Amazon.com

Back behind the decks after 2003's self-produced 76, Armin Van Buuren's 2-disc A State of Trance 2004 jumps back into giant thumps and epic dance textures. 76 had a relatively soft touch, in tune with the DJ's often-stated admiration for the music of Jean-Michel Jarre, but this mix is peak-heavy, designed to leave a dance floor light-headed and dreamy. Set loose with a crate full of wax once again, he lets the high end do the work, then judiciously drops massive beats to rattle your sub-woofers. Disc 1's "Signs From The Universe" uses the strategy especially well, with a swarming keyboard build that gets swallowed by a dark, rumbling rhythm. Van Buuren goes velvety smooth on disc 2, but doesn't forget the need for contrast; "Totally Fascinated" is darkly subterranean in parts, yet balanced by the song's sensual keyboard lift. While there's nothing groundbreaking here by any means, Van Buuren's approach makes for perfect sunny day music before nightfall brings out the heavier, more sinister spinners. --Matthew Cooke ... Read more

Reviews (20)

A truly amazing trance compilation!
This is without a doubt one of my favorite trance CDs. I have
always liked Armin's mixes, and he really does a wonderful
coherent mix, especially in the first disc.

The mixing is simply superb! I always turn up the bass
on my music system a notch especially when "Under the Sun"
starts, the beginning of the song is just amazing. Of-course,
my favorite Oceanlab is there with Justine Suissa at the vocals.
Satellite is such a beautiful song, I just love it. I also
love Fictivision's Escape... which follows another of my
favorites, Velvet Morning.

This is truly a great trance album, I personally think Armin
deserves a pat on the back for his effort. I keep this CD right
next to my other 3 favorites, "A Trip in Trance", volumes 1-3.
Nicely done, Armin, can't wait for your next release!

Outstanding Collection Of Trance Mixed Flawlessly!
Dutch DJ/Artist Armin Van Buuren's "State Of Trance 2004" cd is one of the best mixed cd's this reviewer owns. His mixing talents can best be shown on this collection with transistions so smooth you'll be astounded when one song blends into the other, this is the way all trance cd's should be mixed! The songs speak for themselves as Van Buuren picks out popular songs such as his own "Burned With Desire", Kyau Vs. Albert's "Velvet Morning", Three Drive's "Signs From The Universe", Whirlpool's "Under The Sun", Oceanlab's "Satellite", Solar Stone Vs. Scott Bond's "Naked Angel", Mono's "Rise" and Valentino's "Flying" to name a few. This is pure trance, not cheesey pop trance stuff. These are the type of songs you'll find on the popular Trancemaster 2-cd collections (on the Vision Soundcarriers Label) from Germany. If there's one trance collection you buy, this should be it. Highly Recommended!

The reason why Armin is my #1 DJ.
Armin van Buuren has lived in a very fast-paced ride to fame since his 1995 trance blueprint Blue Fear, which demonstrated a new direction in trance and even a broad effect on the entire electronic dance music genre. With this mix record, Armin takes tracks that have done the very same thing to EDM and presented them in a very coherent, smooth and very dance-able album. He re-exposes artists like Envio, Phynn, Oceanlab and M.I.K.E. in a way that makes them (and the tracks that Armin uses) completely fresh once again. Expert in track selection, mixing and presentation, this album is just a single piece of evidence in a long line of proof that Armin deserves his spot at the top.

Good, but Armin has so much more to offer.
This album is good, but I feel that Armin's radio mix on the "Essential Mix" is more representative of what he can do. If you get a chance to hear that, you will be amazed at how Armin can take some really hard-hitting tracks and still manage to keep the energy building.

This CD is still very, very good; and the reviewer who only gave this the one star is way out of order. Oceanlab is one of the weaker/fluffy tracks IMHO for what is otherwise a solid trance mix. You gotta listen to these albums many times before you really start to get into them. But when you do, you'll be hooked.

Excellent Mixing, Van Buuren's Album Is Superb!
This two disc set of Armin Van Buuren's "A State Of Trance 2004" is likely to be one of my favorite albums of the year. The mixing on this album is great! Armin's sure talented. He's also a very nice guy. I've met Van Buuren in Boston when he was doing an interview with XY-TV. I even have this album signed! How cool is that? And there's many good trance songs on this album.

Disc one includes songs like Perpetuous Dreamer's "Future Funland". Without even knowing it, I've always wanted to hear a song like that. There's also the Three Drives' "Signs From The Universe". May not beat their "Greece 2000" single, but it's still a nice anthem. "Tranquility" by Mark Otten is on here as well, and so is Solid Globe's "Sahara". But my two favorites on disc one are "Burned With Desire" by Van Buuren himself with Justine Suissa, and Oceanlab's "Satellite". "Satellite" is one of the most lyrical tracks you'll find in "A State Of Trance". I'm so addicted to "Satellite". There's also Airwave's "Lady Blue", Super 8's "Alba", "Under The Sun" by Whirlpool, and more.

Disc two has trance anthems like Mono's "Rise". I remember hearing that song somewhere before I got this album. It must have been at Boston's Avalon. It's one of the best songs on here. I like the bass in "Totally Fascinated" by M.I.K.E. To me, it seems like the most noticeable part of the track. I also liked Perry O'Neil's "Kubik", Artic Quest's "Offbeat", and St. John vs. Locust's "Mind Circles". Other songs include Peter Martin's "Perfect Wave", Michael Burns' "The Ambience", "Time To Say Goodbye" by Envio, "Introspection" by Terry Bones vs. Fred Baker, and more.

This is such a great trance album. I wish he did a live spinning at the Virgin Megastore when he was there. That would have been so cool. Next time Van Buuren releases an album, I'm sure to buy it. There's a good possibility it'll be another classic. ... Read more

Reviews (12)

Great Trance
I just want to start out by saying that Markus Schulz was completely unknown to me about two weeks ago.I was looking for some new trance and stumbled across these reviews.I had some high hopes for this cd and it sure didn't let me down.It is definetly a new style of trance that i'm not too familier with.I am enjoying it alot more than some of the newer releases from tiesto and armin.Miami '05 lacks the big epic trance tracks, but it never ceases to keep my attention.The cd has a great feel to it and portrays deep emotion which is perfect for me since i listen to trance while driving or reading.I don't think this cd is good for people looking for dance music.Anyways, i can't wait to get more Markus Schulz cds in the future.

I believe you will like this cd if u like...
1. DJ TiestoISOS 1 and/or Nyana
2. AVBBoundaries of Imagination

zzz....
Too slow for my taste. I think Cold Harbour was better. 1st cd starts good, the 1st 3-4 songs are hot but then it just fails to keep the same feeling and Cd 2 is even worse. What happened?

Great prog mix.
I like all types of trance and tend to lean more toward epic trance.However I am really enjoying what some trance has evolved to lately.I still love the more epic/big room/symphonic type trance.But I am loving this earthy progressive blend just as much.One note for Coldharbour Sessions fans.He made this with a club type atmosphere in mind, where as on his Sessions it is a radio show for people to listen to and relax to at home.Big difference, but either way, this is the deeper prog stuff that he's known for live, and it is definitely an essential CD to own.

Ups he did it again
Im proud of Markus Schulz, for me the best dj at Armada's record label, yes even better than the great AVB. I remember shaking hands with Markus when he was not as well known, back in 2001, at club Quench in Miami. He wasn't even in the top 1000 djs. But I really liked his sessions even back then. Then he started his own radio broadcast which I think this cd is a copilation of. I like this cd from top to bottom really good. I was wondering how could he come back from the Coldharbour Sessions release, que si lo hizo. Representing .. MIami Markus Schulz hell yeaaahhhh

Absolute Bliss
Markus Schulz is yet to dissapoint, especially with Miami 05. Miami 05 is a a great sequel to Coldharbour Sessions 2004. The beautiful melodies, lush chords, and deep feel send the listener in perpetual bliss. Markus is the next big thing and with his radio show GDJB growing at a staggering rate he is bound to make DJ MAG's top 10 this year. Markus has a deeper more calmer feel towards music and thats what got people turning heads! This CD is absolutely spectacular. If you enjoyed Coldharbour Sessions 2004 you'll absolutely love this one too! Miami 05 is Colharbour Sessions 2004 continued with a Miami feel to it instead of the London feel. ... Read more

Amazon.com's Best of 2001

The French twosome behind Daft Punk, Thomas Bangalter and Guy-Manuel De Homem-Christo, get away with an awful lot. They go around impersonating aliens and robots in their interviews, they put records out only once every three years, and they make music that evokes a million other artists--while not really sounding like any of them. The keyboard noodlings of Jean-Michel Jarre are in there somewhere, along with the otherworldly imagery and giant hooks of '70s rock icons like Boston or even Electric Light Orchestra. There are dashes of 1999-era Prince and oodles of new wave and disco cheese, from Harold Faltermeyer and Gary Numan to the Bee Gees, all set off with efficient house beats. So how have they managed to position themselves as electronic music's next great crossover artists? OnDiscovery, the follow-up to the 1998 worldwide smash Homework, the answer is obvious: they have no shame, and they know how to make us dance.

Starting off with the irresistibly hummable "One More Time," the record blows through a head-spinning array of styles and samples, creating a pop-culture stew of funky loops and dance-floor anthems. "Aerodynamic" eschews breakbeats for an Yngwie Malmsteen-ish guitar interlude that somehow ends up meshing in a crazy blend of stomping bass lines and hyped-up harmonics. "Digital Love" starts off silly and gets sillier, but the monosyllabic lyrics lull the senses just right, allowing the song's summery groove to grab hold with authority. "Harder, Better, Faster, Stronger" is a resounding standout amidst the retro/Vocoder deluge that transpired after Cher's Believe turned the kitchy disco device into a worldwide pop music trend, spinning a clever groove around an ever-escalating string of computerized seduction. Everywhere on the record, gigantic beats are dropped with pinpoint precision, giving songs a momentum that transforms repetitive melodies into sudden revelations. The record's only misstep, the aptly named "Short Circuit" utilizes a keyboard riff that is nails-on-a-chalkboard awful, but it can't keep this from being one of the best records of 2001. --Matthew Cooke ... Read more

Reviews (259)

Best Produced Album of 2001
Maybe cheesy 80's electro should have ended with the Reagan administration, but the French duo add fabulous hooks, incredible production, and a poinancy to make this album the choice for dance music fans. "Discovery" starts out with "One More Time." A fitting title to start a Daft Punk album. It's one more time to take a delicious pop hook, apply a beat, cover it with a luscious vocal and let it loose upon the world. The song speaks of celebration; a good song for these times. "Harder, Better, Faster, Stronger" is my pick for best produced song. The vocals are chopped up and mapped onto keyboards and guitars. You hear the instruments, but you also hear the words. It's mind bending. "Digital Love" and "Something About Us" track to the romantic side. Cheesy, yes, but completely addictive.

I Made A Nice Little "Discovery"...
I like all types of music so I wasn't afraid to venture into the field of techno with "Discovery". I wasn't disappointed. The first song that drew me to Daft Punk is the Stardust song "The Music Sounds Better With You". And then I saw an extended anime video on Cartoon Network containing the first 4 "Discovery" tracks. I mean, I loved "One More Time", but those videos made me wanna run out and get the album. I never heard or owned "Homework", so I can't make value judgements. Maybe that's a good thing, cuz this album made a fan outta me. Of course it's a throw-back to the 80's ("Short Circuit") and the 70's ("High Life") [two annoying tracks that are still pretty good], but you have to admit that this album is so varied, that you can't a slap a category on it if you tried. It may be cheesy, but it's infectious. You have your dance numbers and even some slow ones ("Nightvision" is short, but trancy. I wish they would've extended it and added a beat to it). My top 5 are "One More Time" (the horns and Romanthony's "ah!" got me), "H.B.F.S." (this is a funky, robotic number), "Crescendolls" (a party number with the clichéd "Hey!"), "Superheroes" (a valiant comic book-esque number where they could've restrained overusing the sample!), and "Voyager" (My favorite track. It's dark, yet dancy. I still think it could've used a bridge.). An honarable mention to "Something About You" (the song that Jamiroquai never made) and "Face To Face" (the song that the 80's wished they could call their own). The only complaints I have is the repetitiveness, the fact that "One More Time" and "Digital Love" evoke pointless commercials in my head (Think "Victoria's Secret" & "The Gap"!), and the last track "Too Long" is, well... TOO LONG! It should've been 4:30 rather than 10:00. That would've been perfect because it still is a rather catchy song. Oh, yah, and that vocal sample in "High Life". They could've did without that. WAIT, I'm not done complaining... "Veridis Quo" could've been shorter and used more instruments. Okay, I'm done. All in all, you'll either like or loathe these guys. They may be weird, but they keep it fresh (for a couple of French guys).

maybe 4 1/2, just a few weak spots
I got this before I got Homework, an in spite of hearing One More Time on the radio (I say in spite of because the vocal work on this album by what's his name sucks). Daft Punk still like tweaking compressors, but they've graduated from modwheels to vocoders and a much more layered sound that starts out just too perfect to hold up for too long.

Aerodynamic is great at being funky and having that totally shameless guitar thing in the middle. Digital Love is the corniest piece of dancefloor magic I ever listened to over and over, and Harder Better Faster Stronger has enough vocoder tricks for an entire decade and and irresistible beat to match. Even Superheroes, a bass heavy song where a one bar vocal sample fades out for some arpeggiation of some interesting chords, has enough disco magic for miles. Short Circuit is pretty cool as long as you keep imagining Herbie Hancock's early 80s hit Rockit (this is a total ripoff of Rockit). Even Voyager is fun in a kind of moody way, and Face to Face is pretty trippy until some idiot starts singing and I have to skip to the next track.

In short, Crescendolls, Night Vision, Verdis Quo, and Too Long should never have been attempted. Okay, Too Long is cool about five minutes when that guy's voice disappears for a while, but Daft Punk smelled themselves a little too much on Discovery. The disco fun time thing gets out of hand when it is mixed with Bach or broken up by half-a** interludes, and vocal work is only admissible under cover of vocoder and in limited doses. But the songs that work, work incredibly well, which is what makes Daft Punk so great. It is kind of surprising to hear how much they've grown since Homework, but they don't control things as well.

And remember what I said: it's all fun and games until someone stops using a vocoder.

accomplished, enjoyable...but not perfect
Daft Punk are clearly talented, ever since the irristbly infectious 'Homework' album they have quite rightfully taken their place among the dancehall/electronica elite. Suffice to say, their latest offering 'Discovery' does not disappoint. The album kicks off with the now classic 'one more time' incorporating a flowing beat with great computed generated vocals (like that's a suprise!) this is followed up by the sublime 'aerodynamics' with its powerfull electro-guitar solo. The sound quality does not decrease as we are then presented with the already well known 'Digital Love'- this is a fanatstic track with a very clever vocal floating accross a tinny, yet head nodding beat. The proceeding track 'Harder, Better, Stronger, Faster' is by far and away the best song on the album, the song consists of three main parts - each more funkier than the last - the beats are excellent and our computerised protaganist is, well...damn funky!
Unfortunately after this point the quality detriorates...rapidly, the few highlights remaining include 'Too Long'and 'Cescendolls' although if you are not an avid fan these are certainly nothing to get excited about - especially when they are found alongside abominations such as the pathetic 'night vision'or the charmless 'face to face'- overall accomplished, enjoyable but ultimately flawed.

The groups best
This is hands down Daft Punk's best CD. Where else can you find techno music that contains elements of Supertramp, Eddie Van Halen and a creative Barry Manelow sample? This really isn't techno, it really isn't dance, it's just really good music. A must buy.

Oh and as requested, I want to recommend another instrumental CD, a killer instrumental CD, by Mr.Deviant called "Techno Obsession". It's a killer mix of power rock and hard dance music. Check it out if you don't fear any conspiracies. ... Read more

Amazon.com

Stéphane Pompougnac's Hôtel Costes series gets a boost on its sixth installment, mixing in a bit more grit with the pretty ambience and silky beats. Actually, "grit" isn’t quite accurate; Pompougnac’s musical choices still lean heavily toward the cool, classy lounge of Jean-Louis Costes’ famous Parisian hotel/club. But bits of urban groove and subdued jungle rhythms are present as well. Tosca’s druggy "Rolf Royce" (from Delhi9) mines a simple, slap-bass line like a Happy Mondays outtake, while Minus 8 makes a jazzy, beautiful mess out of "Snowblind." Unlike past efforts, Costes 6 gets better as it goes, wrapping with the d&b-meets-French-chanteuse clatter of "Un Monde Sans Frime." Like slightly uncouth, yet good-natured guests, these new Hôtel residents might not be as fashionable, but they’re still the best things about the joint. --Matthew Cooke ... Read more

Reviews (23)

Best of All Hotel Costes
I am a fan of Hotel Costes series and until this album Hotel Costes was my favorite. But this album is really great. It has new and cool songs (hotel costes 1 and 4 had same songs for example). in the black of the night is an exceptional song. Great sound, great intro.. The first four tracks are beautifully listed and shuffled. Crossfading in this album is also greater than the other albums (Hotel Costes 2 & 4 suck in crossfading)

This cd is very good for beach clubs. While suntanning , swimming or playing games such as scrabble or poker, this music makes you feel very happy. I really recommend it for after parties, too.. In fact all hotel costes series are great but this one is exeptional!!!

But there is a big mistake!
Before to enter in the real review i would like to clarify the artists and songs of this new "episode" of The Hotel Costes:
1)SLOW TRAIN - IN THE BLACK OF THE NIGHT
2)STIGMATO INC. -REALITY CHECK
3)EMANNUEL SANTARROMANA -METROPOLITAN
4)3-11 PORTER - SURROUND ME WITH YR LOVE
5)TOSCA - ROLF ROYCE
6)POMPUGNAC -CLEMENTINE
7)BARBARA MENDES - GO TO BE IN LOVE
8)MINUS 8 - SNOWBLIND
9)DUTCH RHYTM COMBO - COME ON
10)FINGATHING - YOU FLY ME
11)SPIRO PROJECT - BLUESLESS
12)ZIMPALA - THE BREEZE IS BLACK
13)GRAND PALACE -PARTY'S ON
14)DOCTOR JAZZ UNIVERSAL REMEDY - UN MONDE SANS FIRME

This informations are on the back cover of the cd and also in the photo-paper inside...but this informations are not correct. Infact 11 and 12 are exatly in the opposite sequence : 11)ZIMPALA AND 12)SPIRO...this is a big mistake for a "perfect" team as Hotel Costes and Pompugnac!!
They prepared a luxury box with photos and miniposter...but they make a mistake too big for their professional way to make music and business!
A part this, the music it's ok and it's very near to the athmospere of the number 4, probably this number 6 it's a little less danceable and more for an after party!
I am happy that Tosca it's in this CD (if you liked buy SUZUKI)and the two songs that i prefer are : 4 and 9, in any case all the songs are on top level . For this reason and for thE respect of Pompugnac (...on 3rd November will be out the first album : LIVING ON THE EDGE)i put five stars on this CD.

Fabulous Mix
I'm a huge fan of the Hotel Costes series. I have Hotel Costes 5 and recently purchased 6. If you are interested in getting into downtempo, jungle, or the edge of house music, Hotel Costes is the way in. The production is top-notch, and the playlist is engaging.

Soooo Cool!
This CD is awesome! Not a fan of this music, but heard it once and absolutely LOVED it! I could listen to this over and over again - great feel good music while driving and "chilling". Also great for parties. The Best!

Chic and Magnifique
I am never dissapointed with this series. this is the perfect CD to put on at work, on a long drive with the top down, background at your cocktail party...or whenever. Great blend of Jazz and Electronica. My favorite track is "The Black of Night", exceptional vocals. ... Read more

Album Description

In a time when the words progressive house are no longer as chic as they once were, it is artists such as Chris Fortier who are genuinely pushing the sound forward. No greater example would be Chris’ 2002 Bedrock compilation mix CD. Rather than including big names, he chose to create a platform for artists such as Meat Katie, Jay Tripwire, and Randall Jones before they went on to greater success.

While some U.S. DJs boast about playing the world, few can genuinely claim to cover as many international air miles as Fortier. Since a Bedrock/Babelicious UK tour with John Digweed back in 1997, Chris has gone on to consistently tour the globe over the past 8 years. Chris’ DJ roots can be traced back to Central Florida in the early 1990s. As one of the pioneers of a scene which mirrored the UK at the time, Chris held residencies at the legendary Aahz nights. These visionary nights served as a platform to bring Sasha and John Digweed to America for the first time, and establish an "Orlando" scene that would become the benchmark for the rest of the U.S in the subsequent years.

As Chris’ careers moves well into it’s second decade, he continues to juggle his worldwide schedule with his solo production career, while heading back into the studio for his first international compilation in two years, compiling the seventh release in the acclaimed Balance CD Series. ... Read more

Reviews (7)

MASTERPIECE x3!!!!!!!
This collection showcases great sounds in techno, prog house, and electro beats.Simple.Sounds great when you are in the mood.My favorite being cd 2.if you are always open to new sounds and letting them grow on you, get this collection.

Is this were prog. house is going??????? I hope not!!!!!!!
Let me start by saying I love all of Chris Fortiet's previous mix comps. I can even say I somewhat like were the prog. house sound is going, Digweed did it great on his new fabric release, as well as Dave Seaman leaning toward the more techno like edge of his new Renaissance mix. But I think Fortier has dip a little to deep into the obscure parts of his record case for this cd. The first two cds seem to have no melodic beat to them what so ever, while the third seems to get there a little to late. I have read the other reviews and have listened to the cds many, many times to try and find what it is that catches the ear but its not there. I must say that it truly pains me to write a review such as this for a DJ how is in my opinion one of the best in the business.......but it must be done. With what we know as prog. house changing from its more melodic, smooth, and flowing styles, to a more tech house or electro beats there still needs to be a flow a melody to the music and this cd lacks both.

Sorry Chris ... But this is plain AWFUL
I have to say this is the worst CD by Chris, ever. In fact this is the worst "progressive house" cd of the year, if not the last few years. Now let me preface that by saying I don't even think this can be considered "progressive house." I personally was quite glad when prog house turned back to its melodic roots in the last few years, and moved away from the boring "go no where" darkness that threatened to bury it. Well this CD sets the genre back another 5 years, again if you even consider it as part of the genre. I keep up to date with the new releases, and recognizable artists, and was surprised to find not even one recognizable name on this cd. Well I found out why. Virtually every song on here is crap. That's not to say I expect to see a bunch of big names artists on every track, but at least throw us a bone! I hoped that by the time I got to the so called "bonus" disc it would start to go somewhere. Oh it went somewher, and that was straight into my garbage can. I think maybe Fortier has been hanging around Sean Cusick too much. If you're into that "I'm to cool for a melody" crap, then yes this CD is for your. I HIGHLY recommend you borrow this cd from a friend, or at least listen to the samples. If you're a fan of even the slightest melody, this CD will make you want to kill yourself. :( Sorry Chris.. but please do an "atmospheric breaks 2!" That was your best work to date! :)

One of THE BEST PROGRESSIVE mix-comps released to date.
This is definitely in my top 10 Progressive House mix compilations EVER, and I'll explain why.

I know EXACTLY why other "Prog" listeners wouldn't like this: They're still into the same top-40 Progressive House sound of 2001. I'm not looking down on people for that, but don't deride this CD based on that silly comparison to the older Prog sound. This is what I call "progressive" because it has evolved. Although, it's truly very odd that this is a Chris Fortier compilation. If you've been following Fortier for the past several years, you'll notice that this came out of nowhere! Majority of the sound on this CD is NOT his traditional Housey style, but that's what makes it great!

Recently, Progressive has quickly fused in with what has been known as Minimal/Micro House, and I welcome this change! I think it all started with people like Phil K, Luke Chable, Habersham, James Holden, and the Border Community crew in the last 2 years or so. I think they (and a lot of smaller-famed DJs like myself) were some of the first ones to breaks out of the Prog House norm and play something FRESH and unique. James Holden, especially, did a complete 180 (anyone remember the title "king of the pixies"?... lol) for the better. I don't want to necessarily say all the rest of Prog DJs "jumped on the bandwagon" of these guys but that terminology probably puts it best because these guys were the first ones with the courage to take it to the next level, and they should be credited for that. Check out Sasha's new GU Fundacion set that'll be released soon. I'm sure that lot of you "Prog purists" might stop whining then because "Oh, that's so cool because Sasha is doing it" now. (Digweed already did it with his recently-released Fabric mix CD).

With a bit of that history in mind, this CD is absolutely fantastic in its creative progression from that sound, and as a mix on its own. It clearly shows the divide (for lack of a better word) between the traditional Prog sound and the fresh new sound! I'm not gonna go on much into detail (for one, I'm not getting paid for this), but I'll say that the track selection, set programming, mixing, danceability, and listenability is immaculate for the most part! Some of the fresh sounds on this CD (that are not traditional "prog") come from 2 Dollar Egg, Agoria, Alex Smoke, Anthony Rother, Carl Craig, Jussi Pekka, Lucas Rodenbush, Mathew Jonson, Mr. Velcro Fastner, Pascal FEOS, etc., and the known key players include the likes of Rabbit In The Moon, PJ Davy, Kobbe & Nitro, Kelly D, Bent, Micah, etc. For the most part, though, this CD charts relatively (if not completely) unknown producers (especially in the Prog community).


The sounds are so fresh, funky, creative, and asthetically poignant! This is a much needed breath of fresh air that Prog needed. This is the complete package. This is the future. Don't sleep on it!

Best Fortier set to date
The prior reviewer who rated this negatively probably hasn't "progressed" mentally beyond the boring, plodding, bog-standard-prog-fodder, go-nowhere progressive-house sound championed by Sasha, Diggers, etc in the late 90's. That stuff is dated and wasn't that good to begin with even back then, in that it mostly arose out of a reaction to the death of trance and simply represented orchestral sounds with mean basslines and jaded-sounding vocal samples - a minor step forward from trance at best.

Prog has been a pretty tired sound for about 5 years now, slowly dying off due to its lack of depth or creativity. Granted, there are still those who refuse to move forward, such as "joe mama", and those who continue to churn out garbage, such as Palash, Tiesto, Sander Kleinenberg and Hernan Cattaneo (albeit the South American appears to be finally attempting to broaden his sound).

This set shows Chris firmly taking a bold step into the minimal tech/tech house camp...and served as his chance to prevent being type-cast as just another prog-fodder DJ. His Bedrock set hinted at his broad musical tastes, with tracks by dub-house champions Solomonic Sound, and tech-house tracks by Philly resident Deep C and Canadian Jay Tripwire.

If you like DJ sets by Ricardo Villalobos, Richie Hawtin, Mathew Jonson (the man behind the simple yet brilliant "Typerope" track from a year or so back), Kompakt label-head Michael Mayer, DJ Koze or Dirk Diggler, then this mix set is for you. Full of tech-house (Alex Smoke, PJ Davy, Eddie Richards), electro (Anthony Rother, Kiki and Silversurfer), minimal tech and techno (Mathew Jonson, Claro Intelecto, Robag Wruhme, Rene Breitbarth, Agoria), this mix displays a broad spectrum of the current sounds rocking it out there. Hopefully, more American clubbers can "wake up" a little bit, be a bit more open-minded about novel sounds (to their ears), and try to diversify their restricted tastes a bit more with this release. ... Read more

Amazon.com

A collection of well-known pop tunes, this record documents those ubiquitous tracks that have been played into the ground at nearly every sports facility in the country. Most, like "Whoomp! There It Is" and "Hip Hop Hooray," are undeniably catchy, and other tracks were downright splendid when they first appeared on the scene. Some even credit "Pump Up the Volume" with being a breakthrough for the electronic music scene of the late '80s and early '90s. Still, bringing musical innovation to light is not what the makers of this recording had in mind. It's all about the trashy glitz, fleeting glories, and mindless greed of late-20-century American sports. Revel in its dubious charms, and risk having your brains turn to mush while a permanent grin takes over your face. --Matthew Cooke ... Read more

Reviews (21)

This CD rules!!
This Cd had the best selection of dance and hip-hop music I have ever heard! This is the best Jock Jams CD. Especially the "Come Baby Come" song.

So Close
This CD has some of the best sports songs ever on it. Like "Let's get ready to rumble", "Get Ready 4 This", "Strike it Up" and "Rock N Roll", among others. But you have to wonder what songs like "Unbelievable" and "Ive got the Power" are doing on there. This CD came so close but didn't quite make it.

Great Music for Parties and Sports Freaks
This album is one of the best I've ever heard! All the music on this album is great for car rides with friends, great for parties and for those who love sports. This album is full of cool late 80's and 90's music. I suggest at least two copies of this album for all households! It's THAT cool!

a must for techno/hip-hop lovers
the cd has its up and downs, the hip-hop/rap being the downs and the techno being the ups. really old skool music.

Music that you can dance the night away!!!!!
I like this music because you can use it to dance. You can also use it for that Pep Ralley before the games. I discovered this when I was in the high school Pep Band. I also discovered that this is music to pump up the team. As in get them excited for the games. I like all the groups such as Village People, M.A.R.R.S, 2Unlimited, and Technotronic. I also like the arangement of Rock And Roll Part 2. Hey! that song should have been used on the Glitter soundtrack. Come Baby Come is like a jumpin kind of song, and that's exactly what I listened to in my early time before I left High School. Man! It's been a long time since I did this. I got this back in 1997. I bought this at a music store. I highly recommend this to future fans. ... Read more

Amazon.com

Fever was released on a wave of publicity as the lead single, "Can't Get You out of My Head," battled on the U.K. charts with the debut effort of Spice diva Victoria Beckham--and it won spectacularly. Kylie Minogue's sound has progressed again since the disco-inspired Light Years, plundering the retro style of post-disco electro from the late 1970s and showing what might have happened if Kraftwerk had produced Donna Summer or Chic. Unlike most pop albums, or indeed pop artists, Fever is geared toward high-energy dance rather than pedestrian "I love lovin' you" ballads. Aside from the aforementioned hit single, another standout is "Give It to Me," a great piece of dance pop that has everything from Britney-style wailings to Basement Jaxx funk wrapped up with a catchy and typically suggestive chorus. The closest Minogue gets to a gentler moment is at the very end with "Burning Up," a breezy guitar progression with a laid-back melody, but it doesn't last long as the need to start dancing again takes hold and Fever breaks into some electro funk, finishing on a definite high. --David Trueman ... Read more

Reviews (305)

A FABULOUS Electro-Pop Album from a Pop Goddess
Kylie has been tearing up the charts all around the globe for 14 years, has 34 top ten hits in the UK, peformed at the closing ceremony at the last Winter Olypmics, and has sold over 30 million albums worldwide (without the help of the US, mind you). She's finally getting her due here in the States... and THANK GOD! The production on this album is pristine with songs ranging from old-style disco to retro-80's super-pop to cutting edge dance tunes akin to Daft Punk and Basement Jaxx. Her voice, a fine-tuned instrument in and of itself, wraps itself around each melody with velvety precision. The number one world-wide smash, "Can't Get You Out of My Head" is a prime example of what this album holds in store for its listeners. Other stand out tracks are the naughty disco-tastic "In Your Eyes", the Ibiza flavored summer tune "Love at First Sight", and the ultra-cool "Fever" and "Give it to Me" which pay some serious homage to the music of the where-are-they-now girls of the 80's (i.e. a certain plucky Laker Girl named Paula). With such a stagnant pop-scene and a less than happy past year, this album is truly the thing to spice things up a bit. Let's hope we can give Kylie reason to stick around in the States for a while...I'm sure she'll make it worth our while.

can't get this CD out of my boombox
Well, Kylie hits us again with "FEVER" the new CD. If you hurry up and order it, you can get 2 bonus tracks "Boy" and "Butterfly".

1. More more more- Not so good. I like the beat and the intro.
2. Love at first sight- THE BEST SONG IN THE CD!! I love this song its funky, hip hop, and up2date!
3. Can't get you outta my head- Getting old now, but still a good dance tune.
4. Fever- My favorite track on the album besides Love Affair
5. Give it to me- A good song but a little short.
6. Fragile- Great lyrics I've got2 say! A nice ballad to cool of the album.
7. Come into my world- A good song with a funky beat,
8. In your eyes- The lyrics are odd in a way but a nice tune!!
9. Dancefloor- I like the lyrics and the beat, so i guess its a good track then!
10. Love affair- Good lyrics. A good 3rd single.
11. Your love- I don't listen to this song that much but its alright.
12. Burning up- A GREAT SONG!!!... The begining you might change it but keep listening!! It gets better. The beat keeps up in the end and its a rockin song man!!
13. Boy- The best of the 2 bonus tracks
14. Butterfly- Its alright i guess.

Well, You need to catch Kylie's Fever because it is one of the best CD's of the year to me!

...

Minogue is a no-no
I bought this Kylie Minogue CD because I kinda liked her American breakout "I Can't"" and expected a disco/pop album like that of her big single, but didn't really enjoy the record on a whole. No great vocal talent except that of a karaoke queen in my opinion! Britney Spears at least has a distinctive sound. I like her new hit "Slow" from her latest release, but Minogue isn't that great. She's yet another in the industry's actress-to-singer formula, like Jennifer Lopez and Hilary Duff.

When it catches
She had me at la, la, la, la...This is a great dance CD. Pop at its best. Her American competitors can't hold a candle to most of her songs on this CD. If you have any rhythm whatsoever, you'll appriciate this CD. Also, check out Body Language.

Standout songs: Love at first sight, can't get you out of my head, come into my world, in your eyes, burning up

good cd
This cd is a preety good dance disc. It hits all the things that make a good dance cd, but thats as far as it goes. If your looking for something that has a bit more, then you might want to look elsewhere, but if you want a good dance disc look no further. ... Read more

Reviews (110)

Musical Epiphany
Without question, this is the best CD I've heard in a very long time. It's a near-perfect blend of sounds - jazz, dub, techno, blues, lounge, funk and latin flavor. Navarre has created a sensational stew here. It's a savory feast for the senses. If you close your eyes, you can hear a sax off in the distance, a flute floating in and around you. You can hear John Lee Hooker whispering some blues riff to you as the lights of the club pierce your soul, taking you on a wonderful trip down the rabbit hole.

Each track offers something new.. Cough up your cash and sample this wonderful collage of sounds. I promise you'll love it..

Enjoyable, but hardly a great leap forward
The music St. Germain created here actually sounds remarkably like a '96 CD called THE NEW GROOVE: THE BLUE NOTE REMIX PROJECT, VOL. 1, on which various hip-hop/club artists remixed classic Blue Note cuts. If you like TOURIST, you should definitely get that CD as well. This record is good, but I think it might appeal more to fans of club music who like some jazz, rather than the other way around. I say that because there isn't much rhythmic complexity within each track, the kind you'll hear from a great jazz drummer (although St. Germain does alter the beat from track to track, I'll give him that). Generally he sets up a simple, steady club beat with each cut, and then the musicians create some jazzy solos on top. If you're used to the more complex rhythms of jazz, you may get bored with these beats.

I think Amon Tobin mines a similar vein much more creatively; his atmospheres are more evocative, his forms more flexible, his music more suprising. I like this St. Germain CD for what it is, an update on '70s jazz-fusion, like a HEADHUNTERS for this decade; but with all the critical bouqets tossed its way, I just expected something really groundbreaking. In my opinion, THE NEW GROOVE was a groundbreaking record; this is just retracing some of the tracks that album left behind.

Sensual but pure
I have always been a lover of classic, acoustic jazz, but St. Germain has topped off my pleasure scale with the amazing fusion of classic style with electronic flair. There are no words to express the way this music seduces heart and mind. It's like a soul bridge to a transparent world that runs somehow simultaneous with our mundane, daily existence. And when you step down into that other place you wonder how you could have lived elsewhere.

The thing that strikes me the most about St. Germain is the consistent and simple grooves that are almost predictable and unmoving...but not quite. They evolve slowly, conservatively peppered with lively, brief bursts and subtle, almost ghost melodies in the distance. Motego Bay Spleen is a perfect example of this. So Flute does similar but the expressions of melody beyond the main groove are erratic and playful, leaving you always guessing what's coming next. Land of...starts out with an organ funk piece that digs into your deepest soul and slowly ebbs into a "walking" groove (for lack of a better term) and horn work that you can't help but move to. Sure Thing is the most urban-feeling song on the album with spicy (and at times, dissonant) electric guitar riffs and soulful, almost unintelligible vocals that work the human voice like an instrument. Outstanding. I haven't found a song on this CD that I don't like.

I don't know if it's possible to become bored with St. Germain, but it's entirely conceivable to become lost.

this is one of the coolest cds in the world
Tourist is not just one of the better cds out there, but it is one of the best cds in my collection which is quite obviously the best cd collection in the world. Buy it, if you don't like it, you're not only deaf, but also retarded.

That Nu-French-Acid Jazz Thang
Whereas the spirit of jazz seems to have been castrated here in the United States, giving birth to all sorts of perverse "smooth jazz" incarnations, elsewhere in the world - particularly in France, it would seem - jazz is dancing and celebrating life as passionately as ever.

St. Germain is a wonderfully delicious mix of house beats and jazz improvisation; rather than rehash old jazz tunes and subject them to an electronica-plastered martyrdom, St. Germain - Ludovic Navarre and company - use live instrumentation for their creative and intoxicating mix. A little Latin groove here, some hip-hop and r&b there, a driving house beat and downright manic solos all fit together to remind us of what it is that jazz is supposed to be.

This is one of the few CDs that I own that really seems to cross over and through the various genre gaps; it is smooth - that is, sexy and classy (without being pretentious) at the same time - but also has an excess of pizazz that keeps the listener engaged and flowing. Such genre-bending both subverts and converts jazz as it has been and propells it into a potential future-made-present; the rumors of a better sound are heard here as a whisper expressed in symphonic song.

Perhaps[?] oddly enough, everyone that I have ever played this CD for - whether a 19 year-old Marine, a banker in her mid-40s, or college students that prefer rap and its various metal cross-breeds - liked it. While I doubt world peace will begin with bringing the people together to listen to St. Germain's "Tourist", at the same time there really is something ... beautiful about so many different people being able to listen to and appreciate the same music. It whispers something of the beauty within human subjects.

This is a really, really great CD; 5 stars does not do it justice as it is in a class of its own, far beyond the all-too-quantitative measurement of 5 stars. It breathes spirit and creativity - the best that music as expression and imagination has to offer. Paint your canvas with some passionate new colors; bring the diaspora of your friends together... ... Read more

Album Description

Nouvelle Vague is a French electronica project initialized by multi-instrumentalists and producers Marc Collin and Olivier Libaux.

Marc first came to recognition with his band Ollano, known for their Francophone trip-hop / jazz-fusion and his movie soundtracks such as "the kidnapper's theme". He soon moved into the realm of club music, initially recording for the UK’s own Paper Recordings and progressing into a more creative and eclectic producer under the guises Avril on FCom, and Volga Select on Output Records.

Olivier Libaux has been involved with many French pop acts during the nineties and started working with Marc in 1998.

Nouvelle Vague which translates to "new wave" in English, and bossa nova in Portuguese, revisits a number of both Marc and Olivier's favorite tracks from the early eighties, taking in bands such as The Clash, Joy Division, and the Cure in a stunning combination of bossa nova, jazz and sixties pop. ... Read more

Amazon.com

Like their musical grandfathers the Rolling Stones, this UK-based garage-rock act have the common sense to name themselves after a great old blues song, Skip James' "22-20 Blues." The constantly touring four-piece has a lot going for them: swaggering vocals, revved-up slide guitar playing, and a strong rhythm section. The real problem with the 22-20s is that every single riff the band plays has been raved-up a hundred thousand and one times before, often with more energy, wit and invention. The band is definitely good, really good in fact, as the most cursory listen to "Devil in Me" or "Why Don't You Do It for Me?" reveals. But when you tackle this kind of up-tempo, distorted guitar on top of Bo Diddley beat with lyrics about love and loss schtick, you go up against the Yardbirds and Gun Club and Gories and White Sripes. So let's hope that next time out, these boys rock harder, weirder, or just you know, more rocking-er.--Mike McGonigal ... Read more

Reviews (3)

Great
This is a band that I have heard about for a while. I heard their EP a few months ago and it was okay and then easily forgotten. Now we have a full album and the story is different. Now I think that I know what people were reacting to. Some music just comes out good, when played right, that you don't have to fix or try to hard. Rock and Roll and Blues have been important music for almost 70 years now. Bands that get the blues, can't relate to what is supposed to be important pop music. The 22-20s are like many British bands, from Cream on, that have a fascination with the heaviness and power of the blues. Jet and The Datsuns have fizzled out for me. The 22-20s are the real deal. The Hiss where one band that made cool sounds. The 22-20s have taken over. Songs like "Devil In Me" and "Baby Brings Bad News" are great songs. The intensity of "22 Days" is impressive. They must be a good band to see and have a little party.

Classic Potential
Nowadays I find it difficult to find much appeal in the music of a lot of bands. Catchy hooks and riffs, a danceable beat, etc. are fine, but I also look for something that moves me and makes me feel like it has staying power. In my opinion, the music of the 22-20s fits all of these categories. This is the first band I've heard come out of the U.K. since Radiohead that I think has the potential to have some staying power. Their music has been compared favorably with that of The Rolling Stones and The Doors, but I find that the 22-20s sound has more in common with a band like Cream or Aerosmith circa 1972 than with the first two bands. Most of the tracks are driven by powerful drum work and overlaid with plenty of distorted guitars and solid bass lines. This is music with passion and fire. This is a return to the days of the British blues explosion of the 1960s, but with a 21st century edge to it. If you like no-nonsense, balls-to-the-wall rock this is a CD for you. And if my recommendation isn't enough, consider this: The Black Crowes asked the 22-20s to open for them on a leg of their U.S. tour. That says a lot about the kind of music they play and kind of heart they bring to that music. Buy this disc!

Solid Debut
Despite being no competition for the cream of today's British bands like of Franz Ferdinand or Feeder, the 22-20s are good at what they do, and that's Blues-y Rock. There are also frequent comparisons to The Rolling Stones and The Doors.

There are no weak tracks here, but then again, there are no outstanding songs either. "Such A Fool" almost sums up the entire album, it's an intense rocker with more than a hint of Blues. In comparison, "Friends" is a Bob Dylan-esqe acoustic number. With a bit more polish The 22-20s could emerge to be a key band 21st Century Brit Rock.

Essential Tracks: Baby Brings Bad News / Friends ... Read more

Amazon.com

The eighth album by these OG glitch kingpins is a curious thing. While none of the album's sounds are particularly different (Autechre is working with pretty much the same palette started with), it's not like they've gone laptop folk or added favela beats. The band's relentless experimentation continues unabated. Each of these songs here has more parts than an entire Rush album; every succeeding Autechre album has gotten more complex, as if there were Oulipo-style rules system guides the entire practice. But, while some patterns change rapidly--the complex and jagged try dancing to this rhythms rarely repeat for very long–-sine tones and drones underneath it all change very slowly. So, while the music may be composed in a postmodern way, then, it's staunchly modernist in its sharp, subtle honing of minimalist compositional techniques. The contrast between the jagged sounds and the surface and the moaning bass tones will either thrill or bore. There is no middle ground.--Mike McGonigal ... Read more

Reviews (23)

Don't Judge Too Quickly
At first listen, you may say Untilted is the worst CD
you've ever heard in your life and be strongly tempted
to hurl it in the gargabe.However, don't judge too
quickly.Give it another chance or two and you'll see...oh
my goodness...I love it!Warning: the first three minutes
of track one are VERY ANNOYING and may turn you off...
but allow yourself to get past that....eventually you too may realize...this CD is 5 stars!

A new one for the books.
It's always an event when these guys put a new album out, and as usual, Autechre has given us a work of art that is both unpredictable and serene in it's charm. Charm? Do you have a better word in mind? As you know it's difficult to describe the sonic structures of Autechre's pieces, but this album will grow on new and old listeners alike.O, and go see them live. jb

Still godly
Decades ago, a famous sportswriter, apparently tired of criticisms of his favorite sport, wrote "baseball is dull only to those with dull minds".While that point is certainly debatable when it comes to the national pastime (this guy wrote before the days of three-hour games), it applies equally well to the work of Autechre.This English duo (Sean Booth and Rob Brown, if you want to get all specific) has spent the past decade or so composing some of the most original and experimental electronic music ever made (oh, screw it, this is some of the most original and experimental MUSIC ever made, period), winning a small army of enthusiastic converts while alienating others who apparently can't figure out how an hour of glitches and bleeps constitutes music.That said, there aren't a lot of artists out there who can consistently come out with something at least interesting, and whatever one thinks of them, Autechre do manage to challenge perceptions and screw up minds with each successive release.In spite of some accusations, whatever else Autechre may be, they're not dull.

Anyway, this all leads us to Untilted, the eighth album in the Autechre canon and one that should please all those looking for their customary blend of bizarrely arranged bleeps, sweeps, and creeps.Despite occasionally bringing in sounds somewhat similar to the dronings on an MRI machine, Untilted is a surpisingly musical release, occasionally managing to sound catchy even amidst a flurry of determinedly abstract time signatures and song structures.At the same time, Untitled is still an Autechre release, and as such the focus remains on feeding your brain first and foremost.As you'd expect from the group that brought us Tri Repetae ++ and Confield, intellectually severe, high-speed musical calculus is the order of the day.

I personally found this album to be somewhat more instantly gratifying than its predecessor Draft 7.30, but that doesn't mean there aren't voluminous reams of complexity for you to decipher.Tracks open with a frenzy of spastic beats and pummelling percussion before gradually evolving into slower, more atmospheric pieces without sacrificing Autechre's trademark mathematical precision.Dense, rapid-fire sensory overload steadily gives way to hypnotic drones that are only somewhat interrupted by the jagged sounds that skid over them.Booming backbeats, out-of-time glitches, and even some subtle melodic underpinnings are interspersed into bizarre, ever-shifting sonic landscapes.New and fascinating uses for the drum machine are repeatedly discovered, with slice-and-dice programming (especially on the brilliant Augmatic Disport) that almost redeems the machine's use on countless boy-band atrocities.And the epic, 15-minute closer Sublimit cycles through every trick in Autechre's book, easily ranking among the most convincing displays of their demented genius as it staggers and stutters through a dizzying array of beats and textures.

In the end, Untilted is a quintessential Autechre album: strange, abstract, unique, and sure to be divisive.However, as a fan of Sean and Rob's work, I for one wouldn't have it any other way.While the forthcoming Meshuggah full-length will probably ending up grabbing my coveted album of the year designation, for now Untilted holds the top spot.

Misunderstood composition
Autechre have been given a bad rap in recent months for this album. It hasn't been panned so much as simply disregarded as 'another autechre album'. Its a disappointing evaluation, given the quality of the song craftsmanship on this album - seriously. Gone are the sped up beats that mangle the song out of control (found on Confield (think of cFern, Sim Gishel and the way too intense end to Lentic Catachresis) and the unfortunate end to the otherwise sublime Cap.IV off Gantz Graf). Instead the songs are, generally speaking, patient even as they are intense.

A good way to tell if someone's been listening carefully to the album is if they review and suggest there was 10 seconds of silence before the first beat - there wasn't! It was quiet - if you never heard it, then I think your headphones are too low (this of course is an old trick to get people to set their volume accordingly - like adjusting the contrast on your monitor). Then the beat comes in - its fast, in control and never boring. the song changes momentum a few times and works its way through the idea. Ipacial Section operates in a similar tone - hard beat - work through the idea, get somewhere interesting. The same I suppose can be said for a number of tracks on the album, such as the haunting Pro Radii or the enchanting Augmatic Distort - the latter starting off incredibly heavy and fast but ending on a worderful even keeled note. The melody of that song in the interim is well worth the wait - like pen expers of confield, its a song structure trying desperately to break through (or at least put order to) the noise around it - clever.

The second half of the album is a bit weaker, but the sound production in The Trees is phenomenal - truly making the brain dance. Sublimit is a hot, and fun closer.

To those who say that autechre are just doing more of the same - I don't get it, is the music about the novelty or the unfolding of the ideas? If you're just hunting for sounds - I suppose yeah, as they do use several familiar instruments. But noone ever disses a rock band for keeping their kit. This time it seems like AE had fun with their instrumnets and came out with a consistent, measured and engaging album. Finally - play it loud on headphones - its rewarding.

My brain exploded on April 19th 2005
What can I say? I must have gone through this album 15 times since I bought it (on the day of it's release), and I still can't put my finger on the reason why I haven't yet thrown it out the window.

First off, this album is no more listenable than a thousand marbles falling down a set of steel stairs, yet, I keep can't stopputting it on, because for some reason, it is highly rewarding. Melody is nearly absent, for the exeception of fermium, and maybe a few short parts of other songs, but here, melody is not what one must look for.

I think that the major point made by this album, even if this may sound like a very bad point, is the incredible talent that brown and booth are gifted with. The main recurring thought that I had while listening to this album is just how amazingly sharp and precise every single blip and bam is.

Booth, I think it was, said in an interview that Untilted was the album that took them the least time to create, yet it sounds like they spent 15 years working on it.

I will attend their concert in Montreal tonight and I hope that it will help decipher Untilted for me. I know I like it, but I want to know why. ... Read more

Amazon.com

Ulrich Schnauss's A Strangely Isolated Place was released in Europe during May of 2003, but fans had to wait over a year for it to arrive on these shores. The Berliner's follow-up to Far Away Trains Passing By is another gentle and fascinating record, similarly drunk with melody. But Schnauss has augmented his electro-synth sound with tsunamis of huge, arching major chords that rival M83's over-the-top lushness. Shoegazer influences show up in the Slowdive-esque "Gone Forever," as well as the My Bloody Valentine buzz in "Clear Day". Despite Place's ethereal sheen, the bones of solid dance-ability are also here, as several clever DJs have already noted (see Sasha's use of "On My Own" for Involver). The record could use a few well-placed batches of noise to act as counterpoint, but long-suffering fans of early Cocteau Twins looking for a fix of dreamy songcraft should find much to love. --Matthew Cooke ... Read more

Album Description

Internationally renowned DJ/Producer/Remixer and all around modern music catalyst Paul Oakenfold returns with a melodic trance monster of an album on "Creamfileds." Throughout his storied career, two releases have stood out as the quintessential Oakenfold mix albums: 1998's "Tranceport" and the recently certified Gold 2002 release, "Perfecto Presents Another World."Both of these releases embodied the uplifting, grandiose trance vibe that helped firmly establish electronic music in the global mindset.With "Creamfields," Oakenfold revisits the vibe of these timeless mix albums, yet in classic Oakey style, he does it with a whole new bag of tricks for 2004

Oakenfold takes the role of the DJ one step further on "Creamfields."The album features original Oakenfold re-edits of every track plus new remixes produced exclusively for this release, including the exclusive Oakenfold 2004 remix of U2's smash "Beautiful Day", an exclusive remix of Oakenfold's collaboration with Jane's Addiction's Perry Farrell, "Time Of Your Life", as well as club anthems from Mauro Picotto, Nubreed, and D:Fuse. With "Creamfields", Oakenfold delivers a full two CD's of the classic uplifting melodic trance sound that he has become famous for, and the re-edits and remixes bring the continuity of the album to a whole new plateau. "Creamfields" is the album that Oakenfold fans have been waiting for. ... Read more

Amazon.com

Following one of the most licensed CDs in history, 18 delivers more of the gospel samples and spiritual exploration that made Play Moby's breakthroughalbum. But keep your expectations in check. On 18 there is barely a body-rocker in the bunch. This is often a somber, melancholy disc, blanketed in thewashed-over cinematic orchestral melodies Moby's been fond of since his classic self-titled debut. It requires several listenings before the gems shine through theambient fog--and most depart from Play entirely. On the deceptively minimalist opening track, Moby delivers a powerful message through his thin littlevoice. "We are all made of stars," he sings, and indeed he's believable. MC Lyte punches out an infectious rap over old-school beat-box rhythms on "Jamfor the Ladies," offering one of the disc's few roof-raisers. "At Least We Tried" is a tear-jerking swan song of the highest order, and, finally, "The Rafters"resurrects early-‘90s house piano, which will make any of Moby's career-long fans pine for his earliest club hits. The diminutive DJ needn't have produced PlayPt. Two to keep his new fans engaged. Fortunately, his greatest talent for cooking up interesting sounds is still audible; you just need the patience to findit. --Beth Massa ... Read more

Reviews (248)

Play Pt. 2? Not really...
For his follow-up to the tremendously successful "Play," Moby gives us "18" new tunes -- some familiar-sounding, others not so much. ...Songs like "In this World," "One of These Mornings," or "I'm Not Worried At All" follow what might be called the Play formula: take an old archived soul/blues/gospel sample and put it over beats, violins, and whatever else sounds good. Other tunes on 18 follow a similar formula, but are more extensive in their sampling: "Sunday," for instance, is ultimately more of a traditional song as opposed to one where Moby has the same lyrics loop indefinitely. (Although the refrain does repeat itself dozens of times, of course.)

Then there's the anomolies. "We Are All Made of Stars" would not have fit on Play at all. "The Great Escape" sounds like This Mortal Coil (it would've fit perfectly on "Blood," TMC's third and final album). "Extreme Ways" also differs from Play's tone. "Harbour," with Sinead O'Connor, would have seemed out of place on Play. "Jam For the Ladies" has an old-school hip-hop feel to it. Granted, there are styles in Play that aren't in 18--no dance hall-style techno, for instance, but there's more new styles than abandoned styles in evidence on 18.

The songs I mentioned are enough to make 18 more than just Play Pt. 2. It's true, however, that anyone familiar with Play will feel at home listening to 18. But that has as much to do with Moby's orchestral aesthetic as his choice of songs. He tends to use his synth violins, for example, in ostensibly the same way (= the same voicings) in lots of songs--both on Play and on 18. I call this simply "the Moby sound." There's nothing intrinsically wrong with having an identifiable style, so I don't fault him on that count.

Is 18 groundbreaking? Hardly. But if you liked Play, will you like 18? Definitely.

Does the name Pavlov ring a bell?
To me, Moby's 18 is the sound of a man trying to get more licensing contracts. He made a superb album with Play, and he managed to license every song on the album for use in movies, commercials, etc. And more power to him. It was a great album. Moby's always been changing in his sound, but it was no surprise to hear that once he was able to sell out big time, he stuck with the same sound he was using. Not that that's such a horrible thing. But some of these songs could pass for carbon copies of Play songs. We get similar-sounding field recordings of southerners singing "Lordy, don't leave me all by myself." More than reminiscent of "Oh Lordy, my trouble so hard" from "Natural Blues." "Bodyrock" gets done over as "Jam For the Ladies." "Extreme Ways" sounds like "South Side." It goes on. But it's not entirely the same. Moby seems to be going new age on us all, writing songs for Sinead O'Conner to sing over Enya-like sounds. Oy. The album seems like excercise. Boring. "The Rafters" is the only song that I really like, and even that one suffers from a seemingly patented Moby swelling synth-string treatment that was originally used so well in "Porcelain," but now seems to pop up in every single one of his songs.

Oh, and let's not forget that as of right now, I know of at least three of the songs from the album are licensed, with more to come for sure. To teach a dog a new trick, you give him a treat. Well, Moby is sure desrving of his treat this time. He did his trick just as you hoped.

Moby Does It Again
The follow-up CD to the 1999 smash-hit Play well lived up to its expectations. While not quite as good as its predecessor, I don't think anybody will be disappointed.

Moby continues to re-define techo in this new album, reminding us all of how far he's come since his raw, electronic beat days. Like Play before it, 18 is full of spiritual, emotional songs--although often he uses this emotional power to create somewhat depressing (but still very beautiful) music, as can be seen is such tracks as "Sleep Alone", "18" and "At Least We Tried".

In contrast to Play, there are more slow and melodic songs and less hip-hip and R&B songs. Strangely, although I ordinarily don't care for hip-hop or R&B, I was sad to see both go.

Overall, though, this album is a must-buy, and I stand fully behind my 5-star rating. As with Play, all of the songs are unique and special on their own, but come together to create a spiritual journey into a wide spectrum of emotions when the album is played in its entirety.

Superior yet still uneven followup to 'Play'
I usually don't write reviews for C.D.s, but I felt compelled to add my opinion on "18" because I feel this album has been misrepresented by many other reviewers.

The main thing that helps in listening to this album is to forget everything else about Moby (mainly "Play," which this album resembles in only the slightest way). It also helps to forget We Are All Made of Stars once the track is done playing, since the other songs don't follow its lead (even though that single was, ironically, the reason I bought this album in the first place).

If you just judge the songs for what they are, not expecting a lot of radio-friendly singles (like We Are All Made of Stars, not that I consider it mindless pop but it is something which is commercially equipped) or "Play, Volume 2" you realize that they are quite good. The barrier to the enjoyment (or popularity) of this album is the expectations that exist because of the success of "Play" and the sometimes quite unconventional nature of the songs. It's a good album, just not good in the way you're likely to expect it to be.

"18" hits higher and more frequent highs than "Play," in my opinion. Unfortunately it also has a lower low (Harbour). But it averages out as a better album. We Are All Made of Stars is the best vocal techno song I've heard in English (Japanese electronic artist tend to be very good at this format, which seems to elude Western musicians). Extreme Ways is an excellent "angry rocker," only with the "rock" part replaced with electronica. I say that because, with a different instrumental arrangement, these lyrics would be worthy of Dylan or Petty. But the instrumentals that do back the song are some of Moby's finest work, a layered electronic masterpiece. In This World is far superior to Natural Blues, which it is naturally compared to. Great Escape is both a great song and testament to Moby's versatility as a songwriter (it's composed for Classical strings, and is a moving love song like nothing he's written before). Jam for the Ladies is an enjoyable departure from Moby's usual style (if there *is* anything that can be called his usual style, this isn't it) Then the instrumantal tracks Fireworks and 18 prove that his focus on vocal songs hasn't caused his talent for composing instrumentals to wane. On the down side, I don't know what these other reviewers have on track 15 of their copies of "18." I find Harbour to be not only the obvious weak point of this album, but the most unlistenable song Moby has ever issued under his name. The lyrics are uninspired, the vocals are poorly delivered, and there's nothing about the instrumental backing to make the track interesting at all. But it is only a momentary lapse of dignity for Moby.

The biggest weakness of "18" is the weakness of all Moby's albums: it fails to hold together as a unified work. The songs are good (although some are a bit weak, and the album would have benefited from the removal of Harbour and 1 or 2 of the gospel songs, to shorten it to the approximate length of "Play"), but together they seem like just a collection of songs, a singles collection or "best of" compilation, rather than parts of a whole. Then don't flow and there is nothing which unifies them (although a couple songs are linked to each other). It seems like Moby just browsed a database he had his 150 unreleased songs on, picked 18 he thought were objectively the best, with no regard to their style or tone, then kept them in the order they had been filed on the database, rather than arranging them in a way that allowed the moods of the songs to compliment each other. The result is "18," a good collection of songs, but with almost no feeling of unity.

Basically "18" shows that, despite all his other successes evident on the record, Moby has failed to make the full transition from a single artist to an album artist. It is a good album to own, but it has a number of idiosyncracies that prevent its widespread enjoyment, and some that prevent me from being able to give it 5 stars. I hope Moby's next (non-Voodoo Child) album maintains these strengths (as well as new innovations) *and* is also able to exist as a unified whole, like all the truly great albums do.

When he's good, he's very good. When he is ho-hum, he's
Moby has stated that he has written over 3,000 songs but that they won't be released because most of them aren't that good. I believe it. His good stuff is great - original, sincere, ear-popping music that makes you realize that there are musicians doing creative music. His other stuff is boring - anyone with a synthesizer and a beat machine can grind out this stuff. It is amazing that Moby can't tell the difference because he will include simplistic synth chords shifting slowly and then give these pieces grandiose names as if he thinks they are profound when they are nothing but noodling on the keyboard that anyone can do. This is a good album but be ready to junk a few songs before you upload it to your ipod. ... Read more

Album Details

Reissue. The Motherlode, the Standard of all 'lounge' Collections...the One Collection Every Other Collection Released Since Aspires to Be. The Assembly of These Tracks Stands as a Monumental Work of Art. Every Recording is Placed Together Here So Precisely and the Quality of Each Track So High. When Someone Asks 'what is a a Good Compilation', this is Far and Away Light Years Beyond all the Rest. Based on Music Heard in Paris' Buddha Bar, Each Track is a Mesmerizing Wonder, Expertly Chosen and Sequenced, Each Perfectly Fitting Puzzle Pieces. It Stands as Simply the Best of the Genre. The Music Here Inspires You to Expand Your Musical Horizons and Seek Out More of the Same as You Become Familiar with These Songs after Repeated Plays....and You Simply Can't Get Better Than That! ... Read more

Reviews (6)

Superb
I bought Buddha Bar V because of the catchy title and the beautiful artwork. To my delight, what I found was an excellent compilation of Euro-Eastern mixes that blew my mind away. Both technically and artistically pleasing, I listen to this compilation and look forward to future mixes by these talented artists. It is like Yin, and Yang, one CD being very soothing and healing, and the other being more energetic and upbeat in tempo. I love it, it is a masterpiece!

The First Entry of the Buddha-Bar Series.
This is the debut entry of the "Buddha-Bar" series, and considering that it was released back in 1999, the material still sounds remarkably fresh. A co-worker of mine recommended the Buddha-Bar series since she knows I'm really into downtempo music with a touch of Eastern flavor. When I approached this set, the first thing that grabbed me was the rather steep pricetag, which seems to be putting off quite a few listeners. But the deal is this: "Buddha-Bar" is recommended depending on who you are. If you're a casual listener who buys maybe 3-5 CDs a year, then this may not be a wise purchase. However, if you're a music lover who has an extensive and diverse range of genres in your collection, then I don't see how forking out the extra cash should be that big a deal. The fact is: the material on this album is very good. In this handsomely-packaged collection, we have two discs: "Buddha's Dinner" and "Buddha's Party." The stronger of these two discs is definitely the "Dinner" one, which has mellowed-out tracks that really give off a sense of calm. My favorite track has to be the lovely "What Will I Be" by Zeave Ben. It's one of those tunes that stayed imprinted in my head because the song is so distinct and beautifully arranged. The "Party" disc has slightly less of an Eastern vibe, but has a fair amount of really good dance tunes that are decent enough for any party. The main attractions here are the Eurodisco bounce of So Emotional, who does a cover of the hit "All By Myself" as well as Byron Stingily's "Flying High," which gets a Brazilian makeover by DJs Masters at Work. While not quite flawless, I'm overall pleased with "Buddha-Bar," and I hope to explore other volumes of this fine series.

Where it all began
It is rare for me to get into a series of compilations that leaves me breathless because the music is simply incredible. The Buddha Bar series really changed my life when last year I bought "Buddha Bar V" on a whim. I was so taken by the Asian-influence in the music I heard through out the two cd disc. There were none of the same old songs that I kept finding on other chill out compilations. The Buddha Bar series really raised the bar on chill out music with the quality in songs the djs picked out. Normally I refuse to pay anything more than $20 for a cd but I will make an exception with the Buddha Bar cds. The quality is too good to pay any attention to the price tag.

I stopped by my favorite record store this afternoon after an afternoon matinee of "Dogville". I was going to buy two other cds but the moment i saw last year's re-issue of the first "Buddha Bar" cd, I put those cds aside and grabbed the "Buddha Bar" cd immediately. Parisian dj Claude Challe begins the music nirvana that I know of as my favorite chill out series. Just like the other Buddha Bar cds, there are two discs. One is labeled as the dinner disc which contains laid-back, mellow music while disc two is the party disc which contains dance tracks. I especially loved the Party cd. I loved the remix of Faithless' "Drifting Away", Malik Adouane's "Shaft", and the cheesy So Emotional cover of Celine Dion's "All By Myself". Both cds were a good mix of modern and traditional Asian/Indian dance music which reminded me of Ravin, who mixed the latest Buddha Bar cd. Claude, Dave, and Ravin are all different. I have enjoyed all their work on the Buddha Bar/Chill Out in Paris/Siddharta series. They are all excellent djs. It was great to hear the original dj of the Buddha Bar cds. I have yet to hear a Buddha Bar cd that I didn't like.

This is the CD that started it all !!!
Buddha Bar....Claude Challe....Legendary !!!
When Claude Challe lent his mixing talent to Buddha Bar, something special happened. Buddha Bar is the posh restaurant/club in the financial district of Paris, owned by none other than Johnny Depp, brought to life by the likes of George Visan and DJ'd by Ravin, the Jr David Visan and of course, Claude Challe.

Claude Challe has a reputation for excellence, whether as 'the man with the golden shears' as a 19 year old Parisian in his own salon, or as a free spirit, travelling the near East and India, and as a musical genius.

The arrangements Claude Challe has compiled here are breathtaking. Indeed, "Buddha Bar" may yet become it's own genre. People have tried, but cannot find an appropriate moniker for his work. Among the genre names that don't quite fit are electronica, dance, world, ambient, but Buddha Bar serves best.

He creates a mood. Slow and sensual early on, to more upbeat further in. But the total package is inimitable.

Danceable, and imminently listenable, this listeners advice is to hear this CD and continue with Claude Challe's solo compilations and get all the Buddha Bar's out there !!

I'd also recommend going to Paris to visit the actual Buddha Bar, as well as Barrio Latino, but the sound systems at each simply do not do the music justice. But for cool destinations, they absolutely can't be beat.

Cheers ! Monty and Amber Overson, San Jose, California.

The Ultimate Music Listening Experience
This is what started it all..Buddha Bar I..i can't say it's my favorite .. cuz it has a league of its own..apart from its emotional value..because i bought it in Paris..this Album never leaves my Stereo..I listen to it all the time..day and night..asleep or awake...
I just can't Describe the pleasure this CD gives me... ... Read more

Amazon.com

Blue Six is the brainchild of Naked Music founder Jay Denis, a former New York City rock musician who saw dance music as his ticket out of obscurity. His Blue Six debut, Beautiful Tomorrow, is a virtual world of pristine house groove and ambient soul mood, with live instruments and sensual singers creating a glowing sonic tableau. Whether dancing or chilling, you'll find that Beautiful Tomorrow is a luxurious soundtrack for greeting the dawn. Beyond an occasional minimalist vibe, the only differences between tracks are the singers, who offer individual takes on the soul-diva template. Lisa Shaw opens the album with "Let's Do It Together," followed by MoniqueBingham singing "Close to Home." Catherine Russell adds a personal touch to the title track and "Very Good Friends." Beautiful Tomorrow's tracks morph together, but with its sublime blue-mood message, grooving in place works like a charm. --Ken Micallef ... Read more

Reviews (85)

Beautiful Tomorrow and Everyday
After hearing re-mixes of several tracks off of this album, I wanted to check out this CD. Needless to say I was not disappointed and this album rekindled my faith in Electronic music. This album is not for the teeny-bopper candy raver and it's espaecially not for someone who listens to Top 40 radio. If someone says that they don't like this album, chances are they haven't been listening to good music.
This album is an influence of Pop,Soul,Jazz,R&B,and House. The female vocalists on the selected tracks are quite simply amazing. It irks me to know that these artist don't get recognized for their talent,and meanwhile Mariah Carey gets the record deals for sounding like a cat in heat. Producer Jay Denes' songwriting is soulful,heartfelt,and sexy. If you are expecting thumping house tracks or fast-beat techno, then this album is not for you. It was so refreshing to listen and NOT hear any of that. The vibe of Beautiful Tomorrow is extremely sexy,laid-back, and soulful, there are no other words to describe it. I did like the fact that there was a recurring theme throughout the tracks and that some of the same songs get re-worked.
Beautiful Tomorrow is for a listener with a bit more of a sophisticated ear. It's an album for those nites when you're having friends round for cocktails or getting ready to go out. But it's especially effective on those nites in front of a fire with someone to cuddle up with and enjoy the Music and Wine.

smooth blend is relaxing and stimulating at the same time
This is a great album that you won't get tired of even if you play it over and over again. Very catchy - smooth but never bland. Most all my CD collection goes into my iMac. iTunes plays songs randomly on my stereo from my mixes (like my very own radio station), and when a Beautiful Tomorrow song comes up it still makes me stop and notice "that's a really great song." This is one of my favorites to play in the car. The vocals are catchy, beautiful and unadulterated and the music will make you want to dance.

I'm not a big fan of most house music, disco or jazz straight up, yet somehow this Blue6 blend takes the best of each one and leaves out what I don't like. A lot of jazz doesn't have enough energy and isn't catchy enough for me. Most house music is too repetitive and artificial (blatantly electronic) for my taste - I do love dance grooves. That's why I didn't care so much for clips from Thievery Corporation - too obviously electronic. Nuspirit Helsinki is similar to this album in lots of ways but it doesn't seem colorful enough either. I just listened to some clips from Carte Blanche 3 and want to give it a try. Of all the "mood music" I've listened to the blend in Beautiful Tommorow is just right (Miguel Migs' "Colorful You" ties for my other top favorite in this category).

I like everything from dance pop (Kylie Minogue, Anastacia) and rock (July for Kings, 3 Doors Down, Seven for the Sun) to neo-soul and contemporary R&B (Jaheim, Jill Scott, india.arie, D'Angelo). Anything with a funky rhythm is great. If you're looking for mood music and have similar tastes in music, you definitely want to check this out.

Skip a Beautiful Tomorrow, this is HOTT today!
This CD very rarely leaves my CD player, and as a semi-retired club DJ it has given me many hours of remixxing pleasure!
It is the prologue to any cocktail night or even after hour's entertainment. This is what 'Deep House at its pinnacle' actually should mean!

This CD is the absolute perfect culmination of Sade meets Downtempo/Chillout music. I would recommend this to anyone seeking to leave the monotonously heavy 4/4 House beats and crowded club music craze. I liken this genre as 'grown folks' House music with its sexy, soulful grooves and non-stop seductive aura.

As has been mentioned here before, if you enjoy anything like Nuspirit Helinski....you should be very, very pleased.

If the above music suggestion leaves you a bit dry, try the vivid image of slipping into a warm bath and relaxing your worldly cares away.

Now....proceed to slip into a Beautiful Tomorrow.

Can you say tease me...?
This album never leaves my CD player....it is the prologue to any cocktail night or after hours entertainment. It is a perfect culmination of Sade meets lounge music. I recommend this to anyone seeking to leave the ordinary house and club music craze. If you like anything like Nuspirit Helinski, you should be very pleased. Make yourself a french martini, lay on yor favorite piece of furniture and slip into Beautiful Tomorrow.

The BEST CD of my huge collection
As a big time fan of chill out type of mysic, I couldn't resist asking the DJ of a trendy bar where I was when I first heard this CD. When he told me it is Blue Six I bought it on the next day. Ever since I had to burn it twice to make sure I have some spare ones in case the original gets damaged. It's icredibly good! The beat, the vocals, the perfect level of eletronic vibe... You'll get naked! With this CD you'll need somebody else to be naked with you!!! ... Read more

Amazon.com

So much unnecessary fuss was made over Enigma's juxtaposition of the sexual and sacred. After all, Prince had been doing it for years, and his take on it was far more interesting--and a lot more daring. But Enigma's MCMXC A.D. did manage to work a lot of people into a lather, both on the dance floor and behind the pulpit. Their inclusion of chanting monks in "Sadeness," over wooshy ambient noises and a slower hip-hop-appropriated beat was a sensation. "Callas Went Away" promised more than it could deliver, although "Mea Culpa" stands as one of the few shining moments on the CD. The idea of mixing new age aural wallpaper with beats that you can do a slow grind to is actually rather intriguing. Spicing it up with controversial religious chants isn't a bad idea either. But there's got to be something personal to it. After the initial novelty wears off, there's nothing to MCMXC A.D. other than bland, cold, impersonal repetition. Now, that might be what most people are used to, but what's so sexy about it? --Steve Gdula ... Read more

Reviews (119)

Float Off Into Space With This Masterpiece
"MCMXC A.D." by the one-man studio group known as Enigma (aka Michael Cretu) is a timeless blend of ambient new age sounds & beats, chanting monks, sultry female vocals (supplied by Cretu's wife, Sandra Cretu), and washes & washes of beautifully lush, atmospheric keyboards. It's the *perfect* disc for playing late at night with the lights out. When "MCMXC A.D." first came out 12 years ago, I couldn't stop playing it. I was so taken by it's sheer beauty, and how listening to it could just transport me to another place & time. 12 years later, the album still holds up marvelously. Everybody knows the hit "Sadness Part 1," with it's chanting monks over an ambient dance beat, but there are many more delights to be found here, including "Callas Went Away, "Mea Culpa," "Knocking On Forbidden Doors," and "The Rivers Of Belief." From start to finish, this album is simply intoxicating.Just looking at the classic album cover (with a monk on a mountaintop staring into a bright ray of light) always makes me smile. I've been a diehard Enigma fan ever since "MCMXC A.D." came out, and I've thoroughly enjoyed the three albums so far that have followed it. But "MCMXC A.D." remains Enigma's signature piece, a truly unique album that no music collection is complete without. Turn off the light, take a deep breath, and let the rhythm be your guiding light. :-)

A brilliant, emotional, sensual piece of art
Enigma is probably best known as the band that introduced Gregorian chants to dance music (though, in actuality, many bands had been doing this for several years in Europe). I must admit, that is one of the key things I remembered about this release. But after listening again to MCMXC a.D., I remember much more. For those people who understand and appreciate the power of music to enhance mood, this release is an experience in sensuality. Layered with religious symbolism, lush female vocals, spoken word (often in French), sounds from nature, and sensual beats, Enigma takes the listener (or listeners, as this release is also enjoyable with a companion) on a journey of self actualization, inner peace, and outward passion.

The release begins with "Voice of Enigma", a soothing intro to the album. Not really a song, this short piece places the listener in a relaxed state of mind which helps one best enjoy the remaining 40+ minutes.

The next song, "Principles of Lust," allows one to slip into deep relaxation and sensual exploration. Clocking in at over 11:30, this is actually a combination of three songs that flow together. a. "Sadeness" is Enigma's classic and first big hit. It is very sensual and relaxing, however at the same time it is stimulating and encourages one to be tactile. b. "Find Love" starts off as a sensual, atmospheric piece that floats all around the listener. Then it moves to a funky beat that is very assertive and more active. Also known as "The Principles of Lust." c. "Sadeness (Reprise)" returns the listener to the feelings in "Sadeness." However, the additional piano is very deep and stimulates one to be reflective.

"Callas Went Away" makes me think of young lovers who have stolen away from the village into the woods at dusk for a lovers' tryst.

"Mea Culpa" grabs one's attention and provides a sense of urgent desperation. The beats, the chant, the marching footsteps, and the rain make one feel like one is trying to escape from someone or something. This is a very powerful song.

"The Voice & the Snake" is discordant and disturbing, shaking one violently from a relaxed state. Fortunately, it is only a little over a minute and a half, ending the discomfort quickly.

"Knocking on Forbidden Doors" gives one a sense of need for control and for asserting oneself, strongly yet with a gentle, loving touch.

"Back to the Rivers of Belief," which concludes the release, has three parts. a. "Way to Eternity" slows one back down, allowing one to become calm and reflective once again. b. "Hallelujah" reintroduces the rhythm, allowing one to slowly again explore one's inner (or outer) senusuality. The tinkling bells are like a soft rain falling to the ground, or perhaps on oneself. c. "The Rivers of Belief" is a sensual, relaxing conclusion to the album. Whether shared with oneself or with another, this song helps reaffirm the love and passion one feels for oneself or one's partner.

This is an excellent release, especially for those who understand and enjoy the power of music to enhance the mood, whether one is alone or with that special someone. A sensual delight, MCMXC a.D. deserves a strong 5 star recommendation.

Enigma is the best
I remember when i bought the first Enigma cd MCMXC AD i couldn't get enough. I have listened to this cd (no Lie) about a thousand times. It is sexy and pleasureable to the mind and ears. This is music you can really feel. I remember when i just couldn't wait for Enigma to release more of their music. Now I own every cd they have made. Every song on every cd I love, Enigma can do no wrong (or make a bad song). All cd's are my favorite I love Enigma I can't choose just one cd. I hope Michael Cretu continues to make music till he dies. Everyone I've introduced to Enigma has turned out to love it. Thanks Michael Cretu keep putting out the CD's and I'll keep buying.
Definately invest your money and your listening pleasure in Enigma. If God made music this is what it would probably sound like.

mentally sexy music
When I was driving down the highway in my big big truck,listening to this music,I was nearly fell asleep.I almost lost my life.Then an angel flew down on me and said something very very sweet to me.She said I am a voice of ENIGMA.The next moment I was in the sky flying over the clouds.I was deeply absorbed in the journey of my pure mind.I was so refreshed and finally found myself in a starnge room full of sexy angels waiting for me for a long long time.This music is a kind of drug that take you higher and higher to the next spiritual level.
So passionate and alluring !!

Was it REALLY that controversial?
Back in 1990, while I was still working in radio, a program director who shall remain nameless demanded that I pull the single "Sadeness" off the air because he thought it was "blasphemous." I was kind of dumbfounded, because I found it to be contemporary and original, and not in the least bit obscene. Just the kind of antidote to the blandness of the New Kids On The Block kiddy pop and dump truck loads of Whitney/Mariah clones being force fed to radio at the time. Of course, like any young buck worth his artistic salt, being told "NO" only made me want to find out more about this "Enigma" cat.

Once I got the full CD, I could understand how the easily shaken were getting their dander's flaked by Enigma. "MCMXC A.D." was the first album that used the fresh idea of mixing new age keyboards with chanting Monks and giving them the kind of rhythm that would work as a slow grind on the dance floor -- or more important -- late night nasties in the bedroom. Then there was the "Sadeness" video, which pictured a rather religious looking fellow as he dreams/hallucinates about a sultry looking woman and beams of light. Yup - just the kind of thing to turn the album into a nocturnal classic, dance floor smash and a magnet for those prone to censor that which might ruffle their too fragile sensibilities.

Surprisingly (or not), the album holds up pretty well all these years later. Tidal waves of imitations flew up in "MCMXC AD's" wake, but none (save maybe Deep Forrest) ever made much of an impact. You can also probably blame/credit Enigma for making top sellers out of the Benedictine Monks of Santo Domingo de Silos (remember 1994's "Chant"?). With all that has been going on in music since, "MCMXC AD" seems almost quaint, but this album remains an artifact from the end of the new age decade. And it still gets played in my playroom. ... Read more

Amazon.com

DJ Shadow, a.k.a. Josh Davis, could be credited with bringing newfound introspection to the gloating sounds of hip-hop. Condensed with urban oscillations and scatological beats, Endtroducing shutters with eclectic samples and aural montages that reach beyond the constraints of hip-hop style. Enhancing the mix with fundamentals of rock, soul, funk, ambient, and jazz, the modern fusions fail to go unnoticed, even by the casual listener. While most of the tracks are compiled by layering samples from vinyl treasures found in used-record bins, the production quality of the mosaic is unmatched. Darkened melodies carry throughout the album with its eye on the end of the tunnel. The narration samples come from numerous sources and keep the listener involved and waiting for resolution. With a message as fragmentary as an overheard conversation, Endtroducing conveys no apparent conclusion, but begs the mind, body, and soul for some rewind. --Lucas Hilbert ... Read more

Reviews (159)

DJ Shadow is the Postmodern artist
I first go this album in 96; I was still in high school and didn't know much about sampling, beat production, etc. I thought it was one of the most amazing things I'd ever heard. Now, as a senior in college with more musical experience under my belt, I can still say this is one of the best albums I own. DJ Shadow revolutionized the way I and many people thought about sampling. As he takes a record from his insanely deep crates, he doesn't simply loop a catchy cut a la Puffy, he manipulates and recontextualizes these sounds into something completely his own. Like his track "Organ Donor," where he uses a sample of a church organ and turns it into a beat. Shadow in my opinion is the epitome of the postmodern musical artist: taking what's already out there in the world we live in and breathing new life into it. I highly recommend this to any electronic or hip hop fans. Oh, and by the way I heard he has a new album coming out soon; he's on MCA now, so his access to production equipment is gonna be insane this time. I'm expecting a truely remarkable album.

Wow! DJ Shadow's a genius!
I bought this album a few days ago on my 13th birthday because I liked "Building Steam With A Grain Of Salt" and "Organ Donor". At first I didn't like it because a lot of it I found boring. It also made me angry that the Organ Donor song is only 2 minutes in lenght on mine! (The one I listened to on the internet was over 4 minutes long)I put it in the next day and I got it. It may not be the Orbital, Fatboy Slim type stuff that I usually listen to but it isn't supposed to be. I got it in the Dance/Electronica section of the local record store...so it is a bit misleading. Dance? No way. It's very different and extremely hard to classify. I would say...Trip-Hop/Jazz/Electronica/Hip Hop/Soul.

So overall:

PROS:
Very moving
Nicely mellow
Great variation of songs
Often funny

CONS:
Seems kind of short
Some filler "tracks" like 6 and "Why Hip-Hop Sucks in '96" which are somewhat annoying.
Organ Donor is WAY too short!

Best tracks:
Building Steam
Stem/Long Stem
Changeling
Midnight in a Perfect World
Organ Donor

-Also I have the "Mo Wax" label, and it says "Mu Wax" on the back in really small print when it should say "Mo Wax"!

Producing one of the best albums ever
From the opening sample of "Building Steam With a Grain of Salt" where a voice is heard saying "Producing..." you know you are listening to an outstanding piece of work. In order to better understand this, you have to position yourself at the time this album came out.

You have to realize Trip Hop was already in full fledge: Massive Attack and Portishead had already come out with their own thing, but DJ Shadow came with a different proposal in 1996 when he produced 'Endtroducing...'. Through the magic of samples, he blended in a way many have tried to copy, yet no one yet matched, genres such as rock, soul, funk, ambient, and jazz, into a final product that transcends time. If you need further proof of that, think how long it's been since this album came out (1996) as you are reading this, sit back, listen to it and be amazed, as so many have been amazed to this day.

After listening to 'Endtroducing...' almost daily for three weeks now, turning back and thinking of acts such as Fatboy Slim almost feels awkward, considering his sample-based 'Better Living Through Chemistry' came out almost a full year after Shadow's debut. Granted that everyone has a place in music, DJ Shadow's genius with sampling work simply is above and beyond, making this not only his breakthrough, but also one of the best albums ever.

Other favorite tracks: "Changeling", "Untitled" and the grandieuse "Mutual Slump". If you want to take a dip into an evolved form of his work, check out his side project, U.N.K.L.E., in particular 'Psyence Fiction'.

A shadow of himself
A couple years back i became interested in underground hip hop and turntablism. My first, and best purchase, was DJ Shadows Endtroducing. Nary a day goes by that I do not find myself listening to this album. The way he mixes and blends the songs together puts Shadow at the top of his game on this record. Where this album excels is in its ability to not only drag you into the world that Shadow has produced but takes you through the mind of one the most talented individuals in all of music. If you enjoy music, do yourself a favor and buy this album. You will never find another like it, as it creates a constant state of euphoria, as the beats and samples are blended together in such a way that it is almost impossible to describe.in my top 10 albums of all time.

Excellent work
Dj shadow has proved that he is one of the greatest artists ever. With such diverse tracks and complex beats, Endtroducing will be something to look back on from years to come. ... Read more

Amazon.com

This is one of those records crafted purely to dance around to and have a great time with. "We're Going to Ibiza" has to be one of the catchiest dance-pop songs of the late '90s; luckily the rest of the Vengaboys' greatest-hits collection provides similarly hedonistic, gloriously vapid pleasures. The Vengaboys' sound is what might happen if one were to throw Ace of Base, Stardust, and Miami Sound Machine into a blender and press the Purée button. The group (two women and two men) may look like a Saturday morning Spice Girls-meets-the-Village People cartoon, but their sound is not quite as campy as they look; it's all about fun--nothing more, nothing less. --Mike McGonigal ... Read more

Reviews (150)

A bouncy, ditsy, fun album full of life and energy!
Let's just get one thing straight here- the Vengaboy's debut, The Party Album!, is defenitly not an artistic achievement- far from it. But that doesn't stop it from being a house-pumping album filled with radio and party friendly hits. Starting with the group's US smash hit, "We Like to Party!", this song is one of the best singles released during the summer of 99. 1999's summer season was wild in the entertainment business, and it was tons of fun for me and my friends. "We Like to Party!" was the perfect anthem. The squiggly-synthesizer lines mixed with Kim and Denise's helium vocals and the funny little bus horn makes the song a riot to dance to. "Boom Boom Boom Boom!" is a high energy riotous dance song filled with strong bass beats and a fun little bridge ("Whoa, whoa, this is what I wanna do..."). "Up and Down" sounds like a different version of "We Like to Party!" with the same squiggly synthesizer lines, but the song is another example of the Vengaboys' delightful dance energy. "To Brazil", "Vengababes from Outer Space", "Movin' Around"- all great fun and great party songs. This party album will defenitly have you ridin' the vengabus once you start dancing to it!

VENGABOYS ROCK MY SOCKS
The Vengaboys are one of the greatest euro-pop/techno/pop artists in the world. I bought this album not to long ago and I am soon buying The Platinum Album byt the Vengaboys also. I would like to give my opinions on each song... CAUSE THEY ALL ROCK!!

We Like to Party: Definately one of their GREATEST songs of all time, I really enjoy this one TIME and TIME again, this song is on the 6 Flags commercial (you know, with the old man dancing)

Boom Boom Boom Boom: This song is another one of their masterpieces. I can dance to this one over and over, the lyrics are phenominal (forgive me for my spelling),a nd SUCH a great beat!

Up and Down: This is one of the KINGS of all Dance music world wide, this song is a sort of mix on the *Du Du Du Du Du Dooo Dooo* (We Like to Party) beat. But definately original

Ho Ho Vengaboys: Kind of self-promoting, this one is more "Techno", but I love it to death!

To Brazil: O...M...G..! Talk about international! This song is sooo South American, which would make sense because one of the lead singers (Kim) is from Brazil. But this song is WONDERFUL and you can DANCE DANCE DANCE

We're Going to Ibiza: This song is a reggae-pop-techno song, it's a lot of fun! It sounds like they are saying "We're going to Eat Pizaa" But they are really saying "We're going to Ibiza", this is a Vengaboys Classic!

Vengababes from Outerspace: This song is kind of cheesy, it's not my favorite of them all, but it's very easy dancing and listening!

Superfly Slick: This is where the TECHNO comes into the album, it's a great classic, and it's almost the complete oposite of Pop!

Movin Around: Very simple lyrics, this song is phenominal also (forgive the spelling)!

The Vengabeat: This song sounds like a catwalk song, but it's a whole 'nother thing!

You and Me: This one is very interesting! I love the beginning, it kind of shocked me when I heard this moniacle WELCOME (forgive the spelling), VERY good!

Paradise: Frankly, this song sounds like it came from a video game, but it's very easy listening anf romantic ;)

[Hidden Tracks 13 & 14]: these are very neat remixes, I do not know if you can find them on the remix album, but they are GREAT dance hits!

Thanks for hearing me blabber on and on about my fanatic-al-ish self! GO VENGABOYS!

The Party Album!
The Party Album!~ Vengaboys is an album made for the dance floor and is awesome. Go out and buy it.

OLD LADY IN COLORADO
I've just discovered this CD and I LOVE IT. It'S FUN, FUN, FUN!!! Get it and dance, dance, dance!!!

We Like to Party!
This is a fun cd for kids I bet. This is the Six Flags commercial song where the old man dances. My 2yearold nephew & I love to dance to it! ... Read more