Klickhouse

2010-09-30T11:46:00.015+03:00

While on that trip, here's a 2CD compilation by techno devoted distributor Neuton, presenting a multitude of artists from their labels cluster to define the (2003) cutting edge sound of ... (insert fanfare) ... Microfunk. Or Clickhouse. Microhouse, maybe. Noticed the initials? Anyway. I was going to post Akufen's track (that appeared as an extra in the 2nd print of his 'My Way' album, as noted here), then decided to post the whole compilation anyway.

The thing is, gathered here are artists from the rosters of Force Inc., Perlon, Boxer, SubStatic, etc., etc.; most of them have been presented through this blog before, so just check the tracklist. CD1 focuces more on techhouse a la Forcetracks, while CD2 delves more into mini-techno and occasionally experimental territory. In all, a representative comp of the tendencies of the time; once more, it's easy to recognize here the blueprint of what shortly became mainstream everywhere.

It was really weird to see Neuton crash (as was with EFA earlier); its labels did at that time really well; most of them still do, after all.

VA - 2003 Microfunk Clickhouse
CD1 - CD2
Info here.

Four times I wrote and erased the above text, took me more than an hour; which probably reveals more for the state of my mind during these last weeks (I'm working two office jobs overtime...) than a genuine oh-so-blogger-like gut spilling would do. Sorry for any delays in requests, keep annoying me for what I promised; assume I've forgotten everything.

Anima - Naima

2010-09-27T14:10:00.000+03:00

The following two CDs are actually one piece of work, the original and a live performance. They signify one of the peaks of Mr. Ripatti's fame, while he was still enjoying the world's general wonderment and critics' ramblings about releasing in the same year (2000) the great 'Multila' in Chain Reaction and three albums in Mille Plateaux, ForceInc. and ForceTracks ('Entain' as Vladislav Delay, 'Vapaa Muurari' as Uusitalo and 'Vocal City' as Luomo). The volume of releases was not surprising as such (especially for an 'experimental' artist). The big surprise was the quality and originality of the material, as well as the chameleon-like way he overruled genres' stereotypes and norms, whether he chose to play techno, vocal house or just glitchy reverb noise.

The next album (out 2001) was a daring release in Mille Plateaux. Although there was also a 3x12'' release, it works best in the CD format as it's one solid ambient track, to my ears an improvisational smocky piece based on excellent quality raw material and tons of effects. It's obviously the closest he ever came to gallery 'art' music, still he manages to preserve all these qualities that make him that good in what he does as a musician and without the academic stench of most of the already mentioned 'art' works.
Not surprisingly, he performed that work in Ars Electronica 2001 in a more clear and a bit more abstract form, with a female beautifully accented voice on top giving a different meaning in this sea of reverberations. The recording of this version was later (2002) printed as a limited release in Staubgold, named 'Naima'.

P.S.: Both links were erased without notice. 'Anima' is reprinted through Huume (with an extra track), but 'Naima' remains in obscurity so I re-upped it. Original post 2008-03-30.

Vladislav Delay - 2001 Anima LINKS OFF
Info here.

Vladislav Delay - 2002 Naima
Info here.

My Way

2010-09-26T22:17:00.005+03:00

Akufen's seminal debut album in Force Inc. (*,*,*,*,*,*,*,*,*); along with 'Psychometry 3.0' EP his best work to date.

In my opinion, a landmark for minimal techno, signaling its mid '00s US-driven quirky phase, before it became that post-M_nus mainstream norm we all know. Similar (but not the same) stuff here; another Akufen track here.

Akufen - 2002 My Way
Info here.

Welcome to Lucky People Center

2010-09-22T10:21:00.018+03:00

I first watched the outstanding 'Lucky People Center International' film in a VHS copy, at about the same time I watched 'Modulations' (*) and 'Synthetic Pleasures'; at about 1999, I think.

I knew nothing of LPC, save that they were a Swedish collective. Took me 5 or 6 years to find out bits about them, and only thanks to sites like imdb, discogs, etc. The film was actually made by Erik Pauser and Johan Söderberg (definitely check his adorable site for more); some info here. Bringing in mind Coldcut's audio/video sampledelic cut-ups and musically focusing on fast acidic beats, the film is a trip around the globe, people-focused and compassionate. Using fast-paced editing followed by gentle breaks of stillness and heart-aching beauty, the film touches on trivia such as alternate states of consciousness, the importance of dancing and singing, the clash between free will and society's restrictions; and of course death. Human stuff, you know. I was actually planning on posting the film itself, when I found out that it's reprinted on DVD and it's available for sale through one of the the directors' shop. It's so good it'd be a shame of you to pass it by.

So, I choose to post their breaks influenced debut CD instead. But I still think that the 'just music' CD version lacks a bit when compared to the original video cut-ups; just check this one, then go to soderberg.tv, press 'Musicvideo', then 'LPC' and click on 'Rodney King' or 'Live In The World' and you'll know what I mean.

LPC - 1993 Welcome to Lucky People Center
Info here.

Blue Skied An' Clear

2010-09-18T10:41:00.011+03:00

Another quality Morr Music compilation; check that post first for more info.

It's actually a tribute compilation to Slowdive; in CD1 Morr artists do covers of their tracks, in CD2 there are original tracks inspired by them. Purists might not like it, no many wall-of-sound guitar sounds in here; most of the tracks are simplistic and transparent sound-wise and retro-electropop stylistically. But the dreamy/smokey spirit is still there, bittersweet vocals dominate and Slowdive's influence on this scene becomes apparent, more notably in the second 'originals' disk.

VA - 2002 Blue Skied An' Clear
CD1 - CD2
Info here and here.

This was a request, yet I was planning on posting it at some time anyway. Enjoy.

Everdom

2010-09-15T12:00:00.008+03:00

Anders Ilar's debut on Shitkatapult, a deep masterpiece blending ethereal ambient atmos with contemporary electronics, rumbling bass and tons of effects.

Occasionally dark and introvert, this one is more appropriate for relaxing, thinking, mind traveling in general, than for dancing or coming down. And rather unlike his 12"s of the time (see that great Hydro EP); only 'Make Believe' follows the mini dub techno norm. It's a low profile work, but it grows on you; I liked the stylistic switch, gave it some extra attention and was rewarded accordingly. I'd say that in here are the roots of his later tech-IDM-ish excursions through Merck/Narita, Level, etc.

A free album and some mixes/podcasts here.

Anders Ilar - 2003 Everdom
Info here.

Alphabet

2010-09-14T23:34:00.010+03:00

Silex is Konstantinos Soublis aka Fluxion, famous from his releases in Chain Reaction, first introduced in this blog here - all I said back then apply here as well. Using one of his less known alias he's going stylistically much more towards IDM than you'd expect (meaning, no techno dub in here), occasionally with an isolationist's edge.

I think you'll find this interesting; his recent Resopal and Echocord releases were decent, yet on the same '90s dubby blueprint; more danceable but without the trippy feeling.

Silex - 2002 Alphabet
Info here.

Für Dich

2010-09-07T23:35:00.011+03:00

You know my love for the Cologne scene. Well, here's the CD that established Kompakt in my mind as a fixation to love and cherish and Tobias Thomas (*) as a DJ to watch (eventually I had the chance to open for him during a beautiful night in Athens, but that's another story).

I had bought it without knowing anything about it or himself. I recognized only a few of the artists involved, I remember it was really expensive and I had no way of listening to it beforehand, but I took my chance - turned out to be a turning point for me, an epiphany and an example to look up to. From post-pop to hard club techno, from abstract synthetic tool tracks to jazzy vocal house, Tobias builds a rollercoaster of emotions, trippy ideas and bold proposals that stands the test of time, beyond hypes and cliches. For you.

Contains rare Gamat3000 original gem 'Feeling Love', Various Artists' Autechre remix (*), some early Kompakt classics ('Puma', 'Nachschub', etc.), subtle paean 'Check Your Buddah' from Ford/Melchior (*), Lali Puna's heavenly 'Superlotado', an uncredited intro, etc. etc. etc. And of course Vladislav Delay's monumental 'Huone', mixed so subtly that it took me a couple of years to understand how he did it.

It won't stay up for long, for the reasons stated here. Makes a good couple with this Mayer mix, yet this one is far more effective. And I hate cliches, but occasionally I have to use them: I cannot recommend it strong enough.

VA - 1999 Tobias Thomas _ Für Dich
Info here.

P.S. Link removed; you had your time. Go to any shop and buy it, it's worth 100%.

Putting The Morr Back In Morrissey

2010-09-04T15:10:00.014+03:00

I realized that the title's wordplay is lost on most ears nowdays. Anyway, I won't go on about that label that redefined contemporary electronic listening music by combining experimental sounds and techniques with indie pop and aesthetics, blah blah blah. I'm talking about Morr Music and similar stuff, of course - a scene mentioned many times before in this blog anyway (*,*,*,*,*,*).

The first CD mostly contains unreleased stuff, the second one remixes between label artists. Simply one of the best listening compilations I own - still sounds good as gold. Enjoy.

VA - 2000 Putting The Morr Back In Morrissey
CD1 - CD2
Info here.

Underground UK

2010-09-03T11:48:00.017+03:00

Mid '90s UK techno and weird house compilation from Kickin' (*), known for its Techno Nations series amongst others. Probably a sequel to this one.

Lots of less known and (save a couple of them) otherwise unreleased goodies from a stellar roster of artists, the inlet says it all. As for the concept, I would openly wish for more signs of similar ethos in the contemporary music scene, but you'll call me a pessimist.

VA - 1996 Underground UK
Info here.
Unfortunately, Baby Ford's heavy abstract masterpiece would not rip. I may have another copy though, I'll get back to it sometime.

Freefloat

2010-09-01T08:33:00.008+03:00

When looking for something relaxed and soothing for the ear to listen to, the Electrolux (*) section of my shelves is one of the first places I check. And despite several mediocre and rather boring releases and their million thematic compilations that more or less recycle their catalog ad infinitum, I have to admit I have a soft spot for them and their glossy brand of electronics.

This is one of my favorite Electrolux albums, coming from the Aural Float project - aka label constants Alex Azary and Gabriel Le Mar with the participation of Pascal F.E.O.S.; hosts of the SpaceNight TV show and a focal project for Electrolux, which defined its style and aesthetics in a big way. Besides the typical downtempo relaxed electronics with occasional dubby effects, they also go uptempo with trancey edges and use vocals snippets from various artists, more notably Anthony Rother (*) in electro highlight "New Frontiers"; while vocoder-candy "Switching The Wave Of Thought" should be Electrolux' official theme track.

Aural Float - 2001 Freefloat
Info here.

Circulation. Abstract Funk Theory

2010-08-31T13:18:00.014+03:00

From Obsessive's Abstract Funk Theory series, this is the one compiled by Circulation (*); it's unmixed and, along with Carl Craig's, my personal favorite of the lot.

Tech, house and electro sweetness by artists already presented in this blog, like Carl Craig (*), Carl Finlow (*) and themselves; plus from The Timewriter, Atjazz, Touche!'s Jamez vs. H.P.Vince and an early Bushwacka!. Despite the compilation's global representation and chronological variety, it sounds tight and stylish without losing its clubbish character, allowing us a glimpse of the late '90s UK techhouse/ techfunk/ whatever sound.

Sounds good in the summer heat too; hadn't noticed that before.

VA - 2001 Circulation. Abstract Funk Theory
Info here.

Ashes To Vinyl

2010-08-30T01:14:00.004+03:00

From the excellent Exile On Moan Street blog:

Ashes To Vinyl

No comments.

Select Cuts

2010-08-29T10:30:00.004+03:00

The first Meteosound compilation, more or less with the same people as in that Submission post; here are also made apparent the connections with the Ocean Club (*). Expect dubby and spacey electronics Berlin-style, plus some roots excursions.

VA - 2002 Meteosound. Select Cuts
Info here.

I haven't been posting much due to really little free time. Hope to manage to post some more soon.

Massturbator

2010-08-23T21:51:00.002+03:00

What? No laptops?

Tec House Living

2010-08-21T22:35:00.011+03:00

A groovy mixed compilation, the first of Jesse Rose back from 1998, through Subversive Records (also see the Liquid California compilation).

Showcasing what was commonly thought as the UK tech house sound, contains tracks by local heavyweights like Jamie Anderson, Dave Angel, Charles Webster, Cevin Fisher and a newbie called Vince Watson, plus a couple of highly influential guests like John Tejada, Maurice Fulton, Steve Rachmad and Orlando Voorn (with early classic 'Flash').

In all, a great track list and a lively mix, full of emotional and energetic house anthems with that extra techfunk touch. I remember playing in sets that Plastic Avengers/C.Fisher mix a lot, possibly the only time I did something similar (I had neither the tracks themselves nor a way to edit them yet). Freaks came out.

VA - 1998 The Deeper Sound Of Bristol presents
Tec House Living
Info here.

The Vault

2010-08-21T09:01:00.001+03:00

He used to call himself Prince of Techno.

Well, I don't know about that. But the first time I heard 'When We Used To Play' I almost cried. I like his DJ style, hard and fast yet accessible and definitely sexy for the ladies. He played his part in the whole Detroit-Berlin thing, with his Tresor collaboration - I think he was the first one to go there to live and work and DJ. And his vocal contributions, his trademark and an example to many (the recent ones no less) are always interesting, either mood-fueled stoned whispers and deepnight mumblings, or mating calls and aggressive declarations. As a musician he's not the greatest you've listened to, but his tracks' power drive and his expressive persona are reasons enough to get you moving.

This is a Disko Bomb.
It's a house record; with its raw, percussive tracks spiced with disco samples and vocal snippets, the whole album points directly to Chicago. Still, he's an artist from Detroit releasing in a label from Munich, so things get complicated - he's quirky, rough and all-out house at the same time. Speed these tracks up and they fit in any techno set, can even be used as tools and blended together with little effort. House for bangers, fit for DJ Hell's sets. The 'techno' label underneath is there just to give you a hint of this.

When I first heard it, I honestly didn't like it much. As time passes, while its age is showing, I feel I get it better now in a way. It's not rare, but I don't remember to have seen it anywhere, especially around the share net.

Blake Baxter - 1995 The Vault
Info here.

P.S. I was informed that the rip had accidentally been a 128kbps one, so I re-uploaded it in 320. First posted 2009-06-18.
P.S.#2 Link updated

Sumerland

2010-07-27T22:12:00.018+03:00

So, it's about time I take my family and drop out of concrete Babylon City for a few weeks. I'm dead tired, nerves shattered and in so much need to cut off from everything regarding work and the like that I cannot wait to get as far away as I can from here. It won't be that far though...

Since it will be rather impossible to be able to post from where I'm going (though I might still be able to comment), I'd decided to leave you with a few of the CDs that I'll take with me for the trip; compilations of artists that I love and respect and would like everyone to check them out. Nothing rare or really fancy, but no fillers here either - just pure quality.

Besides being my unofficial summer score for the last umpteen years and so anyway, dub/reggae will always have its place in my heart, as it was the first music that dragged me towards the light. Explaining myself: on a musical/technical level, towards a deeper understanding of production and music creation; on a social level, by giving me a valid example of a culture whose people were outright wronged and mistreated, yet still manage to praise their god and support loving one another. But most of all, dub in my mind is the synonym of the union of the 'opposites'; the merging of the earthly and the extra-terrestrial, mind and body united; lost in smoke and thinking clear at the same time. That such a deeply rooted music, expressing almost strictly primal feelings and ancient thoughts, could prove to be the most forward thinking sonic movement in the 20th century; that from such poor conditions came out an outcome so great that influenced all music that came after it; my mind cannot grab it in whole, the greatness of their work - except for short flashes, when after the tail of a space-echoed voice the whole band slams in your face and you feel fingers playing and drum and bass slamming on your chest. I will always keep those people in my heart because simply they show me the way.

Now, since I've already posted some Lee Perry records (*,*,*) I've left him out of this one.

Starting with the once and always King, I'll only say that Osbourne Ruddock was for me the best producer that ever walked on this earth. Simple as that.

Kin g Tu bby & Soul Syndicate - 1996 Freedom Sounds In Dub
Info here.

Produced by King Tubby are also most (or all?) of these tracks by Augustus Pablo, focusing more on sentimental hazy melodies to pave his way through Babylon. A man of the heart and the mind alike.

Augustus Pablo - 2000 Dub, Reggae & Roots From The Melodica King
Info here.

Prince Jammy, one of Tubby's pupils tries out some more workouts on various artists' classic tracks with excellent results.

Prince Jammy - 1999 The Crowning Of Prince Jammy
Info here.

And last but not at all least, Horace Andy and his exceptional voice trying to break our hearts (and succeeding), then to mend them back stronger.

Horace Andy - 1997 The Prime Of Horace Andy
Info here (also see here).

So, have a nice time everyone and take care of yourselves and the world. See ya.

Love Parade

2010-07-26T14:21:00.002+03:00

The Love Parade accident fucked me up big time. Despite its commercial character, I think it started with the best of intentions and served its purpose; good or bad, it turned out to be the biggest dance-music related free festival. Investigating who's fault it was, is something yet to be done; if it's either an out-of-control mob or just bad planning to blame, it's not really important yet. What matters is that people trying to have a good time suddenly are no more. What a sad way to end something like that.

My condolences to families and friends; it could have been any one of us in there.

We Never Went To Koxut Island

2010-07-25T21:40:00.011+03:00

More sweet electronics, this time from Boulderdash; I knew nothing on them except that I liked their cover, they were from Sweden and that they had released this one in Cologne's (unknown to me) Artelier Music, through its (equally unknown) Swedish sub Recordings Under Construction.

After a recent search, I found out they are Daniel Skaborn and Hans Möller, later of the Boy Robot project with M.Zorn and CCO's chief Thaddeus Herrmann. So, they seem to be related both to their local scene (see Unai-centered Audionaut (*)), as well as to Berlin's pop electronics usual suspect label cluster (Morr, CCO, etc.). And in this album, their sound stands somewhere in between; subtly building atmospheres and using mostly sweet breaks and moody melodies, they nevertheless pay serious attention in their sounds and programming, occasionally bringing a sense of d'n'b emergency through their complex rhythms and instrumentation. I would dare to describe its sound as a cross between Berlin's late '90s IDM and liquid funk.

An underrated record that probably got lost between name changes and failed labels. Try it.

Boulderdash - 2000 We Never Went To Koxut Island
Info here.

And where is this Koxut Island, after all?

Maps

2010-07-22T14:23:00.029+03:00

Sometimes I check the red spots on the globe to your right. I put it there about a year and a half, or something, when the previous map crashed. I don't have a tool to track down each and everyone IP that accidentally passed from here; I kind of loath them actually. But I think it's nice to know that someone from, say, Chile is browsing in a deep winter night, teeth clicking, while I'm having my cold coffee sweating in an unbearable 40°C cement hell. You know.

It's no surprise that most people that pass by from here seem to be located in Europe and the Americas - music posted in this blog is both made and enjoyed primarily there. Which always makes me think how limited these forms of music truly are, at first, but then I carry on. A lot of dots in Asia as well, as if to prove me wrong; still, many countries there also have fast web connections - and strong relations to Euro and US culture. The global village and all that '70s shit, you know.

Anyway, every once in a while I see an alien name or an impossibly located dot and I get curious; and sometimes I go to google maps, wikipedia etc, to find out where that place really is, extra info, etc. Geography for the insane; guess where the spot sits on. But besides the scarce (but always exciting) hits from the African continent and from lands as distant from me as New Zealand or the deepest south of Tierra del Fuego, I have to admit that the most intriguing ones come from certain oceans' islands. Did I really had guests from Unalaska? The Mariana Islands and La Roche and Fiji? Mauritius and Réunion AND the island Rodrigues on the right, (that's actually not even tagged in Gmaps)???

More than crazy, it's a real pleasure and honor for me and a certain pride creeps in; pride not of myself (at least not much...), but of the power of the music we like and support and spread. If I was posting Lady Gaga, I would expect visits from everywhere; but that would be just a result of good marketing on her behalf. Weird electronics seem also to be more globally spread but for the techno posts I wouldn't imagine that, yet here you are all. So cool. On the other hand, there might only be ten true techno fans in XXXXland and one of them happened to visit here once; I'm still happy about it.

Which again might be just a trick of my mind. When I heard Rob Hood was to play here (it was 2002 or 2003) I could easily imagine him thinking: 'What the fuck am I going to Greece for? Everybody down there is greasy, eats souvlaki and dances syrtaki and shit'. Yet there were hundreds of people to play to; it was a great night. Mills could easily slam 2000 people overcrowding a club. What I mean is that music scenes grow in totally weird places in strange ways. Even more when we're talking about blog visits, hence about individuals visiting other individuals' pages.

Anyway, hoping these guys keep visiting here, I have to ask: where is that place in the Gulf of Guinea (south of Ghana or Ivory Coast, west of Gabon)? I started thinking that someone hacked his/hers IP to show that location. Or than Atlanteans are visiting. Or submarines with satellite connections... Or that dot south and a little to the east from Hawaii - is it French Polynesia? Mu?
Help me.

P.S. As I finished this post, I noticed someone from Hino and Chihuahua just clicked in. Joy.
P.S.#2 (2010-11-26) This South Pacific island I mentioned turned out indeed to be French Polynesia, the city of Pape'ete on Tahiti to be exact. Greetings, fellow earthlings.

3MCs&1DJ

2010-07-20T15:56:00.002+03:00

And since we're into video, here's a lesson in DIY promotion by the Beastie Boys.

And here's Mix Master Mike's angle.

Atari Teenage Riot

2010-07-20T14:11:00.006+03:00

I had the honor (not exactly pleasure...) of witnessing Atari Teenage Riot live back in 1998. Yet this video shows more accurately their true colors. Respect.

And pigs will always be pigs.

The Detroit Experiment

2010-07-19T23:37:00.006+03:00

Of all the Carl Craig (*) related projects I know, this is the only one I truly have mixed feelings about. Still, it's not a Carl Craig record per se, so I'll put my doubts aside.

This album is the second one in a project that started with the Philadelphia Experiment'; attempting to "fuse the new and old musical elements of the motor city". So, basically it's full of soulful, jazzy funky trips with lots of brass and string, clashing with more 'contemporary music' forms (see: a few synths and drum machines plus rapping). The outcome favorites the live drumming and improvisational trumpet performances far more than its 'contemporary' elements - so it's okay if you're into that. On the other hand, others have managed to fuse such elements much more effectively, in my opinion as always; even Craig himself did better in his Innerzone Orchestra project.

Here it is anyway, draw your own conclusions. This was a request. Released through Ropeadope and Rycodisc for Europe; vinyl was released through Planet E. There were later released a couple of 12"s, as well as some interesting 'Think Twice' remixes through Juno Records, the most notable ones by Henric Schwarz.

The Detroit Experiment - 2003 selftitled
Info here and here.

Defender

2010-07-16T14:22:00.009+03:00

Some more from Svek (*), a compilation by owner (I guess...) Stephan Grieder - see Air Frog, Birdy.

You should know what to expect by now; kicks in with breaks-based and deep tracks, later goes housey. Satisfaction guaranteed, and all that.

VA - 2002 Svek. Defender
Info here.

Peppo

2010-07-15T22:51:00.003+03:00

I knew there was something wrong with them two.

Anyway, Mickey is a police informer. It all adds up.

1945-1998

2010-07-14T15:03:00.004+03:00

So, the Iraqis had nuclear weapons somewhere... How about Iran? Them too, right?

Agendas

2010-07-14T10:43:00.018+03:00

Oldschool Detroit influenced electronics and techno in a three-pack of compilations from much respected dutch label Eevo Lute Muzique, released both there (21, 22) and as showcases for british label New Electronica (22, 23).

For those who don't know EevoLute, picture it as what you'd call the first european neo-Detroit label, except of course that it operated at the same time with the mass of third wave Detroit producers; they even had a collaboration with Planet E (12"). Anyway, if you like Delsin (*), this is its blueprint. It made a comeback some years ago as digital EevoNext.

Besides owners Florence (aka Terrace) and Wladimir M., appearing here are artists that went much bigger later like 2000&One and Ross 154 aka Newworldaquarium, plus some less known but not at all less interesting like The Keyprocessor and veteran Max 404.

In all, a totally recommended pack of retro sounding sentimental crap from the past. I only had #22 and was looking for the rest since ages ago to manage a full post; thanks to Renueh, it is now possible. Miss them at your own risk.

VA - 1993 Agenda 21. An EevoLute Compilation
Info here.

VA - 1994 Agenda 22. Another EevoLute Compilation
Info here and here.

VA - 1998 Agenda 23. Another EevoLute Compilation
Info here.

#21 and #23 probably are 320kbps CD rips; #22 surely is.

P.S. Links removed due to request from EevoLute.

The Space Between The Gaps

2010-07-12T14:44:00.010+03:00

An Incoming! compilation, including works from artists already posted in this blog (*), plus some more from the label's roster, like Cee-Mix and Andrew Lagowski.

A constantly shifting record, presents both the label's trademark chilled and detached electronic dub-based crossovers, as well as some moving, melodic drum'n'bass cuts. All tracks preserve this warm, all-encompassing, outer-space quality that made Incoming! (in)famous on nu-dub specialists, while at the same time glorifying these complex, glossy, electro-influenced loops, typical in Germany's breakbeat sound. A listening record, mostly, that would also work on an open-minded dancefloor.

Bonus CD contains just two tracks by Lemongrass, more or less similar in style to the others.

VA - 1998 The Space Between The Gaps
Info here.

Some more from Incoming! soon.

Hoodlum

2010-07-11T01:48:00.004+03:00

A vinyl only '90s Hood album, out through his own Drama label. Similar to his Nighttime World LP (*), it combines house sounds with jazz elements and his trademark minimal interpretation of techno, with excellent results as expected.

A 256kbps rip from vinyl, ripper unknown.

Robert Hood - 1988 Hoodlum
Info here.

Soundclash

2010-07-11T01:23:00.003+03:00

If you liked the 'Echoman' album posted here, here's a mix of some of their tracks and remixes that Chicken Lips did for Kingsize and the DJ mag. Typical early CL stuff, includes timeless epic 'He Not In'; sadly in shitty one-track-per-mix format.

As for the Switchcraft part... I never managed to listen to in full. Someone might like it though.

VA - 2001 DJ & Kingsize Records present
Chicken Lips / Switchkraft Soundclash
Info here.

So Fucking Chic

2010-07-07T10:52:00.008+03:00

This is the debut album of french group Junesex, out through Hamburg's Popup Records; darkish, sex infected, home-made electro with post-punk sound and rock attitude. Their sound stands close to the Kitsune/Ed Banger and like stuff, yet without the typical (post Daft Punk) tricks all the others use to death; the Junesex final mixes sound more like a rock band with synths than the all-pumping, filter sweeping, samples overload of the 'electro-rock' blueprint.

To tell the truth, I feel this whole 'sex' thing is a show-off. I bought this one for 'Gets Close To Mine', which anyway I had to edit and extend to play it; still, a perfectly good reason to check this album. Fortunately, some time later a 12" came out, with a Schatrax remix as well. Lucky us.
There's also a 'hidden' beatless track at the end of CD track #14.

Junesex - 2004 So Fucking Chic
Info here.

Submission Replay

2010-07-06T15:14:00.006+03:00

A compilation of remixes for Submission, an alias of Klaus Barm (unknown to me), through Shitkatapult's sub-label Meteosound.

With the originals boasting contributions by Tikiman and Paul PM in vocal duties, these versions are Berlin-heavy dub reworks by some the city's top, like Thomas Fehlmann, Sun Electric, Rechenzentrum, etc.; also from a bunch of otherwise unknown names (that could well be cameos of gods-know-who), plus a dub from The Rootsman. Ranging from down-to-earth roots dub to deep techno, covering many of the in-between crossovers, and with a few extra d'n'b touches, the outcome varies from uptempo lyric attacks to dreamy electronic drifts.

An interesting, multi-layered record, that might demand more than a couple of runs to be fully absorbed. Brings in mind the album from related austrian artist Sugar B posted here, as well as the Incoming! releases (*). It's mastered by Robert Henke, if that helps.

Submission - 2000 Replay. The Dub Remixes
Info here and (in german) here

Best of Kodō

2010-07-05T23:33:00.012+03:00

Powerful, meditative rhythms by dedicated Taiko masters Kodō.

Using highly disciplined drumming as their weapon (and yet at times sounding so free and improvisational as the next experimental band), they explore outer limits in atypical avant-garde style, combining their urges with their love for Japan's traditional percussive arsenal. Constructing complex, heartbeat-deep beats and constantly shifting rhythmic interplays, they usually refrain from playing the minimalist card much - they focus instead on dynamic shifts, sometimes in the extreme; with the silent, still parts weighing as much as the more energetic ones. Despite being spiced with various non-percussive instruments now and then, it's still a massive drum feast.

A great source of unique sampling material, by the way. Mandatory for fans of PWOG and tribal fiends in general.

鼓童 - 1993 Best Of Kodō
Info here and here.

I remember watching them in a performance at an ancient theatre (you always get great sound in there). Despite the occasional showing-off, I was struck by the sheer amount of energy their bodies channeled, as they kept the taxing pace of the beat flawlessly; by their otherworldly body stamina, especially compared to the obvious results my 'hedonistic' lifestyle had on me and everyone I knew; and most of all, by the wordless communication between them, this magic-like understanding of subtle changes in someone's playing or of a mood shift in the spectators' rows.

P.S. I just found that concert on YouTube here, sounding awfully though: 1, 2, 3, 4

Nighttime Worlds

2010-06-29T17:06:00.012+03:00

A couple of masterpieces from the man himself; some his more out-of-the-box moments (and rather hard to find in decent prices), drawing from Detroit techno-funk as well as from purer forms of funk, soul and jazz. In my mind, these albums are his tribute to the pre- and post-WWII nightclubs, evoking the spirit of those places where black music tradition was cultivated. Vol.1 is raw and beat-oriented, trying certain things yet retaining its techno-house character; Vol.2 is more multi-faceted and sophisticated, possibly Hood's best work music-wise, a work of beauty and power.

I was been playing Vol.2 for some time in my HPs when I saw that 'Internal Empire' (*) was reprinted; I decided to remove the posted link and to post these instead. So, enjoy.
.

Robert Hood - 1995 Nighttime World Vol.1
Info here. (LP rip)

Robert Hood - 2000 Nighttime World Vol.2
Info here. (CD rip)

Internal Empire

2010-06-28T23:02:00.004+03:00

Everybody's talking about the 'Minimal Nation' album as the tour de force of the '90s minimal wave of Detroit techno; in which I partially agree, since it's definitely a landmark, a real classic. For me though the absolute masterpiece of that era was this one; the ultimate, mature definition of the minimal sound from the Man himself, out through Tresor. Only for 'Minus' and 'Home', it should be immortalized in techno's Top Ten list; yet it's out of print at the time...

And I thought, what the hell... Until it's repressed (hopefully by M.Plant), here it is.

Robert Hood - 1994 Internal Empire
Info here.

Ripped from the Tresor 77 repress (there are no differences, as far as I know).

P.S. Link removed due to the 2010 Tresor repress. Glad it's back on the shelves. Please go buy it. Original post 2010-03-28

Le Catalogue Electronique

2010-06-26T20:39:00.008+03:00

Powerful, EBM-heavy electro techno action in french early Gigolo icon David Carretta's debut album. Raw, druggy, timeless.

David Carretta - 1999 Le Catalogue Electronique
Info here.

Check the (once more) incredible artwork by Abuse Industries.

More Gigolos and similar stuff here: *,*,*,*,*,*,*,*

The Users And The Gadgets

2010-06-26T11:04:00.001+03:00

Minimal techno compilation of Corrado Izzo & Bernd Maus related tracks, plus some from his special guests in disguise (see John Tejada, MonoJunk, Losoul, Sasse, Marco Carola), through his own Gadgets label.

An intentionally monotone record I'd say; nothing extremely experimental or something, yet each track has its own textures, its own atmosphere and character. And while they're all highly functional in the mix, the sounds and overall feeling are soft and soothing, fitting for home as well as for the club. A cross between Germany's tech-dub paradigm with Finland's minimalist tradition and late '90s US techno (a lot of Plug Research artists in here).

VA - 2000 The Users And The Gadgets
Info here.

Venex + Memory

2010-06-25T13:03:00.003+03:00

Of all the artists with names I 'll never pronounce correctly, this one's the most troubling and artistically interesting at the same time. Here are two albums from Paul Brtschitsch, number two and three respectively (I don't have the first one), out through Frisbee Records - inactive for some time now, as GoodGroove's MultiColor (*) has also been.

Oldschool, Frankfurt- and Berlin-influenced germanic techno with Detroit overtones and acid touches, made by synths and drum machines and samplers; probably recorded in live sessions as well. A joy for the ears and very handy for mixing, although many tracks might feel a bit tool-ish the first time - with some crucial twists on subsequent readings (or hearings... my english fail me once more). Tracks are slightly mixed, just enough to keep the beat going and preserve the live set feeling. A technohead's pleasure.

Paul Brtschitsch - 2001 Venex
Info here.

Paul Brtschitsch - 2002 Memory
Info here.

I had promised these two some time (...years...) ago in the ShoutBox. Sorry for the delay.

If someone could ID the "I Love It" sample in the track with the same title from 'Memory' it'd be great. It's too similar with the voice sample later used in M.A.N.D.Y.'s 'Achaat', though it's probably not from the same source.

Update

2010-06-25T01:36:00.000+03:00

OK, I feel I own an explanation for my absence, and it goes like this. Besides having no free time at all, I had surpassed my RS account's storage limit so much that I could't post anything more; had to erase old files to post new ones. Which I chose not to do, but to buy another one instead. So now everything's OK, new posts are coming very soon (I had them ready but not up). Hope you're still there, digging in the past posts. Cheers.

Edge Of Now

2010-06-18T22:09:00.015+03:00

A speaker announces:
'Welcome to the Edge of Now'
And the menacing bassline kicks in. Then, a synthetic, in-your-brain voice transmits:
moving effortless
trying to forget
everything everything
feeling nothing
seemingly forever, while wave after wave synths wash our ears, each turn more lush and fat, a maximalist's joy of frequencies over slowly building fast pumping beats. Apparently, thoughts from that euphoric state that most people reach only at the peak of the curve of an extensively brain-damaging night. To its credit, the track ends with an equally burnt-out
moving
feeling
everything
Good times.

This is John Selway's debut solo album, as far as I know. I only have the LP of the [feis] (*) label version; I feel it fits the label's profile perfectly and that's why I used this cover (I happen to like it more, also) instead of the initial Ultra release's original. With its mix of techno/ electro beats and melodies, and with a couple of immediate hits ('Edge Of Now', 'New People', 'Digitalemotion'), it was a constant in my box for many years; I placed it close to Kiko's 'Midnight Magic' (*), and that's a really big compliment on my behalf.

I recently came upon this rip from the CD release and decided to share it at once. It stands as far away from minimal as you can get; fat, rich synthetic melodies riding over-compressed beats, it even sounds trance-like and oldschool. And mostly different from other Selway's more known works (say, his Smith/Selway collaborations). But I liked it then and still like it now, so here it is. Credits to the original uploader.

Selway - 2001 Edge Of Now
Info here.

Galaxy

2010-06-12T01:01:00.008+03:00

I know it's been a while since my last (real) post. Besides my problems with RS, I'm in a truly shitty situation at work, that hasn't really ended yet; if I disappear again for a week or so, don't be upset. So, grab a quick one.

This is a deep, occasionally energetic and definitely housey compilation by our beloved Svek (*); disco, funk and breaks filtered through their trademark nord-house sound. It's the unofficial number five in the Lords Of Svek series, which I planned to post in full anyway at some time (and probably will do soon). All the usual suspects (Lekebush, Dahlbaeck, etc) are here, so you should need no more recommendations.

VA - 1999 The Lords Of Svek. Galaxy
Info here.

Blue - Red - Yellow

2010-06-05T06:23:00.000+03:00

This is the famous trilogy that made Stefan Betke aka Pole known to music fans everywhere, released on Kiff SM label (a '90s sub of PIAS Germany that mostly published Kreidler, B.Friedmann and of course Pole).

Back then, Betke had a good name as a mastering engineer (and I can assure you, he cares a lot for his sound as I found out later in a concert) and a malfunctioning filter, a combination which gave him a distinctive sound, perfectly in the middle between the then rising clicks 'n' cuts movement and the Basic Channel/Chain Reaction type dub. I remember that comparisons with Maurizio made him nervous and he tried to distinguish himself from that posse from early on. The truth is that back then there just weren't many others playing some combination of dub and electronics or techno. Anyway, I believe his work lies closer to Jan Jelinek or Friedmann (whose works he released in ~scape a lot) or Vladislav Delay (who also built his sound on a cracked echo or something).

The Blue one came as a shock to the world with his new bold cracking and hissing proposal, covering a wide spectrum of tastes, satisfying critics, academics and dope-heads alike. Either seen as an experiment or as an urban chillout album, it still sounds really well and should be considered as a milestone in experimental minimal techno and dub music. The Red one, the shorter in duration, kept in the same track, although the previously understated melodies became (occasionally) more obvious and spiced his sound up; yet the minimalist vein was still running strong. The Yellow one might as well be considered his 'pop album' of the three, in the sense that the intricate bass lines form complex and groovy rhythms while sweet melodies jump out of the cracking sounds in a practically accessible way. Almost a 'song' album, it emphasizes the dubby elements and is danceable at parts. A great record to listen when walking or in a train through the city. Overall, if you haven't heard anything of Pole, start at the Yellow one but don't miss the other two.

After these and few 12''s, Betke started his own very well known ~scape imprint, and the rest is history as they say. His sound changed a little bit, but still he sounds great and he's been supportive for a lot of old friends and new talents alike through ~scape. Respect.

Pole - 1998 CD1
info.

Pole - 1999 CD2
info.

Pole - 2000 CD3
Part 1 - Part 2
info.

Some more info here.

If you can find the vinyls of these three (or his early ~scape releases), try switching rotation speeds at the turntable. They still sound good!

P.S. Original post 2007-11-15. Added new link for CD1.

I Don't Like Music

2010-05-26T01:05:00.002+03:00

A tribute to Telex, the late '70s futuristic electro disco pop band from Belgium, from the likes of Carl Craig, Matthew Herbert, I:Cube, Ian O'Brien, Glenn Underground, Antony 'Shake' Shakir, etc. More or less a housey affair, contains some interesting covers and a few gems.

Telex - 1998 I Don't Like Music
Info here.

Thanks to Musicus, here's Vol.2 as well:

Telex - 1999 I (Still) Don't Like Music. Remixes Vol.2
Info here.

Thanx man.

P.S. First post 2010-04-21

Channel 1 & 2

2010-05-24T23:05:00.012+03:00

The first two compilation of Trevor Jackson's Output label (*).

A peak at the tracklists should convince you; the obvious hits are there (LB, DFA, BlackStrobe), but I'm sure you'll find something new to care about anyway, probably from the less known artists and most of it listening stuff. A few tracks in there I don't like at all (i.e. the worst Robert Smith impersonation by The Rapture singer), but that's a matter of taste as always.

A must for anyone who hasn't experienced 'The Difference' yet.

VA - 2000 Channel 1.
A Compilation of Output Recordings

Info here and here.

VA - 2003 Channel 2.
A Compilation of Output Recordings
Info here and here.

More Lush Life Electronica

2010-05-20T21:56:00.009+03:00

Besides bearing the name of J.Burger's masterpiece (posted here), this is a compilation of soft and deep electronics out through Quango, compiled by Optimo's Pete Herbert (I hadn't noticed that actually, just found out through discogs).

Chilled, sweet, a bit oldschoolish, in other words perfect for the comedown (or just for after a too-full-of-crap day), it came out in 2001, yet most of the tracks here are pure mid '90s synthetic bliss. All involved here are more or less well known artists, most of them posted elsewhere in this blog (dig a bit), while many tracks come from vital releases in famous labels. I'll just mention Move D, Pub vs. Arovane, Steve Barnes aka Process (of FatCat and Traum/MBF fame), John Beltran, A.P.E. and labels like R&S, A.R.T., Pacific, Likemind, etc.

VA - 2001 Lush Life Electronica
Info here.

Supermodified

2010-05-15T23:28:00.010+03:00

Here's a breaks album by brasilian Amon Tobin for Ninja Tune; a dark, intricate epic of sampling experimentation, haunting melodies and crossover attitude. A maximal experience, enhanced even further by the deeply emotive character of the tracks, it established Tobin's sound as totally unique and redefined his career as a cinematic quality producer; while at the same time regenerating my faith in breaks music in general and NT in particular.

Amon Tobin - 2000 Supermodified
Info here.

Are You Really Satisfied Now?

2010-05-11T21:22:00.007+03:00

Electro pop with vocals and punk elements from Dakar & Grinser. Unsurprisingly, a Disko B record.

If you only know Dakar from his (beautiful) Get Physical release, you'll recognize the voice but few things besides that. The pop element was there from the start, but this one is not another techhouse album; it's a dirty, drunken praise of depravity and self-abandonment, straight from the dark heart of Munich. First cut 'Take Me Naked' is a timeless heavy, slow-mo electro epic, giving us an idea of what's to follow; most tracks share this twisted edge, using funk and breaks as the basis for acid experimentation spiced with distorted vocals on top. Includes an appearance by Miss Kittin, as well as a cover of Stooges' 'I Wanna Be Your Dog' that sounds ok, until the vocals kick in. And then there's 'Stay With Me' that went rather big for a bit, I think; should have sky-rocketed, in my opinion, as it's a pure pop anthem, full of sweet melodies and optimistic lyrics (and with a decent production...).

Michael Kuhn aka Grinser also was a member of the (rather similar although softer, music-wise) Grom duo.

Dakar & Grinser - 1999 Are You Really Satisfied Now
Info here.

P.S.In the meanwhile I found the promo CD single, with remixes by Patrick Pulsinger (also as an extra in the album), Abe Duque, Tobi Neumann, etc. Here:

Dakar & Grinser - 2001 Stay With Me (The Remixes)
Info here.

Remember Today

2010-05-07T09:31:00.002+03:00

Some of the sweetest Cologne techno pop you might ask for. One of Italic's greatest and most understated propositions.

Borneo & Sporenburg are Frank Wössner and Daniel Varga aka Toni Mono in F Comm and Soda in Italic, one third of Playhouse's lovely Rework.

Borneo & Sporenburg - 2002 Remember Today
Info here.

All Access

2010-05-06T09:25:00.005+03:00

Compiled by Carl Craig (*), this is a great showcase/promo for the free festivals held in Hart Plaza in Detroit, most notably DEMF; take a moment and check the really interesting Wiki link for its full history and for a good laugh (see the 'co-founder' on the cover above).

Detroit music as you know it. Contains 'On and On' mentioned in the Aril Brihka post and a couple of unreleased tracks by Random Noise Generator and Anthony 'Shake' Shakir; plus a 'Good Life' retake, Stacey Pullen's dirty epic 'Sweat', Theorem vs Swayzak's 'Day From Hell' etc., etc.

VA - 2001 All Access to Detroit's Music Festivals
Info here.

Deeparture In Time

2010-05-01T22:08:00.005+03:00

An early neo-Detroit classic, from swedish Aril Brikha in Transmat.

If by chance or accident you've missed 'Groove La Chord' so far, a) this is your chance, and b) you must be living in some parallel universe and read this through a hole in space/time, after all. The rest of the album is not so different, as all tracks are live takes and revolve around the same deep Detroit theme.

This is the second version of this CD; for some reason I don't know Transmat first released that one in 2000; a year later came this, with a different tracklist. As if only to confuse us, Transmat has also released an EP with the same name (with two out of the three tracks that aren't included here). Anyway, the track 'On And On' will be posted very soon (P.S. here).

Aril Brihka - 2001 Deeparture In Time
Info here.

Panthera onca

2010-04-30T16:21:00.006+03:00

'Centuries ago, before the coming of the conquerors, the Aztec Mystics ruled an empire larger than what is now known as Mexico. The symbol of their power was the Jaguar, the powerful creature that stalked the jungles just outside of their monumental cities. In todays world, the Aztec civilization lies in ruins. Their temples and tombs have been desecrated and their power animal, the Jaguar has almost been hunted to extinction. Despite the encroachment of Western civilization, untold power and awareness yet lie within these ruins and the spirit of the Jaguar.
To desecrate these ruins and this spirit would be harmful to modern man. For these are things that are beyond the perception of modern world. Legends foretold of the greatest of the Aztec Mystics vowing vengeance on anyone who violated their temples and totems. This warrior society used their most powerful totem as their symbol, they were known as the Knights of the Jaguar.

Even now in the new millennium, the long dead Jaguar Knights can sense the violation of their symbols and spirits. Using the Jaguar as their spirit guide to travel through the realms of Death itself, they can stalk their prey through time and exact their ultimate vengeance.''

text written by the Ancient

DJ Rolando a.k.a. The Aztec Mystic - 2000 Jaguar
Info here.

This CD version includes three remixes by Jeff Mills, Octave One and Mad Mike (not the Derrick May ones, though) plus the various re-releases' b-sides. Once more, watch the video here.

Check some Wiki info on the Jaguar Warriors and their role in the Aztec army, as well as on the Jaguar beliefs in Mesoamerica, on Aztlán and the concept of La Raza.

Also check this page on the UR vs. Sony/BMG case; to think that those guys accuse others of piracy...

Pro Bono Publico

2010-04-27T15:40:00.012+03:00

Another Vertical Form record (*), this one's a showcase compilation sold half-price, if I remember correctly.

Lots of abstract pop and post-rock goodies here, four great groups get three tracks each: Pan American (*), Hausmusik's ISO68, Corker/Conboy aka A.P.E. (I have that first album somewhere...) and Kim Hiorthøy of Smalltown Supersound. Serious, introvert and emotional music, organic and chilled - occasionally depressive, but that never hurt anyone, did it? (... It did, after all?)

Recommended for headphones.

VA - 2002 Pro Bono Publico
Info here.

Audio Island

2010-04-27T08:52:00.008+03:00

Mostly known for his 'pop ambient' side, Markus Guentner released through Ware this album between his two excellent yet more or less abstract albums for Kompakt (check them here and here) that attracted most of the attention. I first heard his stuff from this 12" and immediately decided that I liked him; on the other hand he seemed to be too much into GAS-like loopy deepness. Then came this one.

Besides being the most clubbish material he's ever published and probably the most understated of his albums, in my opinion this is one of the best releases in the whole Cologne mini-tech thing; crispy techhouse and deep techno, richly textured with his customary post-indie sampling, his tracks balance perfectly between club functionality and emotional power, between minimalism and sensuality. A must for lovers of the sound of Cologne (although he's Bavarian, ha ha).

Contains a sweet cover of Talk Talk's 'Such A Shame' that also made it as a 12", and a powerful Acid Maria contribution.

Markus Guentner - 2003 Audio Island
Info here.

My daughter seems to like this one too. Which is weird, since she usually likes slower and more arpeggio-electro pop stuff (the Italians Do It Better compilation is already a standard). Possibly it's the full frequency spectrum she appreciates...

Eurobeat Club Classics

2010-04-24T20:33:00.016+03:00

And for the post #400 another 3CD box, this time from british Kickin Records, bringing together the 'Eurobeat 2000 Club Classics' compilations. That is, just Vol. 1, 3 and 4 (don't ask me why Vol.2 was left out...). And this is open air music in my opinion, but anyway.

The hideous covers of the originals at first repelled me; and the title was totally misleading as far as I am concerned, as here in Greece we used the 'Eurobeat' tag for those cheesy, post Italo-house or eurotrance tracks that popped up in the commercial charts during the early and mid '90s. But no, this is a collection of hard acid anthems, techno, hardcore, and jacking house from all over the world; the sound that dominated many many dancefloors, warehouses and fields across Europe (hence the title, I guess) and that Kickin was apparently trying to summarize/introduce to british ears.

(see P.S.2010/04/26)

Once again, this is a compilation for those that were not 100% into this kind of 'club' music. Most of the hits are so obvious, some of the rest sound really dated (especially from CD1) and there are no rarities in here. But it works well as a reminder of those times and was really convenient for CDJing; so many classics to choose from, in a neat pack. I'll just point out the Dave Clarke's Red tracks, Mike Ink's 'Paroles', the Mike Dearborn classics and that timeless Heckmann 'Amphetamine' epic.

VA - 1994 Eurobeat 2000 Club Classics Vol.1
Info here.

VA - 1996 Eurobeat 2000 Club Classics Vol.3
Info here.

VA - 1997 Eurobeat 2000 Club Classics Vol.4
Info here.

Box info here.

P.S. 2010/04/27: Thanx to MB, here's Vol.2 as well.

VA - 1995 Eurobeat 2000 Club Classics Vol.2
Info here.

P.S. 2010/04/26: Forget (most of) the above. Thanks to shadow's comment and after some digging, I realized that Eurobeat 2000 was a club night run by Frankie D, hosted in various venues in London during the '90s. Also functioned as a short-lived label (check the Greenhaus track, #9 in Vol.3). Makes more sense that way; but I still think it's an unfortunate name.
Concerning active links, I found only a Facebook account and a site concerning his recent more-Goth-than-techno club activities through Flag Promotions. On the other hand, Eurobeat 2000 gets mentioned a lot in many artists' appearances lists.

Dead Man

2010-04-23T22:03:00.013+03:00

The ancient tradition that the world will be consumed in fire at the end of six thousand years is true, as I have heard from Hell.

For the cherub with his flaming sword is hereby commanded to leave his guard at tree of life; and when he does, the whole creation will be consumed and appear infinite and holy, whereas it now appears finite and corrupt.

This will come to pass by an improvement of sensual enjoyment.

But first the notion that man has a body distinct from his soul is to be expunged. This I shall do, by printing in the infernal method, by corrosives, which in Hell are salutary and medicinal, melting apparent surfaces away, and displaying the infinite which was hid.

If the doors of perception were cleansed, every thing would appear to man as it is, infinite.

For man has closed himself up, till he sees all things through narrow chinks of his cavern.

from The Marriage of Heaven and Hell

by William Blake

Neil Young - 1996 Dead Man
Info here.

Find and see the movie. Some links here.
If you don't skip this one in the first ten minutes (or seconds), you're gonna love it.

Met@music

2010-04-22T21:22:00.016+03:00

Force Inc. 200 (and its later CD version presented here) was a compilation showcasing the Force Inc.'s minimal techno tendencies of the time, probably as an introduction with the US market in mind.

I jumped on the Force Inc. train rather late; probably through Heckmann and the acid trail. Even though I knew some of the other artists from the early days, the multitude of pseudonyms had its effect on me. Anyway, there were no discogs back then and without the 12'' press releases, a full magazines' library and/or an encyclopedic record collection you just couldn't identify anything. I guess that even local record shops' owners didn't knew what they ordered half of the time (and that's another reason why distributors were so powerful those days). Eventually I started recognizing the sound of each of the artists behind the alias, unconsciously most of the time, then to grab everything that had the Force Inc. logo on it; especially through the late '90s deep and tech phase.

Most of the oldschool is here: Heckmann, the Voigt bros., Babicz, Elhers, Gez Varley. But emphasis is given to the then-still-rising mini techno US scene, with artists like Kit Clayton, Sutech, Stewart Walker, Tomas Jirku, Twerk, Jake Mandell and Cytrax label chief Jasper (for those who follow the current 'minimal' trends, his Silent Servant guise should ring a bell). Also included is Vladislav Delay's most dry track ever and a sweet click lullaby by Donnacha Costello.

Personal favorites are R.Voigt's oldschool deep rider, Heckmanns' manic tool and this bleeping, entrancing cut-up epic by Jasper and Kit Clayton. At the time I considered it to be a weird compilation, a collection of cold tool tracks; it was rather too minimal for me. I was into strong synth melodies at the time, too much electro for the clubs and dub techno for chillout. Yet I grew accustomed to it eventually and even played a couple of the aforementioned tracks now and then (if I'd got it on vinyl, I'd play definitely more).

VA - 2001 Met@music
Info here.

Considering the course of nowdays techno, this compilation was a bit prophetic. I always felt that the sound of contemporary minimal techno lies closer to early '00s US/Canada efforts like the above or, say, Akufen, than in those so-hyped Hawtin's earlier works; and Force Inc. was the medium that brought them into Europe's attention and established them commercially (as Tresor had done for the earlier Detroit pioneers). I may be wrong, of course.

True Spirit

2010-04-19T22:38:00.008+03:00

Three CDs are barely enough to cover the label's repertoire; consider it as an extensive 'best of..'. The track list is a fan's dream and accurately representative of the label's course through history. As for the booklet, it's more than informative if rather self-praising (yet we'd expect that); works as a much needed companion for those who haven't dug into the Tresor vaults yet. For the rest, most of the tracks you'll have or already know; there are some unreleased mixes and out of print stuff anyway.

I had to buy my copy used (it sold out quite fast, I guess) and only much later did I realized that there were things missing from inside (sticker, booklet, etc.). Bastards...

VA - 2001 Tresor Berlin. True Spirit.
CD1 - CD2 - CD3 - booklet
Info here.

Birthday #3

2010-04-19T21:36:00.011+03:00

It seems we've reached this blog's third birthday today. I know it might sound a bit cheesy, but I'd like to thank you all once more for dropping by at some time or another, for leaving a comment or a link, etc., etc.

For a change, I prepared something for the occasion, which is simply the next post. Felt right, since a) it's out of print, b) you get a CD for each year the blog goes on, and c) besides Basic Channel/ Chain Reaction and the Cologne guys, Tresor has been the most influential label on my taste in techno, as it was through them that I got in touch with the Detroit scene.

So... enjoy.

Motorbass' Early Works

2010-04-18T14:56:00.013+03:00

In the 2003 reissue of timeless classic 'Pansoul' (*), there was a second CD bringing together legendary duo's first two self-released EPs, namely 'EP1' (1992) and 'Transphunk EP' (1993). Well, here it is.

Motorbass - 2003 Early Works (1992-1993)
Info here.

Motorbass are Etienne De Crecy & Philippe Zdar, of course. The first EP is more techno and acid oriented, still we can hear where they were going after all. 'Transphunk' points more towards their later approach of house music.

Standards

2010-04-17T11:19:00.010+03:00

More latin influenced weirdness by Uwe Schmidt (*,*), here posing as Moog player Lisa Carbon, through his own Rather Interesting label, with a few contributions, namely by Argenis Brito (*,*). Includes an instrumental cover of 'Space Oddity'.

Fusing together spaced electronics, funk and acid with his experiments in South America's rhythms, I think with the Lisa Carbon project he attempted a contemporary take on the whole early '70s movement that combined library music with pop, jazz and 'ethnic' rhythms. To my ears, it's similar to how David Perian & Alberto Baldan's 'Happy And Crazy Music' would sound if crossed with 'El Baile Aleman', though a bit more on the clicky side and showing off more its rhythm section.

Lisa Carbon - 2003 Standards
Info here.

All That Glitters

2010-04-15T15:58:00.008+03:00

The second album from MRI and the last one in ForceTracks (*); find their debut here.

More house- and disco-influenced, compared to either their earlier dub tech excursions or their later profile; still, in terms of track development they're leaning towards the minimal side as expected.

MRI - 2002 All That Glitters
Info here.

Silentmoviesilverscreen

2010-04-14T09:55:00.011+03:00

An album from Khan (*) through Caipirinha (*), loosely drawing inspiration from early 20th century silent movies.

I wish I had found some info on this project, but there doesn't seem to be anything around and the CD's leaflet stays totally uninformative. Some of the films I know, for the others I'm still guessing. The project unfolds in two parts; the first one ('Berlin') is a brooding, very minimalistic techno affair, borrowing its mood from early german expressionism films like 'The Cabinet of Dr. Caligari' or directors like Max Reinhard. The second part ('Hollywood') moves more into scarce electro beats and experimental breaks territory, mentioning Kenneth Anger and Carmen Miranda.

Khan - 1997 Silentmoviesilverscreen
Info here and more covers scans here.

Nutronix

2010-04-12T20:51:00.002+03:00

Freestyle breaks and electro mixed compilation from Cologne and Area Code 221 label. Not exactly in the style that most people associate the Cologne sound with, I'd say, although the acid influences are apparent, especially in the 2nd CD. Includes tracks from the Pharma boys, Nick Holder, Tanith, Alex Krüger, Hans Nieswandt, along a host of other local (or not...) artists from labels like Mehrwert, Stereo Deluxe, or the french Catalogue. Plus a Norman Cook remix of Christopher Just's classic "I'm A Disco Dancer" that you've probably never heard before...

According to the CD's info, Nutronix were a DJ crew associated with Liquid Sky Cologne: Eric Eltron, now chief of Boxer Recordings, Peta (most likely this one) & Wicked, that also participated with a track in the 'Sound Of Cologne Zwei' compilation. There's a De:Bug article in German here.

There was never a Vol.2 for this one.

VA - 1999 Nutronix. The Sound Of Electric Cologne
CD1 - CD2
Info here.

P.S. While I was searching for a Liquid Sky Cologne link, I came upon the Friendsound recent post. Good timing...
P.S.2 Oops, first CD is also posted here.

10% File Under Burroughs

2010-04-12T13:59:00.013+03:00

A tribute to William S. Burroughs, the most famous junkie ever. Or one of the most influencing contemporary artists, who incidentally left his mark on almost every aspect of expression concerning art in the second half of the 20th century; take you pick.

Unsurprisingly, a Sub Rosa release (also see the 'Hashisheen' post). CD1, named 'Beats', focuses on electronic works influenced by his work; heavy and dubby experimentations, mostly illbient-like stuff. CD2 ('Beat') captures the sound he and his buddies enjoyed, created and/or promoted; expect a lot of archival material, ancient chants, poetry reading and similar stuff.

VA - 1996 10% File Under Burroughs
CD1 - CD2
Info here.

I found out that a WSB documentary is on its way...

Metoroporisu

2010-04-11T23:36:00.005+03:00

And since we're on a Metropolis trip, here's a post I did some time ago for Surreal Moviez.

2001 Metoroporisu
aka Osamu Tezuka's Metropolis

Director: Rintaro
Runtime: 113'
Language: Japanese (w/ soft English subtitles)
IMDb Link: http://www.imdb.com/title/tt0293416/
Links here.

Description:
"Metropolis is both a collaboration and an homage to four disparate auteurs. The movie harks back to Fritz Lang’s classic expressionist film Metropolis (1927) but is also directly inspired by the Metropolis manga created by the 'god of manga', Tezuka Osamu in 1949. The movie itself is an interface between the director Rintaro, known for such previous manga adaptations as Galaxy 1999 and screenwriter/ director Otomo Katsuhiro of Akira fame.
The result is a visually stunning and sometimes haunting work, set in a near future urbanized world in which robots and humans interact - always warily and sometimes tragically. The beautiful robot Tima echoes the 'two Marias' of Lang’s film, invoking the specter / hope of the oppressed rising against elite exploitation, but Tima is ultimately a far more complex figure than any of Lang’s creations. The gorgeous quasi-apocalyptic ending also sends us to a darker place than Lang’s vision of hand and heart combining, but that place resonates painfully well with millennium society, whether Japanese or Western."
(from http://austinfilm.org/node/194)

Top aesthetics, top story, top anime. Neither just a simple adaptation of Lang's classic nor a typical techno-fetischistic epic. In its way unique. Just get it.