Album Description

Debut album from Finnish artist whose lead single,'Sandstorm', has become an international smash. Alsoincludes the follow-up single 'Feel the Beat'. 11 tracks,including two remixes by JS16 of the two singles. 2001release. ... Read more

Reviews (56)

Before The Storm is "Out of Control"
Walking into a local CD store the other day, I found a used copy of Darude "Before the Storm" on a clearance rack for $4.99. I hesitantly shelled over my five dollars and purchased my first Darude CD. Having once spent over $17 on Ian Van Dahl's CD "Ace", I am now terrified to buy DJ's with one outstanding track. More often than not in the electronica community, a DJ with a single will have about one good song, that being the single. I figured worst-case scenario, at least I would have Sandstorm on CD version.

How wrong I was. Putting on "Before The Storm" was trance bliss for over an hour. In fact, after several listening I would end up skipping Sandstorm and start the CD at "Burning", a track that outshines the first song quite a bit, in my opinion. Darude uses fast-paced, multilayered synthesized beats creating a very trance-y, overall hyped sound that really gets you moving or keeps you moving from Sandstorm.

Following "Burning," "Feel the Beat" resorts back to more of a Sandstorm-y sound. It's as if Darude is using his massive single as a template for this song. Nonetheless, it still is an awesome track and is unique in its own way. "Before The Storm" tops off with "Out of Control", my personal favorite track on the CD. "Out of Control" is the type of song that makes serotonin be secreted in trance lovers. It is hands down not only a better song than Sandstorm, but also a much more artistic and deep song. It is tied with my favorite songs in all of trance. Absolutely Amazing.

After OC, a fast paced song, Darude shows us his ambient side with "Touch Me Feel Me". Relatively speaking, this track is slow and chill, but fits into the CD nicely. Calm Before the Storm segues nicely starting slow and gradually speeding up to a danceable level.

Certain criticisms come with the next three tracks, "Let the Music Take Control", "Drums of New York" and "The Flow". All three tracks although do have some cool mixing, just aren't nearly as catchy as the rest of the CD. "LMTC" I particularly disliked, for its attempt to be almost a hip-hop song. I just wasn't feeling it.

Darude is a talented DJ and this CD shows it. He is capable of many different forms of electronica from trance to drum and bass to ambient. He created Sandstorm, a dance music classic at this point. And in all fairness, other songs very worthy of becoming classics one day.

Overall, "Before the Storm" is well worth the five dollars I spent on it. And even if you don't see it on a clearance rack, I would still say get it.

Good stuff for Dance music fans!
... Mostly of the songs are without voices and not so radio friendly, this is pure trance that some radio stations started to play that eventually gave them a few hits. Finnish group Darude have made a very good debut CD, lots of nice melodies with good beats. "Calm Before the storm" sounds a little like sandstorm but slower. Then we ofcorse got "Sandstorm" "Feel the beat" and "Out of control" which are the best, unfortunately the "out of control" single released was with some female vocals that totally destroyed the track, the original trance version was alot better and not very commercial either, the original version is on this Cd and that's one reason to buy it. "Burning" is a little like "Calm before the storm" it's a litte slower then many others, but good too. "Touch Me Feel Me" is also recommended. Good Cd overall.

EXCELLENT MELODIC TRANCE/ELECTRONICA MUSIC!
I first off want to comment on the only three stars given by Mandy and her rating. I hope she sees this because it is VERY important that she does: You obviously have a craving towards the rough side of electronic music with edgy and explict lyrics and natures of hard and negative aspirations. Truly this is not what real and beautiful music was originally intended for. Sure people use the "styles" broken off and perverted to express all kinds of weird, strange and negative emotions. But on this CD, you will find MOVING, EMOTIONAL, and BEAUTIFUL MELODY AND BEAT. That is what this CD is made in the essence of and that is why I can accept melodic techno/trance/electronic music because it keeps the CENTER OF MELODY AND HEART. This CD surely shows it. You say he repeats the same thing? Have you ever heard the expression MORE THAN ONE WAY TO SKIN A CAT, Mandy? Surely this CD should prove that you do not have a sensitivity it seems to the heart and melody and rhythm that this CD clearly shows. I looked at and listened to songs from your recommendations. They are far from the awesome beauty that CD's like this portrays. Songs like "Angel Falls", "Send Me An Angel", and many others who keep this CENTER and even songs from the Afro Celt System show this. You can waste your time on a misunderstood and ignorant perception of what you THINK this CD is, but you have what is called BLOCKED MIND SYNDROME. You will never hear what is TRULY awesome and beautiful and CENTERED. And it is not in the eye of the beholder. It is in the eye of those who SEE IT ALL for what it is.

Selling cyanide as exctacy to techno freaks is fun
This is the sound of diarrhea.

I want to stab every people who ever danced to the horrible "Sandstorm" track. I mean, common you fools : this is probably the worst Dance track ever. People who go to clubs are ten times more stupid than a pool cue (which I will use to DESTROY EACH AND EVERY ONE OF YOU !). I pray to Zeus that you all get hit numerous times with a hammer.

There's a lot of great dance music : latter day New Order, Ladytron, pop-era Kraftwerk, Depeche Mode...

I really like to kick small dogs.

Before the Storm
Before the Storm~ Darude is a nice surprise since Finland is not know to make any good music. This album is a change for the better and is a funny and cool album. ... Read more

Amazon.com

What's most surprising about the Pure Moods series is not that it is so popular, but that the music on it actually represents some of the best New Age and modern instrumental music, rather than scraping the barrel. For every piece of Enya pop froth--like her "Only If," which opens the album--there is a deep and impassioned exploration like Sheila Chandra's virtually a cappella "Ever So Lonely/Eyes/Ocean." Yanni's bombastic "On Sacred Ground" is balanced by Moby's soulful trance groove, "Porcelain." Sometimes those juxtapositions don't work out well. The overwrought romanticism of pianist David Lanz's "Cristofori's Dream" can only suffer being sandwiched between the soul-searing vocals of Peter Gabriel's "Games Without Frontiers (Massive/DB Mix)" and the Geoffrey Oryema/Brian Eno hymn, "Land of Anaka." With more than a quarter of the album drawn from the 1980s, there are some influential early gems here for new listeners, including Kitaro's wistful "Silk Road" and Ryuichi Sakamoto's "Merry Christmas, Mr. Lawrence." --John Diliberto ... Read more

Reviews (32)

Probably the best of the Pure Moods
I have to admit that at first I was a little critical of this CD, but after listening to the first two, I became more positive of Pure Moods. The Pure Moods I was erally good, Pure Moods II was okay, but Pure Moods III is the best in presenting some of the best music of the best New Age stars. Most of the music is from the newest releases of New Age performers, most being in the past 5 years, but even so, they still have old classics like "Cristifori's Dream", "Merry, Christmas Mr. Lawrence", and "The Velocity of Love". What I found to be especially amusing about this compilation is it begins with Enya, the New Age "goddess", and Sarah Brightman, "The Angel of Music". Sarah Brightman has done very well lately in the New Age genre, her beautiful voice never lets her down. Enya has been around for more than 10 years, and "Only If", reminds us that she will not go away soon. I might as well give a special compliment to each song. Moby's "Porcelain", which I've heard in commercails, has very amusing electric sounds. Mono sings sweetly in "Life With Mono". Peter Gabriel has been an important figure in New Age and Pop with Real World Records(good thing the makers of this CD included several Real World artsits). David Lanz's "Cristifori's Dream", not only is my favorite on this album, but brings great honor to the beautiful piano and its inventor. Another song by Geoffrey Oryema, "Land of Anaka", is included. Like "Makambo", its from his most well known album, "Exile". Sacred Spirit made a second album and Pure Moods III includes another one of their Native American interpretations. "Merry Christmas, Mr. Lawrence", carries the same oriental moods of "The Last Emperor". "The Velocity of Love", is one of the best examples of the great keyboardist Suzanne Ciani. "Ever So Lonely" by Shiela Chandra is an example of the unique sounds of New Age. "Virtue" by Jesse Cook, is so reflective, lovely, and fun, just like Ottmar Liebert. The beautiful "Silk Road" by Kitaro, who recently won a grammy, is very peaceful and serene. Even though I've heard and seen much of Blue Man Group and commercials, I enjoyed the sophisticated sounds of "Synaesthetic". Yanni's "Sacred Ground", comes from his more recent "If I Could Tell You", and has many layered sounds and vocals, along with some electric sounds, making it a little different from his previous works. Once again, Pure Mods includes the great band, Enigma, with "Gravity of Love", from "Screen Door Behind The Mirror". I love the classical, opera background of the music. Finally, there is "Deliver Me", from Sarah Brightman's well known, "Eden". This song combines pop, new age, and gospel influence. I can safely say this album is worth listening too, and it shows the best of New Age today. If they make a Pure Moods IV, I hope it well include some older New Age wonders, like Mannhiem Steamroller and George Winston. For now, we have the music of today for our ears.

Another great addition to the Pure Moods family!
What can I say? The Pure Moods series has always had a knack for blending the best music pieces from around the world, and bringing them all together on one awesome disc.

This album features an impressive array of world encompassing songs, such as Enya's "Only if," as well as Native American music such as Sacred Spirit's "Dela Dela." Some songs like Kitaro's "Silk Road" even blend in a sound of the orient into this wonderous album.

One of the best features of this album is that it gives you such a wide range of musical items to chose from, and if you like a certain artist or song, the booklet included gives you all of the information you need to find out what original album/movie the song came from!

If you love New Age music, and if you love to listen to a broad variety of world music, you have to get this cd!

Good Album, Not Best If Series Though
This collection of Pure Moods CDs started with this CD and was definitely good enough to justify the rest of the entries in the series. These CDs start by taking pop songs, remaking them into semi-new age songs and then collecting them with other new age songs. They're nice and relaxing and just edgy enough to keep mainstream folks interested. Out of the series I would have to say that this is my thrid favorite. If you're heard the others then you should be satisfied with this album, if you're new to the series I would recommend picking up Pure Moods II.

New-Age Mello Yello....
This is the kind of utter garbage they use to subdue wild boars in Papua New Guinea. An utterly wasteful collection of schlocky new-age pipey music, all under the guise of the "PURE MOODS" label.

Pure Moods is pure enjoyment
A friend gave me the original Pure Moods collection several years ago. I played it all the time!
When II was released I hesitated to buy it because I felt it would have to be a disappointment after Vol. I. But it wasn't. II was another delightful surprise.
Then III was released and I did not hesitate to buy it - and it did not disappoint. I see that IV has now been released and I can't wait to hear it! ... Read more

Album Description

Flunk's debut album "For Sleepyheads Only" introduced the US to Norway's stylish synth pop trio of Ulf Nygaard (producer and vocalist), singer Anja Øyen Vister, guitarist Jo Bakke and associated member, drummer Erik Ruud.Their cover of New Order's "Blue Monday"gave them not only critical acclaim but a large following from the track appearing on a slew of stateside releases.Described as "woozy, gauzy, muted, blurry and very groovy", Flunk occupies that unlikely place between folk and electronica.At once organic and studio-tweaked, the Flunk sound layers Björk-like Anja's creamy, dreamy vocals over a hushed base of samples, keys, and softly strummed guitars, creating an ethereal, past-midnight vibe.On Morning Star, they have evolved this sound further creating a pure indie sound with less emphasis on electronica.

In keeping with Flunk's tradition of New Order covers, on Morning Star we are treated to a live studio recording of "True Faith".Morning Star also delivers very strong original material with the title track "Morning Star", as well as "On My Balcony", "Blind My Mind", and "Probably" showcasing the superb songwriting talents of Flunk. ... Read more

Album Description

Stars Die - The Delerium Years 1991 -1997 is a deluxedouble CD box set. Featuring an overview of the five albums and various singles recorded for Delerium Records, it alsoincludes previously unreleased tracks such as the legendary 'Men Of Wood' as well as 'Signify II','Phantoms' the full eight-minute version of 'Synesthesia' and assorted rarities culled from the bands seven years with Delerium. Sometracks have been remixed for the project and the packageincludes a 32-page illustrated booklet featuring - for thefirst time anywhere - a full history of Porcupine Treedrawn from interviews with band members. Housed in a deluxe slimline box. 2002. ... Read more

Reviews (16)

A perfect collection of Porcupine Tree music
If this is not one of the best compilation cds I have, then I'm sorry. I have 17 items of music from PT, and this is just another one of the best.

I only came into knowing of Porcupine Tree as of the summer of 2000. Their music has always stunned me to the point of wanting everything from them, as you will find on my Listmania list on this from my about me area.

Anyone who has wanted to see a little of what the band looks like will be in for a surprise when they see how wonderful a box set this is! The packaging is artful, and the image of the (burning Piano falling from the sky toward a river) is mysterious and unusual. One thing that pleased me lots is the transparent plastic slip-sleeves the which the cds are housed in, inside the box. It's the first time I have seen such original packaging ideas.

Much anticipation was done before the cd arrived on the market.
I always wondered when there would be something compiling all the best songs from the earlier Porcupine Tree music, or something compiling all the hits since the beginning til now.

What is cool is the fact that the package is so light, considering it's got a fully illustrated 40 page booklet inside. I thought the whole shebang would be more heavier than it is in reality. Another nice bite is: there are 21 songs in the collection, which are long and not necessarily all the original versions. There are 3 previously un-released masterpieces here, as well as 3 new remixed versions of songs. There are also single/ep track versions which appear as (first appearance on album) versions.

With that said, here's the tracklist:

Disc A (1991-93)
01-Radioactive Toy 02-Nine Cats 03-And the Swallows Dance Above the Sun 04-Nostalgia Factory 05-Voyage 34 (phase one)
06-Synesthesia (extended version) 07-Phantoms 08-Up the Downstair 09-Fadeaway 10-Rainy Taxi

Disc B (1994-97)
01-Stars Die 02-The Sky Moves Sideways (phase one)
03-Men of Wood 04-Waiting 05-The Sound of No-one Listening

06-Colorflow in Mind 07-Fuse the Sky 08-Signify II
09-Every Home is Wired 10-Sever 11-Dark Matter

There is no favourite album cover for Porcupine Tree, and I think I will scan the cover of "Stars Die". That is for poster art. I am a poster nut, and many of the pics inside are worth looking at and doing something with. That's what makes a collection worth it, other than just the music alone.
Unfortunately, there are no lyrics inside, but a whole lot of stuff all about the band, right from the start. That is about 22 pages just about them. The last 2 or 3 pages tell a little about the songs and how the band felt about doing these songs. Isn't that comforting to know exactly how Steven Wilson felt when he wrote and performed these songs

I urge you to buy this recording and to play it with pride. And to all those who've never heard of Porcupine Tree, why not buy this one. It will give you a great idea of what PT and their music is all about.

Hope my review has helped you.

It's Just Another Day
This is a really awesome collection from one of the smartest and most eclectic rock bands ever to record music. Their earlier material was more psychadelic rock, sort of like Pink Floyd. And there later stuff was more experimental prog rock, like a compination of Opeth, Dream Theater, Theatre of Tragedy, Pink Floyd, Rush, and Genesis. I kknow that sounds like a lot, but really shows its eclectic side of aweseomness. Now If you have ever Porcupine Tree album, you still need this. This has some new mixes of certain track and unreleased material. As well as a huge booklet of interveiws a biography and some really awesome pictures and art. And its a pretty cool case too.

Do yourself a favour and get this really cool box from a really talented band.

Excellent.
When I stumble across a CD by a band that leaves my ear thirsting more (in this case IN ABSENTIA), I like going back to explore the band's discography all the while knowing that usually the most recent release is the best. Although IN ABSENTIA is a hard CD to top for sheer enjoyment, STARS DIE comes close. This is the best 'box set' I've ever seen. A nice little package that represents eight years of a developing band that doesn't sound like an old shoddy recording of rehashed tunes stewn together for a 'best of' compilation. If you're just picking up on PORCUPINE TREE and you want to go back and witness their evolution, STARS DIE is simply perfect. Great band, great sound, great CD. Excellent.

get it
I just got my "Stars Die...",right after "In Absentia".The last one is better,but You have to understand,how far PT went from Delerium years.I am glad they got away from sounding like Pink Floyd and King Krimson and went beyond that.Steve Wilson and His band are still very young people and i am sure,they just in the beginning of what they can achieve,Steve is a great talent,intelligent and well aducated in art of music.I am happy to discover this band for myself(and for everybody i know,they all love PT ,after i introduced PT to them).If you want people to listen to really good and talented music,educate them.It is sad,that so many are mistaken Madonna,Michael Jackson and such as somebody who has any idea,of what music is.Irena

Not a necessity.
Okay, I picked up "In Absentia" and then "Signify." Both were highly recommended at CircuitCity.com with positive critical reviews. But I wanted more. The next best review there came for "Up the Downstair" which I am now thoroughly enjoying as well. But they didn't have a review for this compilation, and the reviews for the other albums were not as highly regarded as the CDs I already own, so I bought this one in the hope that I could then have a rough idea of what to purchase next. Well, the best songs here are ones off "Signify" and "Up the Downstair." There are scattered moments of interest on the other songs, but overall, I was disappointed. Unless you already own all their albums and want differnet versions of some of the same songs you already own, then I don't really see the point in buying this. I've never been a fan of "Hits" collections, anyway. They don't have the cohesive structure of whole albums and sometimes make for ragged continuity. However, as a starting place for absolute beginners, this isn't that bad. Personally, I think their best album so far is "In Absentia" which, for obvious reasons, is not represented on this compilation. My next favorite is "Signify." They have other "Import" albums from more recent years, but the prices are way too high. This collection is really only for diehard Porcupine Tree fans, and is not a necessity for casual fans. ... Read more

Amazon.com

This '90s update of the classic U.K. television series of the '60s was roundly criticized for its murky, convoluted plotting and quirky performance by Val Kilmer in the title role of Simon Templar. But its soundtrack--a typically market-driven collection of modern pop--is actually one of the better efforts of the '90s. Leaning heavily on electronica influences (Orbital's conservative rendering of Edwin Astley's TV theme, Moby's driving "Oil," The Chemical Brothers' "Setting Sun," and others), The Saint at least holds together as a cohesive musical statement, something many similar collections can't claim. Also includes songs by the Sneaker Pimps, Duran Duran, David Bowie, Everything But the Girl, and Duncan Sheik. --Jerry McCulley ... Read more

Reviews (22)

Big Name Techno here we come
When I first bought this CD, it was for the theme tune by Orbital. However, I found on it a selection of techno from big names, such as David Bowie, Daft Punk, and Chemical Brothers.

I found that after listening to this CD I was able to identify those short clips that spiced the movie, such as the blast of Chemical Brothers as the goon squad leapt out of their car and after Val.

Excillent Selection
In, general, sundtracks to such movies can be extreamly cheezy and pathetically generic. But htis Cd stands apart like a shining star. Following are the resons why this is my favourit Cd of all time.
1..Excillent tracks by some of the most modern and cuttin edge artists of today.
2..Orbital's reworking of the original saint theam is beautifully rendered and perfectly mixed to create an air tight masterpiece.
3..The track by Uderworld is one of the best jungel/dance song i have ever heard.

4..Sneaker Pimps are always a please welcome addition to any album.
5..Duran Duran, David Bowi, Fluke and Daft Punk add to this Cd an exciting array of modern rock and infectious electronic groovs.
6..The version of before today by Everything but the girl is fantastic!

I absolutely love this Cd and this is a must have form anybody who remotely understands and respects good music.

Great Memories
You know how sometimes a music can conjure up memories of a time in your life that is pleasant, or not so pleasant? That is what "The Saint" soundtrack and even movie does for me. I remember seeing the movie in 1997 - and the friends I saw the movie with. The club heads, the cars, and etc.

This CD is real quality. I still love it today - so much so that I bought it a few times as the ones I had before got scratched - always around the Duncan Shiek track... This was out just when Sneaker Pimp's "Six Underground" was starting to get popular (before Ministry and every other mass "chill-out" compilation overplayed it), Duncan Sheik had released a feature cd maybe the year before that did very well in the US as did EBTG (Walking Wounded). But some of the hidden stand-outs that do spark up the good memories of when I saw this movie and when I lived in England - Underworld's Pearl's Girl, Polaroid Millenium's song and Daft Punk's "Funk". "Roses Fade" is also a cut that I really like with the guitar build-up in the beginning.

I definitely recommend it. For me it is one of those special CD's that I cherish. Mind you some cuts I will pass through - but if anything it is because I had heard the songs too much in 1997-1998! (Fluke, David Bowie). Enjoy

THE SAINT DOES TECHNO
DEAR READERS,

THE NEW SAINT MUSIC IS ALIVE AND ON TARGET. FOR THOSE OF YOU WHO ARE OLD FANS OF THE SAINT, THIS IS A FRESH NEW TAKE ON THE OLD STYLE AND TUNE. THE MIX IS WELL DONE AND QUITE MODERN. TAKE A LISTEN AND REMEMBER THE SAINT WILL ALWAYS RETURN... 0 O /|\/' \| / \ /_ |_

well...
Great album, but when watching the movie, I heard "You're All I've Got Tonight" performed by The Smashing Pumpkins, but found it to be missing on this soundtrack. too bad, as it's an excellent version...

it can be found on the Aeroplane Flies High box set, tho, so that will have to do ... Read more

Reviews (44)

...A Force to be Reckoned with...
For me, Jean Michel Jarre's works act as a stylistic bridge between the neo-symphonic and structured genius of Vangelis and the atmospheric psychedelia of late 70's, early 80's Tangerine Dream. While I firmly believe that Vangelis produces work of unparalleled majesty and depth that surpasses both Jarre and Tangerine Dream in a compositional sense, I find Jarre's "Equinoxe" to be a technically brilliant and ground-breaking synth album that remains musically relevant today despite its 25 years of age, which it wears with more grace than any electronic work released within at least 2 years of it.

Jarre certainly proves with "Equinoxe" that he writes captivating and, as in the case of Equinoxe 5, infectious melodies. In addition, Jarre supplements these melodies with subtle and varied rhythmic/sequencer-esque foundations, lush synthesized strings, and the obviously synthesized sound techniques (all manner of shimmerings, glurps, arpeggiated interludes, and weather sounds) that he popularized with his previous release "Oxygene". Jarre's compositions are consistently engaging and stimulating, and effortlessly transport the mind of the listener to realms of imagination and timelessness. With "Equinoxe", Jean Michel Jarre has truly created a force to be reckoned with.

If you're interested in works of a similar nature, try Tangerine Dream's "Force Majeure" (perhaps my all time fav TD recording), or just about anything by Vangelis (although his pre-1980 releases will probably appeal more to those enchanted by the "Equinoxe" sound). Also try Mike Andrews (found on Ampcast), who writes outstanding Jarre/Vangelis inspired music.

Jarre's best album
Whereas most people cite Oxygene as Jarre's best or best-known album that transformed electronic music, Equinoxe is the TRUE masterpiece. It has a distinctly ambient, etheral, watery quality to it.

Parts 6 and 7 are forerunners of modern trance music whereas parts 1, 2, and 3 are extremely ambient and gooey. Parts 4 and 5 are the best known and typical Jarre anthems. If you buy one Jarre album it should be this! Sound quality is also top notch.

Equinoxe
Equinoxe~ Jean-Michel Jarre is a tremendous album. In many ways it is just as good as the original oxygen and Jarre shows his true metal in his astounding genius. 5/5.

Great followup to Oxygene
Although Oxygene wasn't Jarre's first album (he had a few albums and singles released prior, such as Deserted Palace in 1972), it was Oxygene that made him a household name, much like Kraftwerk's Autobahn making them a household name after three obscure albums previous in the early '70s. Equinoxe follows in the footsteps of Oxygene, meaninging if you like Oxygene, you'll like this, and vice versa. Jarre took the style of such electronic greats as Tangerine Dream and Klaus Schulze, and made them more accessible. And while that might turn a few away, what he did was actually quite effective. It was Jarre that got me in to '70s electronic in the first place, as it was my parents who owned this album (as well as Oxygene and Magnetic Fields), meaning I was exposed to Jarre most of my life. Like Oxyene before, the songs on Equinoxe are all divided in parts, this time around, 8 parts. "Part 2", "Part 3" and "Part 4" had always been my favorite, "Part 2" reminds me most of "Oxygene Part 1". "Part 5" was the more "pop-oriented" number of the album much like "Oxygene Part IV" was to his previous album. The final piece, "Part 8" was basically another version of "Part 5", only without any rhythms, and just the main theme. The music here tends to be more elaborate than Oxygene, as he added more keyboards. On top of the ARP 2600, Eminent, EMS synths, Mellotron, Rhythm computer, RMI Harmonic Synthesizer, he started including newer polyphonic synths as well, such an Oberheim Polyphonic, Yamaha Polyphonic (I presume a CS-80) and Korg Polyphonic Ensemble. Also new to his set was an EMS Vocoder (which you can hear on "Part 5") and Elka 707. To me, I prefer Oxygene, but Equinoxe is still worth having for those who enjoy electronic music.

6 Stars
When you get this CD, turn off the lights, close your eyes and open up your imagination. Prepare for a journey into a world of harmony and universal beauty, where there are no time or space constraints. With this music, you don't need LSD to float freely into the ether... ... Read more

Amazon.com's Best of 2000

Mama Madonna returned from the spiritual world and got her groove thing goin' once again for Music. Flanked by Ray of Light's tried-and-true producer William Orbit and a French newcomer, DJ and producer Mirwais, Madonna pours her heart out on the dancefloor, combining self-revealing lyrics with retro-electro beats. Reinventing herself as an urban cowgirl pimpette, Madonna once again sets the standard for mainstream pop, which will probably only be topped by her next release.--Beth Massa ... Read more

Reviews (576)

An impressive instant with Madonna's music
What I like about Madonna is that all her albums have a different flavor. This one is like "Ray of light" electronica but it'S less "heavy". She slows down a little bit.
MUSIC: THe folllow-up single wih the killer bass line. A great dancetrack. I love it.
IMPRESSIVE INSTANT: Computervoice with this one. You love it or you hate it. I think it's great.
RUNAWAY LOVER: Even though it's a dance track the lyrics are kind of sad and philosophical.
I DESERVE IT: This syntie-folk song could be dedicated to her husband. It's my favourite on the album.
AMAZING: It's true that it sounds like "Beautful stranger" but that doesn't have to mean that it's bad although it's not as good.
NOBODY'S PERFECT: This song is really sarcastic. A message to the critics and the press but I don't like it. It has such a strange sound.
DON'T TELL ME: Madonna goes country. Nice experiment but this shouldn't have been a single.
WHAT IT FEELS LIKE FOR A GIRL: A nice radio friendly popsong. I like it.
PARADISE: This song sounds depressing. She doesn't sing much she talks in english and in French (Her french is just bad). Ovetall it's a good melancholic ballad but none of my favourites.
GONE: A nice way to end the album is this syntie-ballad It's very relaxt but not as depressing as "Paradise"

Madonna and Techno- the best partnership since PB&J
On "Music", Madonna's continues on the path set by her last CD, "Ray of Light", yet the result is anything but repetitive. On "Ray of Light", Madonna took on the limp genre of techno music, a world where generic fast beats back up meaningless lyrics and artists rarely outlive one hit wonder status. Yet on "Ray of light", with beautiful and unique beats produced by Mirwais Ahmadai, Madonna proved that techno music can be meaningful. She took the techno ditty formula to its ultimate height with the soaring title track and filled songs like "Nothing really matters" with intense emotional meaning. On "Music", Ahmadia is back and along with him his techno beats and Madonna brings a new emotional state to this album. "Music" and "Don't tell me" were the big hits off this album and they're perfectly delightful ditties. Madonna's voice is still reaping the benefits from the vocal lessons she took for the film "Evita" and as on "Light", she's able to manipulate her small range to turn the songs out. Yet it's the other tracks that help this record keep its shine years later. On "Paradise" Madonna indulges herself in over dramatic speeches in both French and English but somehow it works and the playfully delivered chorus "your paradise is not for me" proves again that for all her consumerist shallowness, there is more to Madonna. "Gone" also shows great strength, as Madonna soulfully sings about following your dreams. What really made "Light" and "Music" so interesting and artistic, was the deep regret Madonna reveals. There's something very imploring and even human that as she enters her 40s, Madonna regrets some of the shock and scandal she indulged in at the beginning of her career. On "Nobody's perfect" and "I deserve it", both backed intermittently by acoustics and electronics, Madonna tells of how her faults drove a lover away. Yet, while the few happy revelations on "Light" came from the birth of Madonna's daughter, on this record, Madonna's new husband, Guy Ritchie, provides her with more cheerful fodder. On "Amazing" backed by an airy thumping, Madonna sings girlishly "It's amazing what a boy can do" and her mature joy seeps through to the listener. But for all this, the most genius song may be "what it feels like for a girl". The beat is sweet and catchy and the lyrics are filled with sensual descriptions of the female physique. Yet just when Madonna has you thinking the song is a crude sexual exploitation, leading up to the chorus she lets loose the lines "strong inside but you don't know it/ good little girls they never show it/ when you open up your mouth to speak could you be a little weak" with deep hurt ringing through her voice. This is what makes Madonna one of the most unique pop stars ever. For all they're false claims that skimpy outfits equal feminism, Madonna proves here that Britney and Christina don't know the meaning of that word and legitimizes her lasting presence in pop music.

Exactly what Madonna is known for
Two years after the release of the multi-platinum critically acclaimed "Ray of Light", Madonna decided to return to her roots and do exactly what she is known for, dance music. The result of it is nothing overly amazing, but pleasing to those who just like to relax and have fun. Luckily, Madonna was able to take her electronica to a new level and make into a success, giving her her first number 1 album since 1989's "Like A Prayer" and her number 1 single since 1995's "Take A Bow".

1. Music- An excellent track. The song is basically about having fun and coming together. Possibly Madonna's greatest dance track ever.

2. Impressive Instant- This song is nothing amazing, but more of an expiriment with electronics. All in all it's pleasing.

3. Runaway Lover- This is probably my least favorite track on the album. Unlike the previous songs, the electronic beat just becomes dull and uneasy to listen to, and the lyrics are horrible.

4. I Deserve It- The best track on the album. Not only does it have a catchy chorus and a sweet meaning, but it combines guitars with electronics(similar to the songs on American Life).

5. Amazing- This song sounds alot like Beautiful Stranger, only not as catchy, and unlike the song's title, it isn't amazing.

6. Nobody's Perfect- An excellent track. I love the vocoder, the song's message, and the guitars and electronics.

7. Don't Tell Me- A catchy song with beautiful lyrics written by Madonna's brother. The orchesta is truly amazing.

8. What It Feels Like For A Girl- A sad song with a great message, although I do think that society is just as hard on males as far as putting standards on them.

9. Paradise(Not For Me)- Amazing. I love all the electronic noises and cool Japanese sounding music. However, I must admit that Madonna's voice gets annoying in this song at times. This song is very out of place on this album.

10. Gone- The guitar and electronics in this song are great, as well the singing. However, although the song is about never giving up on your dreams, these lyrics are nothing great. "Nothing equals nothing".

All in all, it's a great album to listen to if you don't have too much on your mind. But I highly reccomend Madonna's greater albums as well which include "American Life", "Erotica", "Lika A Prayer", and "Ray of Light".

Madonna Finds a New Groove
After the sublimely trippy masterpice that was "Ray of Light", Madonna could have attempted to replicate her previous success, or take her career in a new musical direction.
She chose the latter, and though the album as a whole has had to grow on me, I think it's a great effort, and quite a funky payoff.
As always, she makes an excellent choice of producer, Mirwais, who can make his synthesizer squeal and beats gyrate seamlessly in a collection of fabulous tunes.
Though a bit silly at times lyrically, it is intended to be a relatively light-hearted album, and the opening song is definitely one of her best ever. Each time I hear it, it sounds fresh.
Other than that, the highlights for me are the excellent and fervent "Don't Tell Me", the bouncy collaboration with William Orbit "Amazing", and the playful, if a bit tacky "Nobody's Perfect".
Her album following this one,"American Life", however, is more solidly engaging, though both albums are worthy products from such a sensational entertainer.

IT'S NO RAY OF LIGHT . . .BUT A DARN GOOD ALBUM!
I just want to comment on reviewers claiming that this was just an "OK" album, when in my opinion, this is a great album, although not better than the critically acclaimed Ray of Light.

In the 90s we recieved albums from Madonna that didn't have too much focus on dance music . . .so I consider this album Madonna getting back to her dance-floor roots after the critically aclaimed "ethereal" portion of her career, in which it brought about Madonna's only perfect album, and only album that recieved a Grammy nod for Album of the year after 18 years in the music industry. Unfortuanately, Grammy voters thought Lauryn Hill's first solo effort was better than an album that took the most famous female musician in the world 18 years to conjure. By all means, she was robbed single-handedly by a good solo artist who would later cease to make it in the music industry, suffering from the plague of non-longevity, in which Madonna has defeated so many times. Even in 2003, where she would suffer her lowest blow, she'll prove that one "bad" year wont kill her when she's had 21 "good" years.

Music is, in my opinion, ranks right up their, but slim with Ray of Light, because of the fact that you could probably listen to the whole album without skipping a whole bunch of songs. Ray of Light was a perfect album, but had very few dance songs than Music, where Music was an album that had several dance songs . . .but lost it's flare by the time that we got to the end of the album. I'm literally speaking of the fact that the songs on the Music album were dance then calm, making it a redundant album that seemed kind of 50, 50. It would have worked better if it was arranged where the song's baseed on their genre were scattered out through the album so that by the time we got to the end we wouldn't be sleeping from all the calm melodic, and sometimes artsy songs that made up the quirky ballads for this album.

The biggest issue I had when Madonna released this particular album was the decision of choosing singles. Impressive Instant, Amazing, and maybe (my favorite) Nobody's Perfect were just hell-bent on being released as singles. Also after seeing the beautiful video that was for the song Paradise (Not For Me) it kind of made me long for it to be a single release too. Although Madonna redeemed the average What it Feels Like For A Girl single with the video release suiting a remixed version, I don't think the single was good enough to be released over the ones I listed above, but all in all, it did bring us one of her best and most controversial videos ever, which would later be diminished by the American Life video.

There are so may good songs on the album that I would only list the songs that are average in it's own right, and that are "skipable."

1. Runaway Lover - Thank God she didn't release this as a single. It's the worst song on the album, and I hardly listen to it.

2. I Deserve It - Although it'a an average song, it is boring and gets redundant very early.

All in all, this is Madonna saying, "I can still have fun after having a baby!" This is a great album, although it's not better than Ray of Light, you could consider me biased because I started buying Madonna records after Ray of Light, and Ray of Light was the first cd. I've ever owned. It's still a good album . . .not better than the previous, but it will prove to have status compared to what Madonna will release after this one. ... Read more

Amazon.com essential recording

This 1974 masterpiece from Christopher Franke, Edgar Froese, and Peter Baumann ebbs and flows with richly dark soundscapes of electronic sounds and synth. Phaedra was a progenitor for much ambient--and some dance--music, influencing such artists as Steve Roach. After listening to Phaedra it's easy to understand why. The signature pulsing of thick, beautiful Tangerine Dream synth falls across the ambient treasures here, pulling along the orchestral dreamscape before oozing aside for thick washes of expansive sound. The now-classic title cut is both soothing and ghostly, throbbing with subtle sequences and twisted metallic calls before diving into a swamp of nightmarish whistles and hoots. "Mysterious Semblance" soars and swoops like a lovely electronic eagle, bringing tripped-out light and cosmic dignity to the collection. This and the follow-up Rubycon are juicy pieces to the Tangerine Dream pie. --Karen Karleski ... Read more

Reviews (39)

One of the Top Three of Their Best!
Tangerine Dream has been around making rare and quality electronic music since the late sixties. "Phaedra," released in 1974, is among the top three albums to have if you like music that can take you to new places in your mind, without vocals, without interference. It's hard to explain, but the purely harmonic melodies of TD's synthesizers are almost beyond description.

Track one starts out as a crescendo of electronic arpeggios that climax into a glorious, colorful burst, producing waves of major chords that seem to be in tune with the philosophical sections of the mind. Wonderful! Every listener is sure to have his or her own beneficial experience from listening to "Phaedra," and although the entire recording is less than forty minutes it is nonetheless indispensable. Unique and timeless, music like Tangerine Dream is what the people of the future will be calling classical. Most electronic artists like Edgar Froese and Chris Franke (the two geniuses of TD) have a love for their work that is evident in their recordings and disdain mislabeling. Call "Phaedra" electronic or ambient, but don't call it "new age." Buy it today, an extreme musical value that will help you to ease aggression and feelings of hostility with repeated listenings. Top recommendation!

The Superior Quality of Analog Synthesis
This album was my introduction to the real art of the synthesizer, at least in a less formal context (I had been a fan of Stockhausen, Xenakis, and other contemporary composers for years.) What strikes me most about this album after all these years is how fresh it still sounds, and how warm.

Along with several other synthesists (Brian Eno, Jean-Michel Jarre, Michael Hoenig, Wendy Carlos) Tangerine Dream pioneered the use of synthesizers in an ambient context. This style of music may not be your cup ot tea. But few albums do the style better than Phaedra. Each track is animated by well constructed looped sequences, and then surrounded by a vast assembly of sounds. This is not rhythmic music, as later Dream albums would be...rather this is inhabits a world where rock, Terry Riley and Gyorg Ligeti would meet. In fact, the dissonance of much of the opening track reminds me of some of Ligeti's famous cloud pieces of the 60s. (For those of you not familiar, think about the music for the trippy scenes of Kubrick's 2001. That's all Ligeti.)

Synthesis has made tremendous technical strides in the last 30 years. The advent of digital synthesis revolutionized electronic music in many ways. Unfortunately, it also changed the direction the music then took. Rather than searching for new and hitherto unimagined sounds, synthesis has devolved into the search for less expensive ways to replace studio musicians. Listening to TD albums from the 70s reminds you of the revolutionary nature of this style of music, a nature that has been lost in New Age tripe or over literal "MIDI orchestrations." TD's analog synthesis is still lightyears ahead of other groups. It's warmer, less imitational, and more original than most of what passes for synthesized music now. Yes the music is trippy...I certainly loved it back in my old ...days.... and it's still mind-expanding. Highly recommended!

A new chapter for Tangerine Dream
In 1973, Tangerine Dream recorded Green Desert, with Froese and Franke, but with Baumann absent. That album was shelved until 1986, by which point received so much digital treatment that you couldn't tell which parts were actually recorded in 1973 (it sounded too much like Le Parc and Underwater Sunlight than anything they did in 1973). In '73, Rolf Ulrich Kaiser was in charge of the Ohr label, the label Tangerine Dream recorded for. He just changed the name of the label to Kosmische Musik. There was a little unintended project called the Cosmic Jokers, which featured Klaus Schulze, Manuel Göttsching, Harald Großkopf, Jürgen Dollase, Dieter Dierks, Rosi Müller, and Gille Letmann (mainly members of Wallenstein and Ash Ra Tempel), in which those albums were release without anyone knowing about it (although their albums are incredible), and angering most everyone involved in the process (especially Schulze). Tangerine Dream luckily stayed out of it. Froese once said that he refused to be a part of R.U. Kaiser's "cosmic circus", that's why TD defected from Ohr. And for good reason as Kaiser started receiving lawsuits, and fled Germany in the process, causing his Ohr, Pilz, and Kosmische Musik lables to go under. British radio mogul John Peel obviously appreciated Tangerine Dream's music, named Atem "Import of the Year", giving them UK exposure. That gave Richard Branson's Virgin Records a chance to sign them. And for this new album for a new label a drastic change in direction. Instead of soundscapes consisting of drones and space electronic effects, the synthesizers obviously take center stage. And Phaedra is the results. There is a more minimalist feel to the music, while retaining that otherworldy feel. This is the album that they refer to as the beginning of the "sequencer-era" for this group. The album opens up with the title track, which proves that. After all the experiments of synthesizer, Froese changes to Mellotron, which is basically the last several minutes of this track. "Mysterious Semblance at the Strands of Nightmares" is definately Froese's time to shine, as about 90% of the piece consists of just his Mellotron (although there are plenty of spacy electronic effects here). "Movement of a Visionary" continues on this new direction for the band. Strangely Baumann includes a little harmonica here, which might seem like a bad idea, works quite well with the pulsating electronics found here. "Sequent C'" closes the album which is basically spacy flute from Baumann himself, in which he overlays the flutes creating this echoey effect. This is truly one of the all-time great electronic albums, and I know I'm not alone in my opinion of this. Truly a must-have!

Beautiful, anagogic soundscapes
This beautiful album carries willing souls in a mesmerizing journey. Writing about such music is at once easy and difficult; easy because it is extremely evocative and varied, difficult because the experience it offers is hard to put into words. The title track, a masterful 17-minute electronic poem, is perhaps the most perfect creation on the album. After a calm, shimmering introduction, a perpetually morphing bassline enters and is the center around which subtle textures are developed; the bass eventually fades, as the introduction's calmness takes over again. The same kind of shifting bass reappears in 'Movements of a Visionary', an intricate, rythmic piece with many treated voices. On the other hand, 'Mysterious Semblance...' is not built around a center but rather evolves from a series of chord changes that evoke, among other things, a nocturnal procession. The short and flute-driven 'Sequent C' closes the album on a similar ceremonial note, and as a whole the album itself is akin to an initiation, inevitably putting its listener in a religious, peaceful mood. These soundscapes reveal new subtleties with each listen.

Depends on your point of view.
If you're into more industrial/ebm style synthesizer music, stay clear of this title, instead get Tangerine Dream's 'Exit' album. TD uses alot of great textures in Phaedra, but it ends up sounding very bland. If you're into ambient electronic, this is almost beyond 5 stars, but most people that have heard later TD albums, will be disapointed with this highly praised early release. This is definately one for the collectors, or for ambient music aficionados. But this is a review, and not opinion, so if you like ambient/ethereal, purchase this one. If you want something more aggressive, yet still TD, get "EXIT". ... Read more

Amazon.com's Best of 2001

Though a well-publicized marriage did much to raise his celebrity profile, Guy "Mr. Madonna" Ritchie's claim as one of the world's most promising young filmmakers was already secure. Extending the gambit he began on Lock, Stock and Two Smoking Barrels, the English director's handpicked collection of pop songs for his jewel heist romp Snatch is a dizzying delight that eschews era and genre concerns in favor of flavorful character and loopy fun. Though his musical sense is one of the elements that have inspired Tarantino comparisons, Ritchie is clearly a league of one here. With a little fresh input from musical ally Klint, this anthology score ranges from the electro club mixes of Overseer and Mirwais to the vintage R&B workouts of Maceo Parker, Huey "Piano" Smith, and Bobby Byrd, with some pop kitsch of the 1970s (Johnston Brothers' "Hernando's Hideaway") and '80s (the missus's "Lucky Star") to keep the proceedings ever fresh and askew. Ritchie's pop choices are no less inspired, from Oasis and Massive Attack to the Specials' classic, "Ghost Town," and The Stranglers' own underrated jewel, "Golden Brown." --Jerry McCulley ... Read more

Reviews (28)

Among the top ten CDs in my collection
This album has easily made it into the top ten spots of my 800+ CD collection. It contains the most eclectic blend of music I've heard in quite a while. I guess the other album that comes to mind is "Pulp Fiction" - no wonder Guy Ritchie is being considered the successor of Quentin Tarantino's movie-making style, where music plays a key role.

Musically, the tracks "Diamond", "Golden Brown", "Hot Pants" and... basically the entire album, get you in the Snatch-groove even if you haven't yet seen the movie.

To make the soundtrack even better, four excerpts from lines taken from the movie are included, among them one by un-understandable Brad Pitt and another from Dennis Farina ("I'm coming to London!")

Believe me: this one's worth having!

Great movie....GREAT soundtrack!!!
I saw the movie last night and thought it was just tremendous! Brad Pitt was hilarious in it (for the most part) with the thick accent of GIBBERISH that you can't even understand a word he is saying. The plot was tremendous and very funny! And another thing struck me when I was watching the movie...THE MUSIC! They mixed nearly 30 years of music in one movie. And each song served a purpose and it was outstanding. My favorite track, by far, is Oasis' song...lets just say its called (something) in the bushes. After that, the song Golden Brown by the Stranglers (must be an English band because I've never heard of 'em, which is sad to say that I haven't heard them before here in the U.S. cuz they rock). Other than that, the dialogue tracks are part of some of the funniest parts of the movie. I don't want to give anything away, but if you haven't seen the movie, think about what Avi says on track 20 and when you see the movie you'll see what I'm talking about. =P This is a must-buy soundtrack for 2001 with all genres included!!!!

Love it!
I ADORE this film, and I remember liking the music in it. So when saw the soundtrack was on sale, I just grabbed it. I love it. It's great for when company is over because it's a mix of different style - something for most everyone (or at least most everyone that I know!). I took a star off my rating for selfish reasons: "Lucky Star" (blegh! I know it was in the film, but it brings the CD's groove to a screeching halt) and because there weren't more quotes from the movie! Looks like the import has more quotes - since I got my U.S. version cheap, I might by the UK version...

Bloody super!
The soundtrack helps *make* this movie. Only about ten minutes in, my wife was starting to fade. The dialogue is fast, the plot slowly developed, and the accents varied and difficult. But then the music - BOOM! - pulls it all together, scene after scene. Bloody super! Bravo!!

"Sneet das d"
Yes, "Snatch this CD." If you saw the movie and was wondering about the music, its here and it rocked my world. ... Read more

Album Description

The soundtrack to this motion picture features new music from The RZA (Wu Tang Clan) with Lil' Flip, Ol' Dirty Bastard, WC and E-40, Raekwon and Ghostface Killah, The Crystal Method, and much more. There are three editions: regular, clean, and deluxe. The deluxe edition includes a 12-page comic by Takashi Okazaki and a bonus DVD with an animated short, a story board animatic and making-of footage, character designs, Blade Manga art, a weapons gallery, behind the scenes footage of The RZA scoring the film, and more. Exclusive liner notes from director David Goyer. PARENTAL ADVISORY. ... Read more

Reviews (4)

Couldn't have been better...
Unlike what some may think who are opposed to hip hop, this soundtrack features one of the co-composers' for some of the most well known tracks from the movie- The RZA. Plus a couple more good hip hop tracks and some killer techno and metal. "Fatal" being the best track, and everything else superb. If you liked the movie you will love the soundtrack!

Awesome
As expected for an action movie, the soundtrack is fast-paced and all the music gets you pumped. I love it and the range of music on it, all of it is simply awesome. There is plenty of electronic and rap on there for everyone to enjoy

Can we please get over this hip-hop phase?
As usual, for a horror action movie, the soundtrack the is the predictable mix of dance/techno/whatever you call it tracks and hip-hop/rap/whatever you call it tracks. The dance/techno tracks on this album are excellent. The Crystal Method track is a stand out, as is the Black Lab track, but the rest are also impressive, and best experienced at high volume just as they were in the movie. Why people insist on pushing this hip-hop/rap garbage on us is still a mystery. It's terrible music, and when the dance/techno music fits the mood so well it's a wonder they don't just fill the soundtrack/movie with that style and ignore the try-hard home boys. If nothing else at least out of the 12 tracks on the album, only the first 4 are unbearable hip-hop "music", and the rest is excellent. Still, as long as you are happy with paying for an album that is a third garbage, then the rest of the tracks are worth the purchase.

Wow.
It has somthing for everybody. Dance, acoustic, rap, and heavy metal. Buy it. What?? Quit looking at me and go buy it!! ... Read more

Amazon.com

Light, breezy, and atmospheric, Juana Molina's Tres Cosas is a sonic journey that is at once soothing and intriguing. The instrumentation is spare but effective. "Uh" glides along on acoustic guitar and electronica loops that mingle with her soft vocals to create an appealing soundscape. The Argentinian singer/songwriter fuses folk and electronica rhythms on the title track. If you don't know Spanish, it doesn't matter. But even if you do, the lyrics are not the main focus here. These 13 tracks of electronica music are not so much for dancing as they are for reflecting and relaxing. With her soft half-spoken/half-sung vocals and sonic ambience, Molina sounds like what you'd get if you mixed folk singer Suzanne Vega and Yes' Jon Anderson. --Ramiro Burr ... Read more

Reviews (3)

Disregard the 3 star review - Tres Cosas is amazing.
I bought this cd before going to see her play with David Byrne - and the songs
are definitely different than the ones on Segundo. They're actually more intimate - more fragile and stripped down, as there are less electronic effects. But the more I listen the more I'm in love with this record. When I saw her play - people were
mesmerized by the hush and intensity of her delivery. Plus, the packaging is so cool. The booklet inside is sewn in to the sleeve.

Good CD, but not her best
I love Juana Molina's music, and I like this CD a lot. But it is nowhere near as strong, musically or lyrically, as her previous effort, Segundo, and does not reflect her magnetic performing style anywhere near as well as Segundo does. If you are curious about Juana Molina, or you have seen her perform recently with David Byrne or others, you should definitely buy Segundo first. As I said, I enjoy this CD, but it is VERY low-key and there is not a lot of variation among the songs. (Molina is a trance-y artist to begin with. Plenty of people will find themselves nodding off to even her most energetic work. She's wonderful, but not for everyone.) If you can understand the lyrics, those on Tres Cosas are pleasant, but very placid, meditations on loss, maturity, ecology, and spirituality, that rarely feel specific or intensely personal (in sharp contrast to Segundo). If I had heard this without hearing Segundo or seeing Molina in person, I would never have been willing to put in the effort to appreciate its subtleties or to listen to more of her music, and I would have missed something beautiful in my life.

In a world of noise
there comes Juana Molina's silence. A silence that is not stactic or boring, but reflexive and gentle. There is a cohesivness that crosses all tracks, that at first seems to hurt the record; it is only by repeated listens that you begin to appreciate songs as individual pieces of a whole.

Some tracks, however, stand out immediately: "No es tan cierto" has a "Hui, Hui, Ah, Ahhh.." that one thought could not be done anymore in an original and enticing way.

"Sálvese quien pueda", together with "Solo su voz" constitute the more straightfoward songs (great verses, powerful choruses).

The title track and "El Progreso" are the standouts, nevertheless: expansive, meditative, incredibly well balanced mixtures of folk and electronica.

There are numerous references to Yoga's mantras and the mood the cd stablishes could very well be the soundtrack to a yogui's lifestyle (or at least, during his/her meditative moments hehe).

The production and mixing of the cd is AMAZING; you can see an actual effort in trying to stimulate your senses through constant voice effects, disturbing noises that come and go, and layers and layers of guitars and beats. ... Read more

Amazon.com

The resurgence of rock in most aspects of popular music has certainly not gone unnoticed by Lemon Jelly's Fred Deakin and Nick Franglen as '64-'95 is littered with epic guitars and explosive refrains nestling amongst the downbeat soul for which they are best known. Opener "Come Down on Me" is tense, fiery, and for the most part dominated by the partnership of crashing power-chords and a lead synth that, while not big-beat, wouldn't sound out of place on an old Lo-Fi's or Chemical Brothers' album. However, for anyone missing the sugary sweetness of Lost Horizons, most of the album is business as usual--strict drum patterns and rolling, mesmeric loops of lush strings, acoustic guitars (that sound great if a little bit cheesy), and lovable bass hooks. Among the deviations in formula are "The Shouty Song," which comes across as some sort of harsh, contemporary jig and "The Slow Train," which utilizes a barber shop quartet to fantastic effect. From start to finish '64-'95 is pretty much devoid of fillerand it culminates in the wondrous epic "Go," with the beat poet talents of William Shatner building to a crescendo that'll send anyone home with a smile on their face. --David Trueman ... Read more

Reviews (13)

The evolution of Lemon Jelly
Like some of the other reviewers here I was really given a jolt upon first listening to the newest Lemon Jelly. I plugged in the cd and sat back ready for the usual lush soundscapes LJ has given us in the past. This time I was forced to sit up and raise an eyebrow. There's even a disclaimer on a sticker that comes on the cd "This is not like our old album." How true. I tried repeatedly to just sit and listen and I couldn't. Then I took a road trip...sailing down a desert highway at a speed MUCH higher than the posted limit I plugged in '64-'95 and it all made sense!!! Suddenly I was hearing sounds I hadn't heard before and as I sped along the road it seemed the saguaros were bobbing up and down with me to 'Don't stop me now'. Later I saw a commercial for "Hitchhiker's Guide to the Galaxy" and they were using "Come down on me" and I thought "Yeah! Someone else gets it!!!" It's about moving forward! I feel sorry for those who want LJ to stand still in one place and expect artists to just pump out the same old crap over and over(not that ANYTHING by LJ is crap but you get what I'm saying). KUDOS to Lemon Jelly for taking a risk and creating something completely different and still being able to infuse their usual style. HOORAY for this new album. BOO to it's nay-sayers.
PS the DVD (sold seperately) is a lot of fun too.

disappointed ex-fan
This album is rubbish. Gone is the wit, the fun, the music, the enjoyment, the soul. There's nothing to this - it's bland bland bland instant-flash-animation-library-music- don't waste your money. Clearly they spent too much creative energy on the (very average) animation and overblown packaging.

Certainly A brave New Step for 'Lemon Jelly'....!!!
The duo behind 'Lemon Jelly' (which consists of "Nick Franglen" & "Fred Deakin"....have through, a couple of remarkably fun and accessible downtempo albums, become something of an underground word of mouth sensation.But the worry for artists that make such electronically oddball albums, is that unless something is added to the formula with each album, the record buying public will eventually lose interest and move on.So for their 3rd album, the duo have not only given the music a tougher edge, but they have also only used samples from the period 1964 - 1995 (hence the album title 64-95).But will their blend of purely sampled created music succeed a third time around?? (well, you've seen my rating, so you know the answer, but lets
pretend, for the sake of this review, you haven't eh???).

The duo have obviously sat down, and decided upon what the particular strengths/weaknesses of their music are, and worked hard to broaden the sound with less emphasis on purely quirky downtempo driven tracks, as a fair portion of the ten tracks here, are certainly more energised, than before, with elements of crunchy rock and experimental sonic beats having fleshed out the sound more, and there even seems to be the occasional nods to (un)conventional dance music with tracks such as "The Shouty Track" bearing nods to Chemical bros styled dance-rock fusions. With it's enticing loops and hypnotic hooks, and vaguely aggressive shouts, It?s sumptuous, sleek and stylish?.and although nothing really like the previous albums, shows the duo are willing to not pigeon-hole their ideas.

The majority of songs sound as if they've started with a solid idea (or indeed sample), and built the track from the ground up, with a plethora of extremely well chosen samplesand loops of sorts, which generally work towards some form of energetic rhythm, that the previous albums lacked to some degree.And it's clear that with having had two albums experience to draw from, the duo have arguably refined their considerable talents here, with the displaced samples, working to stretch the imagination of each track, rather than being a mindless procession of goofy samples, that become tiresome rather quickly.

But lets not forget the reason why we all like Lemon Jelly so much....and that's because they make sublimely tongue-in-cheek gleefully oddball electronica that although meticulously devised and arranged, doesn't take itself too seriously, so it tracks like "Only Time" and "Make Things Right", that still reference the quirky concepts of previous albums are here for those that still yearn for the duo's previous work, and although there are parts throughout the album, that clearly are, a step in a (slightly) new direction, In parts, its not hard to hear that this is still unmistakably Lemon Jelly.Although it is also clear the most, that the duo are obviously eager to evolve their trademark of songs built purely around samples with tracks that although possibly alienating fans of playful classics tracks such as "Nice Weather for Ducks", will almost certainly gain new listeners with the beefed up sound, that steps over the laid back grooves of the last two records, for "Come Down on Me's" brash beats and electric guitars, that although may not work quite so well in a chilled environment like the first two albums, will certainly attract the attention of those that considered the previous albums, far too finicky & forgettable.

"Make Thing Right" feels like it's a nod to the early 90's, when Trip-Hop was a musical forced to be reckoned with.Samples of acoustic guitars, coupled with languished, shuffling slow drumbeats feature, and has a lush, romantic and completely feel-good streak running through it. And is probably the sort of clipped pastoral acoustic that most, middle of the road Trip-Hop acts, wish they could do half as competently as it has been done here.Even "Stay With you" exhibits a leaning towards being a hybrid of Disco & Electronica, as it has the sort of catchy melancholic minor-key guitar elements, that was used so often in '70s pop, and has a slight air of glammed up stomp about it, that made those sorts of tracks, such unquestionable floor fillers.

Your enjoyment of this album, will possibly to some degree, depend on how accepting you are willing to be with this album, because those that are expecting (or indeed hoping) for a retread of the previous albums, will be, by and large....disappointed, as the relaxed mood of before has been expanded to include a wider genre, including: smooth breaks & dance electronica.Two examples, that are now introduced into the fold.And musically as well, the wide selections of samples, have expanded their already-eclectic sonic palette to include more obvious hints of disco, house and rock, which may upset some, but it's becomes clear after listening to a couple of tracks, that this is less quirky and eccentric than before, and seems to be a conscious attempt, that give their music some longevity.(which critics of previous work have cited).And it's has given the music not only some diversity, but a little more depth.Personally speaking, I think this is probably their most fully realised album yet, and the various hopping between quiet / loud(ish) songs, fights off any monotony, and so long as you know what to expect when you listen to this album, there's a great deal to gleam here from Electronica's most witty act.

Better or Worse?...
Lemon Jelly move on but not necessarily quite where you expect... and, for fans of "Lost Horizons" this one needs care. Less quirky than its hugely successful predecessor, "'64 to `95" positions them far closer to mainstream club music, losing and gaining much on the way. Gone is much of the humorous and inherently "uplifting" feel of "Lost Horizons" that made it such an enjoyable mass appeal album, in its place is a harder edge with more drawn out, less "easy-listening" work-outs of its themes. Serious stuff then, but is it any good?

Well, first impressions aren't great - initially most tracks seem like fairly lightweight electro-rambles underpinned by some odd and often annoying looped samples. But, after a few times through, things start to register much more positively, revealing an album that's got enough hooks and interest to keep you coming back for more. And as you do several tracks including "Come Down on Me", "A Man Like Me", "The Slow Train" and the genuinely "exciting" "Go", start to really grab your attention, while others just get... more annoying.

In the end there's enough good music in "'64 to `95" to allow it to hold its own against "serious" competition, but there's a lot of it about and you can't help feeling that it's a shame they couldn't keep pushing further into the unique and gently bizarre realms of "Lost Horizons". If that's what you want there's not too much on offer here - better to check-out Elephant Talk's wonderfully undiscovered albums - but if you want several more high quality, downbeat electronica/dance tracks to add to your collection then it should hit the button.

Hopefully an Awkward Moment
When I saw that Lemon Jelly had a new album out, I freaked. Lost Horizons, their last effort, very quickly earned a spot on my all-time top-10 list, and I raced to get the new, undoubtedly brilliant release. But alas, I have similar feelings as many of the reviewers here. I agree that those like me who really enjoyed Lost Horizons will not enjoy this nearly as much. It's, well, very different. My impression of '64-'95 is that it was created for a more mainstream audience, what with the harder edge in a couple tunes and the R&B stylings in others. I'll give Lemon Jelly the benefit of the doubt and not call this a complete sell-out, but it's as if they felt embarrassed by the sensitivity of their last album compared to the acts out there who are more popular because they're more hard-hitting.

I really enjoyed Lost Horizons for its subtle and restrained compositions, the way most if not all of the tracks would mesmerize with their repetition, but would creep up on you and surprise you in various ingenious ways. It just seemed a lot more rigorous, careful, and artfully musical than this new one.

There are some good moments on '64-'95, but not enough, not as many as I've come to expect, which after many optimistic listens, makes this album disappointing. I sincerely hope this was just an awkward moment for these guys and that their next album will bring them back from craft to art. ... Read more

Reviews (1)

Philosophical Modern Classic
Max Richter studied classical music, but also is playing around with computers and samplers. After collaborations with the likes of Future Sound of London, he now makes a kind of modern classical music. Somewhere between minimal music, movie soundtracks, ambient and triphop lies this musical masterpiece. It's almost like a soundtrack to a film, very visual. It has a lot of Phillip Glass-like slow repetitive string-arrangements, but much more interesting to listen to. Because here and there are hidden electronic sounds, but very sparce and subtle. It gives it that little modern edge, which also makes it strange and unpredictable. For example, you are now and then shaken out of your musical dream by the sound of a crow or philosophical poems that are read, over the sound of an oldfashioned typewriter. Very interesting, very subtle, beautifully orchestrated, fantastically crisp produced. This is a musical masterpiece. ... Read more

Album Description

Nude Dimensions is a Naked Music series devoted to thedeepest, sexiest tracks to be found in the racks, we'veenlisted the showmanship of one of San Francisco'sbest-kept dj secrets, Mauricio Aviles. Mauricio has beenpaving the way for deep house in San Francisco for the past 10 years and is probably one of the most recognizable heads in the SF scene. ... Read more

Reviews (16)

La Musica de Sexy House
A refreshing break from all other normal house music compilations already available, Nude Dimensions Volume 2 has come to be known and regarded as one of the standards by which soulful & sexy house music is judged by.

From the first track to the last, Mauricio Aviles has compiled an album which represents the smooth grace and vibes that depict sexy deep house music. What makes this CD so attractive in my opinion is the subtle soulful R&B grooves. Special standouts include "Superficial" [#1], "Pure" [#2], and "Aquanote" [#5]. Extra consideration should be given to Lovetronic's Vocal mix of Lisa Shaw's "Always" [#14]: this song personifies the true deep and soulful vibe of house music mixed with a touch of R&B; especially given the beautiful latin percussion sounds at the end of this last track on the CD which back up the soothing vocals. The heart and "soul" of the entire CD can be found in tracks #8, #9, #10. These tracks alone make the album worth purchasing. Miguel 'Migs' remix of MJ Cole's "Sincere" [#10] is the MVP standout track of the album by far.

Those looking for the end-all and be-all definition of what "sexy house" music should resemble should not looking any further than this album. It's smooth rhythms and sexy appeal are simply amazing. The producing is wonderful and the arrangement is outstanding. Almost every time I listen to this album I find myself appreciating a different track in a refreshingly new way *each* time. I can not give this album enough mad props; great for giving any party that "sexy" feel, any of these tracks could be found at the best house dance clubs around the globe. Super sexy? You betcha. I am positive that this CD will continue to set the standard for soulful sexiness years after it's original release date. What are you waiting for? Take your clothes off now.

Brilliant
Originally, I heard a few of these tracks on the internet, and I knew I had to own it. Mauricio Avila is a relatively unkonown San Fransisco dj and on this Dimensions installment he puts himself out there and shows just what a dj should be. Avila is like a fantastic lover, he's never too gentle and he's never too hard, he puts you right where you need to be.
The second track of Blue 6's Pure gets a fantastic remixing by the brilliant Miguel Migs. The entire cd is wrought with deep grooves and [hot] basslines. Avila mixes records effortlessly, like two ships passing in the night. The dub version of Undercover Agency's I Need You in my Life gets the []vibe underway and its nothing but continual []shakin' from there on. Track 8 is Sirus's Big Ben, the epitome of deep house. And by far the best track is undoubtedly track 12. Cooly's Hot Box track Could You Love Me? is nothin short of brilliant.
This installment of Nude Dimensions is without a doubt one of those rare albums that one does not need to skip over tracks. It's a brilliant mix of music and it fits into any situation. I have played it in my car, at work, and at home when friends come round for drinks. This album should be part of any self-respecting house music lovers collection. Its a definitive classic.

If They Only Knew...
...what they're missing by writing off all house music as mindless thump thump s***. Trippy, erotic and soothing R & B based house music to satisfy your soul.
Highlights include "Chocolat" by Afro Elements (track 3), the Miguel Migs remix of "Sincere" by M.J. Cole, and of course the beautiful "Always" by the lovely Ms. Lisa Shaw. But really this record is meant to be listened to (and danced to) as a whole, as an experience or a journey.
Truly uplifting.

VOLUME 2: TAKING IT HIGHER!!!!!!!!!!!!!!!
Volume 2 of the Nude Dimensions series surpasses Volume 1 by leaps and bounds with funky, seemless remixes of songs from dance floor masters MJ Cole, Bougie Soliterre, Blue Six, Solor House and Astro Trax! This baby is a non-stop party and should only be played if you plan to really get down and dirty with it! NOTE: Not for the weak of heart, or folks who can't dance!!!

Eargasm...
Simply put, the Nude Dimensions series from Naked Music is the best there is in deep, sexy house. It doesn't get any better...period. Jay, Bruno, Mauricio, Dave, etc - you guys are brilliant.... ... Read more

Album Description

Dntel comforts himself by combining melancholy melodies with an assortment of electronic production styles, as well as enlisting friends to add vocals and guitar on some tracks. The resultsrangefromTimbaland inspired minimal techno to pop songs buried in static, cut-up acoustic guitars, sampled symphonies struggling to find somewhere to settle, found sound and blissed-out drones. This album includes vocal contributions from Chris Gunst (Beachwood Sparks, ex-Strictly Ballroom), Mia Doi Todd (solo artist, City Zen records), Meredith Figurine (Figurine), Rachel Haden (solo artist, ex-That Dog), and Benjamin Gibbard (Death Cab for Cutie), plus guitar by Paul Larson (Athalia, ex-Strictly Ballroom) and Brian McMahan (The For Carnation, ex-Slint). ... Read more

Reviews (15)

An absolute knockout from Go to Whoa
Some had labeled this poppy electronica. It's more like pop could be if it had heart and innovation at its core. The most 'poppy' song on the album "(This is) the Dream of Evan and Chan", almost has a Brit-pop feel, but offers much more that that genre ever has! This cd cannot be catagorised.

Every track has its place and never outlives its welcome - all are standouts. Many seem destined to dissolve into glitchy anarchy and a few do, but so they should! The warm swelling synth-pulse beginning of "Anywhere Anyone" almost generates a sense of bliss - the words chill though, just as much as all the others, in their direct starkness.

"Pillowcase" and "Fear of Corners" are almost dark ambient, the latter behind driven, minimalist rhythms.

"Suddenly is Sooner than you think" and "Why I'm so Unhappy" are great tracks to listen to on a stark grey day, 'cos they're not happy tunes. Sorta fits the mould of this dark and yet strangely warm and vibrant cd. I could say so much more about these and the other tracks I haven't mentioned, as they all have so much to say.

This is an amazing album to experience, because it is very much an engaging journey through the dark side of the human psyche. Amazing because its starkness is so uplifting. To many this would just be depressing. Somehow I find it's the opposite and it begs me to play it over and over again. This is musical genius, not often bettered elsewhere in any genre and definitely goes on my desert island list! A must for audiophiles who like music that refuses to be categorised.

melancholy melodic driven music
Not that that's a bad thing. This is a lovely disc full of sad, mournful musical soundscapes with, at times, profoundly touching lyrics. However if you like your electronica percussion driven, as I do, then this is not the disc for you. Only four tracks on here a fully percussive.

'umbrella', the opening track is lovely and sad with softly rolling drumbeats and vocals buried underneath the sonic washes of synthesizer.

'anywhere, anyone', although lacking in beats, has sad lyrics: "How can I love you if you don't love yourself?" further buried under the sonic washes that began with 'umbrella'.

'fear of corners' borrows a page from autechre with stuttering beats frantically trying find some sort of rhythmic pattern. It's a promising track but it goes nowhere.

track eight,'fireworks' (which was accidentally omitted from the track listing on this page), is the standout here. Pumping percussion, synth effects and lovely melodies.

And track nine, '(this is) the dream of evan and chan' sounds as if DNTEL pulled a track straight from radiohead release.

Overall, 'life is full of possibilities' sounds like radiohead meets mira calix which, as I mentioned before, isn't a bad thing. I gave this three stars only because it isn't exactly my cup of tea as far as elctronica is concerned. Also, for those interested, I've discovered that DNTEL has two previous releases: 'something always goes wrong' and 'early works for me if it works for you'.

The Soundtrack of the Future
When I first listened to this album, I was slightly disappointed. I didn't revisit it for months. Then I decided to give it another go, and listen to it as a whole album instead of individual tracks. This is when I realized the true genious of DNTEL. The subtleties can be missed if listened to without headphones. This album would make a fantastic soundtrack. I only wonder if Sofia Coppola has heard it yet.

Simply good.
I love this CD. Actually I purchased it one song at a time on iTunes so I haven't finished it yet but I've heard about 3/4 of it. I enjoyed it so much (even from the first random song I heard) that I wanted to stretch it out as much as possible. If I had to describe it I'd called it sweet soft sizzling electonic music that opens your eyes while relaxing your ears. And every once in a while a certain perfection in the music, made me so happy my heart was pounding. I wish there were more artists who are as creative and intelligent as this one.

Emo for the Electronica Set
I've long been a fan of electronic music along the lines of Boards of Canada, Air and Squarepusher. And I've also long been a fan of emo rock like Death Cab for Cutie, Wilco, and Belle and Sebastian. Now mix the two in in a strikingly beautiful album, and you have Dntel's "Life Is Full of Possibilities." I came upon the album about 3 months ago after seeing a reference to "(This is) The Dream of Evan and Chan" in a Death Cab review on Pitchfork. I checked out the album and fell in love. Sometimes the shrill tones in techno can get on my nerves, but the sweeping tones and emotion-driven chirps are nothing short of amazing. Then you layer on some big name vocalists and what results is sheer delight. I highly recommend this album, as well as The Postal Service's "Give Up" album. ... Read more

Reviews (47)

if only all music were like this...
Topping their previous album Praise The Fallen, would normally be quite the task. There was very little room for improvement. I know that a lot of people were worried that Empires would just be a rehash of PTF. I'm happy to say that Empires more than lives up to the task, even surpasing their previous albums in emotion and skill.

All the classic VNV elements are here: harsh electronic beats, sweeping synths and strings, and Ronan's unique vocals. The songs are in the same vein as PTF, about the beauty and darkness of strife and struggle. The first and last tracks, "firstlight" and "arclight" blend together seemlessly (being nearly the same song), creating a cycle of sound and structure unifying the work. It's art. "Darkangel" and "Standing" have already become singles in Europe and are both excellent tracks, VNV's best to date, but other appealing songs include "rubicon" and "distant(rubicon II)." Distant has a slow, drifting sound, free of the assembly-line industrial backbeat so common to VNV. A welcome change of pace.

The duo of Empires and Praise The Fallen will become classics in the EBM world, if they haven't already. stop reading and listen to them already!

A great album...period.
I've been steadily getting more and more into EBM music, and while some of it does tend to get repetitive, there is no denying the intense melodicism and energy that is present in much of it. VNV Nation have certainly mastered the balance between melodic songwriting, harsh arpeggiated dance rhythms, orchestral symphonic ambience, and intelligent lyrics. Having only heard a few tracks from "Praise the Fallen," "Empires," and "Futureperfect" (haven't heard anything off "Advance and Follow" yet), I decided to get the album with the songs most familiar to me, "Empires."

After listening to it from beginning to end, I was impressed with the feeling it gave me. The music fills me with the urge to dance until my legs would fall off, but the vocals made me want to wave my fists in defiance (of what?...anything), and the lyrics made me sad. Ronan Harris' vocal style is rather unique in that he sings as most people deliver speeches...and his lyrics reinforce that sense. His vocabulary and his style of writing is unmatched; nobody writes words in music the way he does. Some people deliver their message through poetry and innuendo...Ronan gets right to the heart of the matter, addressing all the problems with the failed utopian ideals we once held for ourselves, and forcing us to look at the ashes of a fallen metropolis. "Watching Empires Burn" indeed. Granted all of VNV's music seem to possess this message, but only VNV could say it and make it mean something.

"Firstlight" and "Arclight" open and close the album with a mournful tone, giving the impression that all empires end as they began...in ashes. "Kingdom" is my favorite song on the album, with its powerful rhythms and a great chorus. "Rubicon" is my favorite vocal performance on the album. Ronan's voice is heavenly on this song, sad-sounding, but pushing on to continue. "Saviour" is a great instrumental (before now, I only heard the vocal version on "Burning Empires," but now I actually like the instrumental version more). "Fragments" is the harshest song on the album, with Ronan's voice taking an angry turn, while "Distant (Rubicon II)" is a wonderful complement to "Rubicon," taking the more orchestral ambient approach. "Standing" is the big hit from the album, and is just a beautiful song. It's great to dance to and it's great to sing with. "Legion" and "Darkangel" are high-energy, and a great way to close out the album before "Arclight" comes in to finish things off.

After hearing "Empires," I'm eager to check out "Advance and Follow," "Praise the Fallen," and 'Futureperfect" in their entirety. VNV's music is just that good. It's simple, but so powerful, and "Empires" is the perfect example of music's ability to induce feelings not normally felt through EBM. It makes you want to dance, yes...but it also makes you want to fight...not with violence, but with ideas. Futurepop never sounded so good.

Dark, Beautiful, Harsh, Melodic, Euphoric
This CD is quite simply VNV Nation's masterpiece. A brooding, agressive CD filled with anger, angst, hatred and death.

Empires is a concept album, based upon the axiom that all empires end in the same way as they begin: The ashes of destruction and the fires of war. As the CD makes its way through the explosive idealism of Kingdom, the ecstatic machinations of Saviour, the solemn tension of Standing and Legion, and eventually the horrific destruction of Darkangel, the reader is subjected to emotional assaults such as feelings of power, helplessness, horror, triumph and anguish.

These emotional assaults are due to two factors, these being the music, and the lyrics. The lyrics are dark, highly intelligent, poetic, and genuinely deep, with a feeling of a blend between Hitler speeches and Joy Division.

However, it is the outstanding music that has to be given credit for the majority of the CD. VNV Nation sound like a mixture between Industrial, Synthpop and Classical music and, for some reason, go well with all three kinds. The Industrial element is the percussion and basslines, which are (for EBM) harsh, arpeggiated, distorted and raw. Such a savagery requires a heavy element of melody to balance it, and this is done perfectly with the Synthpop and Classical elements. This is very similar to Wolfsheim, Iris and the less minimalist synth groups, with a very thick sound, heavily exploiting its artificiality. However, with the mechanical sounds are a large amount of Strings and orchestral instruments, giving a usually mechanical style of music a very human and organic feel. Furthermore, the structure of the music is very Orchestral, bestowing upon it the epic nature that makes this CD so unutterably breathtaking.

Empires sounds like the Berlin Symphony Orchestra at a Bauhaus Concert being massacred by chainsaw-wielding Nazis. This is a compliment of the highest order.

Whatever deficiencies that Praise The Fallen had are completely remedied here. The percussion is far less basic on this album, and many more songs manage to sound balanced, as opposed to overly synthy or overly industrial.

I cannot express my adoration for this album enough. This album is the perfect example of modern EBM. Less minimalist than the original style, and far more complex. This is the Front By Front of the new millenium.

< Rubicon >
Empires is without any doubt an electro/industrial masterpiece. The entire album is full of extremely catchy beats, brilliant song structures, and Ronan Harris's memorable vocals. Empires is distined to remain a genre-defining classic in the forthcoming decades. I have had this album in constant play since I purchased it a few years ago, and still don't seem to get tired of it. What some people may not know about is that there is a sister release, called "Burning Empires" (also released in 2000) which includes several remixes, a couple of great new songs and the excellent vocal version of Saviour. Unfortunately though Burning Empires has been out of print for some time now, and quite difficult to find.

The best album for anyone
The lyrics, the vocals, the melodies, the soundscapes, the songwriting. It's all here. It's all neatly packaged into this compact disc for you and the rest of the world to enjoy. If you don't want to cry for the sake of other artists that just aren't up to this material, you need to be shot. I mean that. Just tell your friends to shoot you.

Second, arclight is the greatest song ever. No, really, it is. People who hate long introductions to songs skip over this song, and that makes me sad. I hate those people. I want to cry now. Look at what you people have done.

Just buy this album. You will question you past after you listen to it. You will love these songs. P.S. if you don't think that "standing" is a good song, let your friends put another bullet in your head. ... Read more

Album Description

Reissue on Play It Again Sam America. ... Read more

Reviews (25)

Finally re-released! Yes!
Allow me to introduce you to Richard D. James (alias Aphex Twin, AFX, and a slew of other inscrutable pseudonyms), a charming bon vivant from Cornwall who is known today for his delightfully blithe eccentricity and iconoclasm. Before he played at clubs using sandpaper on the turntables instead of records, however, and before that hilariously bizarre "Come to Daddy" video, he made Selected Ambient Works 85-92, and by doing so basically singlehandedly created contemporary electronica.

I have no easy explanation for why Selected Ambient Works is as good as it is. Here's what I've got it down to: this music is possessed of a remarkable spontaneity and unpretentiousness. The best talents always made their work seem like play, like it came effortlessly to them, without taking themselves seriously. The songs on this album are like that. They are marvelous in their simplicity. It's as if Aphex Twin sat himself down and peeled off great song after great song with complete abandon. It's the work of someone who simply loved making sounds - in fact, you can tell when you're at a sound AFX liked particularly, since he tends to linger on his favourites and extend their playing time. That's not a flaw. The sounds are so good that you'll want to linger on them as well.

On this album, Aphex managed to take many a cliche of electronic music and give them all a completely original, unworldly quality. Most of the songs are built around groovy, but more or less conventional dance beats; however, they are bathed in soft feedback and melodies of unearthly beauty. The end result - the waltz-like "Xtal," the exultant "Pulsewidth," the eerie "Hedphelym," the blissfully wincing "Ageispolis," the flight above- and underground of "Green Calx," and so on, and so on, and so on. Electronica is often accused of being emotionless, and more often than not rightly so, but Selected Ambient Works is anything but that. This is beautifully emotional music; it's the music your subconscious plays in your sleep. It's music that for all its simplicity has a richer vocabulary than language.

I find myself at a loss for words. I don't want to use this as an opportunity to practice my adjectives; I only want to get you to purchase this record. Aphex Twin's achievement was aped by many much-touted "electronic wizards," most of whom fancy themselves musical geniuses because they can slap together a beat and a bassline on their computer in their parents' basement, but of course bettered by none of them. James himself never did (though he came close in some later songs such as "On"). Then again, it might not even be possible.

musical genius
When I bought this CD, I was familiar with Aphex Twin as someone who twiddled with weird and shocking noises to produce something that didn't exactly sound like music, but was so interesting and flat-out crazy that one's attention was instantly captured (despite the headache and ringing in the ears that inevitably followed).

This is a very different Aphex Twin from the one that I was familiar with. The album is atmospheric, subtle and intricate - entirely unlike the watered-down Muzak sound that so horribly plagues most so-called "ambient" music out there. Actually, "ambient" is a bit of a misnomer; most of the tracks have a subtle, but persistent beat, so perhaps "intelligent techno" would be a better term. If you like Orbital, Boards of Canada, Future Sound of London, then you will love "Selected Ambient Works 85-92". If, on the other hand, you are a dance-happy trancer who walks around with lightsticks, then you probably won't have much fun with this ablum.

a little twisted
Just great. I am a fan of his music for quite a while and all of his records are special in their own way. Tracks with a little twist only RDJ can add. Sometimes a bit sinister, but thats ok for me! Most of his tracks are sertainly refreshing and energy boosting. A philosopher teacher once said: "to enjoy and appreciate the quality of sertain aspects (of whatsoever) you have to have rotten spots besides it". In case of some of the tracks ("ventolin" (medicine for asthmatic patiens) for example in which you hear a sample of a person hyperventilating), annoying bleeps, cracks and sounds are added in such way that when they fade away in a track you almost feel a releef....a contrast between serenety and rotten (no offence)

The Nicer Side of Aphex Twin
Another one from the Radiohead camp, I am. I decided to see how my favorite album, Kid A, was influenced by Aphex Twin. While I hear some influence, Richard D. James' later albums have the more experimental edge I was looking for.

While there isn't much in line of traditional song structure here, this album has a real something special not present in most electronica. While not actually ambient, Selected Ambiant Works finds a niche comfortably between IDM and techno and kicks back. Fans of IDM will enjoy the very interesting and enticing atmosphere and beat progressions and fans of techno can dance themselves limp. Very rarely can an (almost completely) instrumental electronic album be so appealing to both intelligent and dance music fans, especially with no real lyrics to ponder.

Perhaps it's hard to imagine dance beats with substance for the uninitiated, especially coming from a hip-hop and art-rock background like mine, but I really do enoy this album. While it's a fantastic chill out album, I can kick back, close my eyes, and actively listen to this without being bored whatsoever. I give it 5 Stars...for me it's something fresh and new, like nothing I've personally ever heard before.

Not a Truly Ambient Album, But a fantastic diversion....
Although not strictly an Ambient Album, this is definitely a much quieter affair than 'Richard D. James', usual eclectic offerings. By mixing elements of minimalist techno, with traces of Electronic ambient.....this feels more at home, as an Electronica Album, rather than the subtle soundscapes of true ambience. Nevertheless, this is ultimately a superior Electronica album, as there is something here for any fan of intelligent Electronic music. True!!, the album does start with the first couple of tracks such as: "Xtal" & "Tha", taking their cue from genuine ambient craftsmanship, and halfway through the album slight elements of minimalist techno are introduced, but by the time the Jaw dropping "Ptolemy" has wandered into the your subconscious......the changeover from minimal techno through to Electronica has firmly taken place. "Selected Ambient Works 85-92", has too much of a club-orientated bass-line to be an authentic ambient album, but Judged on this work alone!! Richard D. James's, TRUE craftsmanship, ISN'T in his usual genre of 'Experimental / idiosyncratic' Techno. ... Read more

Amazon.com essential recording

The Rolls Royce of trance-house mixes, and every bit as cool as the polar bear on the sleeve, this first edition of Sasha and John Digweed's Northern Exposure sets is the tightest and most effortless of the series. With 11 superbly arranged cuts from the likes of William Orbit, Rabbit in the Moon, and the Future Sound of London, not one moment is wasted. The disc's flavor is decidedly organic and wholly evocative of all-night mountain raves or desert parties. Starting with the early-morning stretch of Keiichi Suzuki's delightfully sunny "Satellite Serenade," the duo swiftly build the tempo up to the breezy ambient plateau of Morgan King's "Free" before heading into harder house territories. The metronomic pulse and atmospheric chanteuse vocals of Fuzzy Logic's "Obsession" form an incremental crescendo with Orbit's "Water from a Vine Leaf." Being a condensed version of the European release, the closing salvo from Banco de Gaia's "Last Train to Lhasa" confirms the since-validated fact that these Exposure journeys have infinite potential; Sasha and Digweed are among the first DJs to create mix sets that tap into earthy, human emotions. It is precisely this unique flavor that will make you yearn for a dance floor, beach, or campsite, packed with deliriously dancing bodies. Yes, really.--Steffan Chirazi ... Read more

Reviews (101)

First of a fantastic trilogy
Two warnings: 1. This is NOT a trance album, not even a "real" house album. This album takes you more to the chillout side of dance (i.e. Ambient-House). 2. This album is addictive. You may find yourself in a position when you can't click the eject button to take the CD out.

Sasha & Digweed are considered to be the most respected and of the most sophisticated DJs today. Listen to this CD and you'll know why.

The CD is a chillout mostly, begining with two 'real' ambient tracks (FSOL's "Cascade" is their best track ever) and slowly builds up to a harder beat with tracks like "Obsession" and a fantastic remix for William Orbit's "Water from a vine leaf" (yes, Orbit existed before "Ray of light"). Surprisingly, the tracks begin to mellow down a little towards the end, unusuall for mixed CDs - but puts you in the right mood, with tracks from Apollo 440 and Banco de Gaia (a very fast mix for "Last Train To Lhasa"..).

One thing that I must mention : This is only half of the story. This edition (the US edition) contains only one CD! I have the UK (original) edition that comes with two CDs. The second CD is a bit more trance like, but is as good as the first. I wonder why they sell it a single CD here (probably to sell two seperate CDs and make more money).

An expertly-crafted journey into a dream-like soundscape
The mix CD. Whereas the market is flooded with a bunch of substandard, cookie-cutter, no-name DJ garbage, it's comforting to know that we can always turn to the true masters of the Art. While the pace of Northern Exposure 1 may be a little slower than their individual Global Underground sets (which are also excellent), the technical prowess displayed within this mix by Sasha & Digweed is extraordinary. While listening to it - even when I was paying attention - it was difficult to discern just when they were mixing in the next track and when they weren't. No mistimed beats, no unbalanced mixing levels, no mismatched tracks. The songs blend together so seamlessly that they can't help but stir your emotions. The problem with most of today's mixes is that while they are accurately mixed, they're rarely seamless. This CD belongs in every aspiring DJ's collection, for both inspiration and study of technique.

I love both CDs in this set, but if you're more into the faster sound of today's trance mixes, buy the import, since disc 2's considerably faster than disc 1, although expect songs from the mid-90s, as this mix was created in 1996. However, disc 1 has some of the most amazing mixing around to date, and is definitely my favorite of the two, making the purchase of the US release (which doesn't come with disc 2) a great choice regardless... and a more economical one if the import price gives you second thoughts.

Bottom line is that if you're a fan of these guys, you already have this set. But if not, click that "Add to Cart" button NOW! You won't be disappointed.

In case you are replacing your original copy....
Just wanted to point out that this compilation is meant to be (by which I mean when it was originally released in the UK) a 2 disc set, one called North and one called South. I ordered this only to find out that on this US version you only get the one disc (North). It is still very good, but just thought I would warn those expecting a two disc set.

Dig weed?
I don't know about you, but I never heard any of these songs on the TV show "Northern Exposure". But seriously. Hard to believe this disc came out 7 years ago. Despite the fact that it's now considered to be old, it is a great set. "Sasha" and "Digweed" put these tracks together seemlessly. I really like to think of this as just one long track, which of course is the point. I might have liked other choices more, but what's here is still classic. This is more mellow than it is aggressive, but at the right place and volume, it should take you where you want to go. There may be better sets out there today, but this will still give you an "Out Of Body Experience".

Pure bliss...
So that's what all the fuss is about! This is about perfect. It's a bit different than their later works, but Digweed and Sasha find perfect harmony here. Digweed, who likes the subterranean and Sasha, who prefers to soar above the clouds, meet half way here. What a mix.

This album is something of a mystical journey, taking you deep within and ascending ever higher until about halfway you find release. You can really feel the grooves.

It's definitely worth the hype.

My only bother would be that you gotta pay out the nose to get the second disc (issued, apparently, everywhere but in the U.S.). Why isn't it available in the states? ... Read more

Reviews (51)

Not sure why the hostility
This is a good trip hop record, with a liberal dosing of the "clicks and cuts" digital noise mentality. It all holds together quite nicely; even if it has been done before, it's all done quite competently here. Some very nice textures, digital noise, subliminal percussion, lysergic pads, etc. The rap song ("Da Hoola") is a bit of a misstep and should have been left off the album, but that's just a small part (if you want to listen to cutting edge avant rap, check out Missy Elliot's latest with Timbaland). If you like tripped-out electronica and you're not totally jaded yet, you'll probably like this. I can only surmise that the negative reviews came from expectations based on the way the single was presented in a car commercial. Anyone who likes Kraftwerk will love "Dance Me"; "Untranslatable" is pretty compelling claustroambient. If you like side 2 of Eno's "Before and After Science" you'll get into this CD.

NEVER SEEN THE COMMERCIAL EVERYONE SPEAKS OF!!!
But I bought Telepopmusik's "Genetic World" after sampling the sultry and hypnotic, "Love Can Damage Your Health," which, in my opinion, is the stand out track on this set to me--"Breathe" is good, too, but highly overated. The entire album meaders a bit from genre to genre and from song to song--and there are elongated gaps of silence towards the end of "Genetic World"-- showing a lack of consistency, but overall "Genetic World" is a very interesting CD/concept, offering a little something for everyone. Telepopmusik has created a fun and playful classic--and you'll probably have to marinate on it a while, like you'd have to marinate on a Boards of Canada CD before saying this is really some good stuff. Other songs of note are "Genetic World," "Dance Me," "Let's Go Again", "Smile", "Yesterday Was a Lie" and the creepy "Trishika". I include this in the CD rotation with Boards of Canada to further elevate my chill-out experience. Even the segues are quirky. Buy this CD used if you must, or full-priced like I did (mainly because I can't wait for anything to go on sale)--either way, you'll definitely have to open your mind to the entire "Genetic World" experience, otherwise, you will be left disappointed!

Angela McCluskey "breathes" life into Telepopmusik
The vocalist on the single Breathe is Angela McCluskey who has released her debut album "The Things We Do". She's amazing and you should check out her CD. Or visit her website www.AngelaMcCluskey.com.

Mellow Out With Telepopmusik
Telepopmusik is a good album to mellow out with. I like this album when driving in the car on a long trip. It just seems to mellow me out from road rage. Before purchasing this album, I have heard not so good things about this album with the exception of the track "Breathe", but I ignored them and just bought this CD. And after listening to it on my way home, I began to like the simplicity of the tracks. It's good in my opinion.

excruciating!!!!
OK, I admit it, I was sucked in by the mass attention Telepopmusik received in Mitsubishi's ad campaign. The album starts and ends with "Breathe" and it goes downhill from both ends causing the rest of the album to converge into a valley of foolishness that makes you to want to bargain on your deathbed for the 50 minutes you wasted listening to this. Don't waste your money on "Genetic World" If your motivation to buy is because you like "Breathe", just buy the single. ... Read more

Album Description

2004 Grammy Award Nominee Sasha returns with the highly anticipated follow-up to the hottest and most critically acclaimed electronic music album of 2004: Involver. To be clear, the most exciting thing about this release is that this is not "Involver 2", the Involver concept is Sasha finding the space between artist, producer, and DJ. Fundacion on the other hand, is a whole new take on DJing. He's given up the turntables and CD players in exchange for a custom designed mixing setup that uses the Ableton "Live" software and a one of a kind controller that Sasha has dubbed "MAVEN" to create a never before heard kind of mixing.

To showcase this new technology and its sonic capablities, Sasha launched a bi-coastal residency (at New York's Crobar and Los Angeles's Avalon) with the closing party in New York being the launch party for the fruition of the entire endeavor: the Fundacion mix CD.

Fundacion will be the recorded version of what Sasha has been doing live at his residencies: effortless on-the-fly re-edits, mash ups, and flawless blends. ... Read more