Amazon.com

Nightmares on Wax's DJ Ease is best known for producing a pacific (even come-down) version of hip-hop or downtempo music. Compiling and mixing this album for the DJ Kicks series (which has included rapturously received collections from Stereo MCs and Kruder & Dorfmeister), he presents a subtle mix that moves from hazy breakbeat jazz into left-field, modern (and politically correct) U.K. and U.S. hip-hop. Using material from Mo'Wax (the high-velocity delivery of Blackalicious), A Tribe Called Quest, New York's Kenny Dope, and Manchester's Grand Central, Ease scratches and fuses an expert selection of alt-hip-hop. At times he layers tunes which themselves sample other tunes to create a complex mesh of meaning and reference. He also includes a couple of his own productions and narcissistic sound-alikes (DJ Trax's "This Place" is more N.O.W. than N.O.W.). "Overall Ease" journeys from serious music toward the light--he finishes, exultantly, with disco-inflected work from Deadbeats and Syrup. Going out on a high note. --Tony Marcus ... Read more

Reviews (12)

me like it
In a sense, comparing any of the DJ Kicks releases to another in the series is like, you guessed it, apples and oranges. Perhaps not as "fluid" as some in the series (a la K&D) the NOW set does a great job at setting a goal and getting there in style.

A good mix of instrumental hip-hop, with a few choice MC tracks blended in, DJ Ease creates a streetwise blend that's great for chilling, driving, partying, styling, mackin', whatever. It also has a legit raw feel that's not too over-produced.

DJ Kicks: For spectacular trip-hop choose K&D. For lounge choose Thievery (despite a lack of mixing talent). For funky British underground, choose Stereo MCs (again, poor mixing). For funky, trippy hip-hop, this is it.

Just what I needed when I got it.

Dope!
This DJ-Kicks album is amazing.

If you liked the hip-hop vibe on the DJ Cam or Terranova discs from DJ-Kicks, you will be blown-away by this! Overall, I personally feel that this is the 2nd best disc to emerge from the DJ-Kicks stable (I don't know if anything can topple Thievery).

What makes this album so dope is that the beats are for the most part old-skool, and feature some really creative sampling (ie: the theme from "The Price is Right"). This disc is in your face and up-tempo throughout.

After a couple "average" (average for DJ-Kicks) releases lately with the Stereo MC's and Kid Loco discs - it's sweet to see the series back on track - takin' names!

Buy it now!

Green pleasure!!!
The British DJ / Producer George Evelyn, aka DJ Ease, aka NIGHTMARES ON WAX, despite his relative lack of years, has for more than a decade already numbered among the most visionary musicians on the island. He has never left his hometown of Leeds since he was born, but his sound is nonetheless universal and his recordings for the English label Warp have frequently set new trends. Even his first single, "Dextrous", found its way into the English Top 75 and his subsequent releases are still today regarded as prototypes for the downbeat genre. The following album, "Word of Science", with its combination of soulful bleeps and clonks, underscored his creative potential, but even so it was a full 6 years before he released his classic, "Smoker's Delight" (1995), one of the milestone records of the nineties.

Opening with his trademark song, "Nights Interlude", this record has played itself into innumerable hearts, record collections and annual charts, has been a dope beat classic ever since its release and has yet to lose any of its allure. His album, "Carboot Soul" (1999), as well as his collaborations with De La Soul, O.C. and Corinna Joseph, seamlessly picked up where the success of their predecessor left off and charted all over Europe. The album "Mind Elevation" 2002 release is the fourth album, is another welcome hit of chilled beats, entrancing melodies and soothing soul-drenched vocals. While persevering with the use of live instrumentation, Evelyn--a one-time judge of Amsterdam's High Times Cannabis Cup--has fortunately not sacrificed any of the dreamy ambience and looped samples that made 1995's Smokers Delight such essential post-club listening. He has though finally abandoned "Nights Interlude", an interpretation of Quincy Jones' "Summer In The City", that traditionally opened all prior Nightmares on Wax (NOW) albums. In its place lies "Mind Eye", a languorous spiralling instrumental groove that sets the pace way down low and stirs an entrancing breezy summer vibe that drifts throughout the album. Alongside the cool mix of mellow hip-hop, soulful r'n'b, and ambling ambient effects, comes the lilting if occasionally overstretched vocal talents of Chyne B. "Got To Know My Name", the most upbeat NOW track to date, sees her joyously waxing lyrical over an impossibly funky, retro-soul melody. Sadly her other contributions such as the r'n'b-lite "Date with Destiny" prove disappointing. But with the majority of the album bringing the feel of a joyous sun-drenched afternoon to your speakers, you can sit back and rest assured that Mind Elevation really does do what it says on the tin.

Excellent live shows translated into an exultant progression across Europe and NIGHTMARES ON WAX can today enjoy a substantial worldwide fan base.

His record collection might soon be almost equally broad, the foundation stone for which was laid with the acquisition of two dub 7-inches when he was eight years old (!) and which to this day serve as a source of inspiration (and samples). The idea of making a mix CD with NIGHTMARES ON WAX came about (and was carried out) as early as 1995, but the project was also subject to George Evelyn's "leisurely" working practices - all good things take time. Now he sends us, just a little later than expected, shooting into his beat orbit. He has put together an excellent selection of hip hop and downbeat tunes for his "DJ-Kicks" set and has found the perfect blend of the old and the new, UK and USA as well as vocal and instrumental tracks. Tunes from A Tribe Called Quest, Kenny Dope, Aim, Blackalicious, Freddy Fresh, Jerry Beeks and DJ Trax amongst others, as well as some of his own tracks of course, come together in a phat set with plenty of funk!

OK Stuff
From reading other reviews here, it should be obvious to the potential buyer that yes, this album is not Carboot Soul or Smoker's Delight. It does not contain the smooth, downbeat grooves that make both albums must-have classics. (I knew this, however, when I bought the Nightmares on Wax DJ Kicks album.) Notwithstanding that, I guess my problem with the CD is that, in simple terms, in never properly establishes a groove. It sounds disjointed. Other DJ Kicks releases such as the fabulous K&D album maintain a continuous mood; this one does not. If you're a real Nightmares on Wax fan, it's worth having. It's really not that bad. It's just that there's a lot of better stuff out there for your money.

Not bad, not great
The "DJ Kicks" compilation series has had some realy, really great CDs come out of it, most notably the mixes by Giles Peterson and Kemistry & Storm. They've been stylistically very unique and wide, with really good songs strung together regardless of the style. This one by N.O.W. isn't one of the best ones, but it's not bad. It's a great hip-hop disc minus the rapping, so if you're looking for hip-hop mood music sans vocals (for the MOST part), this is it. I thought it might be a little more moody - more in the vein of say, early DJ Cam - but it's beats are very traditional hip-hop.

The soundtrack for bombing subway cars and school buildings with spray paint, but not as underground in parts as you may like if you're a hip-hop head. ... Read more

Album Description

Legendary, long out of print 1996 EP finally repressed on CD. Hi Scores is a near-perfect six-tracker of gorgeous, building ambient electro and loping downtempo electronic breakbeat that are as pleasing to the ears as they are head-bucking funky. Paper sleeve. Skam Records. 2002. ... Read more

Reviews (2)

Heightened dreamland
BOC's Hi-Scores, starts off poppy, ends on the dark side. And the latter is definetly what makes their sound so appealing. While their style is not as musically complex as Aphex or Autechre, their ability to stick with the rich beats and airy melodies without adding anymore useless noises is what propels them ahead of the game. None of this is compromised on this album, as is the case with anything they put out. This six track album is definetly worth picking up, although if you own Twoism and MHTRTC, it is only four new tracks. However, the last track alone, dripping with lushious beats and melody, is worth the price. While not quite up to par with IABPOITC or Twoism, no fan can be complete without this gem.

Fantastic
This EP contains some of BoC's rarer (and more exceptional) songs. Their usual style of dark, sometimes hip hop influenced beats contrasting against ambient background melodies is definitely present here, and they do it as well as ever. Everything You Do is a Balloon is possibly BoC's greatest song of all time, and the extraordinarily innovative rhythms of Hi Scores and Turquoise Hexagon Sun coupled with the wonderfully dark See Ya Later and the fast paced June 9th make this a fantastic album. Although some of the tracks can be found on other releases (Twoism, MHTRTC), it's well worth the purchase, if you can find it. ... Read more

Amazon.com

French DJ/international starlet Miss Kittin’s work behind the decks has received less attention than her droll vocal work on records such as Felix Da Housecat’s Kittenz and Thee Glitz. On Radio Caroline, Volume 1, her meandering observations about bohemian life are entwined with the electro sound with which she’s come to be identified. Happily, Kittin the DJ has a healthy love of experimentation, mixing '80s synths with warm electronica. When she cleverly segues from house DJ Jasper Dahlbeck’s "Nyckelpiga (Rytmer)" into Autechre’s classic "Flutter," the result sounds like an evolution. The electro scene has devolved quickly, becoming less Next Big Thing and more new wave rehash. Albums like this one, however, provide a massive dose of hope for the genre. --Matthew Cooke ... Read more

Reviews (6)

This would've been a nice CD...
... if not for those pretentious voice-overs that totally ruin otherwise decent tracks.

A right classic ¿ except for her liner note interludes
Miss Kittin, known as Caroline Herve to her folks, drops her second commercial mix in as many years, following up the dancefloor snapshot On The Road two-CD set. Knowing a star when they see one, Emperor Norton Records wisely snapped up her newest project Radio Caroline for release in the States.

Call it a curveball perhaps, but Miss Kittin presents twenty pieces of not-quite-danceable tunes from way, way underground artists that no one short of music mag editors or scene spotters will likely recognize. Which doesn't matter, for this deftly crafted deep techno delight clicks and pops in all the right places, unerringly tied together by selections with warm, accessible melody. Delrosa & Asora's "Paz Suite 4" leads with delicate guitar and soft drones, lifted by scratchy beats, culminating to a sweet high by Leo Elstob's dry commentary "Tab Pills Bonus," the Der Zyklus music box instrumental "Matematische Modelle" and barest sounds of Conrad Black's "Greyscale For Slow Building.' There's not a dull track anywhere, with slo-mo surprise Walking Endustries' "Makee" and the flittering bleeps of Kinesthesia's "Flicklife" to wrap things up.

A right classic then. Except. Miss Kittin the DJ didn't trust the music to speak for itself, finding need to add commentary on top of a half dozen tunes. Acceptable as an intro, annoying when tangents on toothbrushes, hairgel, travel life as a DJ, or freaking out appear throughout. Injecting her quirky, stilted personality may be what fans expect; that's surely the basis of her most popular singles. For this compilation, however, she should have kept those musings on liner notes. 3.5 stars

my girl!
good lord can this girl dj. not only one of the most forward thinking track selections, but some of the most well thought out layering of tracks i have ever experienced. as are her two previous dj mixed cd's i have had the opportunity to listen to. the art of dj-ing was well on its way out in my opinion, but miss kitten has really revived the art. quirky, intelligent track selection. excellent flow. one of those dj mixes that tell a story, a good story... majic.

Nice blend of rhythms and lyrics
Miss Kittin's album is autobiographical excellence. Multi-faceted rhythms and songs keep you intrigued throughout the CD. Upbeat, yet relaxing.

I first heard Miss Kittin's songs "Frank Sinatra" and "Nurse" about a month ago from a previous album. So I was expecting Radio Caroline 1 to be a lot more punk and vulger, but this mellow mix was a pleasant surprise. With my little knowledge of Miss Kittin, it was a "gamble" purchase. This time I was lucky. I'll be looking for her next release.

TO BE MISS KITTIN MUST BE NICE!!!
I have to start by saying that... having this CD in my hands will be one of my highlights of this year. I have been waiting for this for to long.

I find the mix and selection of songs to be...dark, mysterious, intelligent, pop, sexy, elegant, trashy, strong, soft, you name it. I'm very impressed that as much of a talent she is as a composer, she rules on the turntable.

There is plenty of 'spoken kittin' words trough the cd and that makes it even more special and particular.

I would not give her justice or to her brilliant mix collection if I categorized it and say... it's this style or that, instead... I will go ahead and say that this CD was clearly mixed by her, with songs she likes and mixing them in the way and manner that she wanted them to be.

There is a great introduction and it nicely melts in some deep slow tech beats from tracks 7 and on. What Miss Kittin has done here is a collaboration of chill out meets electro and the out-come is Miss Kittin giving us a brief example of how great she is and how fantastic it must be to be her of her friend.

I really got the impression that for a 75 min mix CD she infact let me in into her world and what I felt and heard was like nothing before. ... Read more

Amazon.com

British music rag NME once dubbed Black Dog "the most revered techno outfit since Kraftwerk." After Ed Handley and Andy Turner disbanded Black Dog in 1995, they began recording under the name Plaid. While Not for Threes was overshadowed by the ghost of Black Dog, Plaid's sophomore outing, Rest Proof Clockwork, shows a slightly matured sound. Both albums were recorded for Plaid's home-base label, the techno-pioneering Warp, and though often filed under "intelligent dance music," their sound is less fitting in the clubs than in one's living room. Many of the tracks here have a playful, childlike quality ("Dang Spots"), while others recall the retro, switched-on sound of Wendy Carlos's soundtrack to A Clockwork Orange ("Lambs Eye"). A must-have for anyone seeking to expand their techno horizons. --Courtney Reimer ... Read more

Reviews (24)

Best Electronic Album of 1999
Beautiful piece of music. Dang Spot is my favorite track as it jumped at me when i first listened to it. Other beauties are Dead Sea, Gel Lab, Shackbu, Ralome, Pino Pomo, and well... damn, every other track! I wasn't pleased with not for threes, but this one blew me away. Plaid has definitely matured. This record will live on for years. Best electronic record that's come out this year by far. Sorry EP7 fans.

wise, witty and wonderful
In their previous incarnation as two thirds of The Black Dog, Plaid's Ed Handley and Andy Turner helped create the godlike Spanners, the crowning achievement of Sheffield's beeps 'n' beats movement and Nevermind's only serious competition for Best Album of the Decade. They've never been as in-yer-face as Britbeat crossover successes like Fatboy Slim or The Chemical Brothers, but their music is wise, witty and wonderful. The follow-up to 1997's 'Not For Threes' is achingly beautiful in the way that only Plaid can be. As usual, they have so many great tunes at their disposal they frequently use more than one during a single song, mixing up heartwarming electro and smoky dub with jungle beats and funky off-the-wall rhythms. The titles - spellcheck nightmares like Shackbu, Ralome and Pino Pomo - are as opaque as the music is soulful and sexy; the gorgeous melodies are the sound of boxfuls of techno ping-pong balls bouncing down flights of musical stairs; the electronica is so warm and welcoming you want to lie down and take a bath in it. The world feels like a better place after you've listened to Rest Proof Clockwork.

4.44 stars, despite this bit of trivia for fans:
Ed & Andy are apparently lifting tunes from poor dead composers, sans acknowledgement in the sleeves. Track 8 "Tearisci" is Erik Satie's "Piéces froides: Danses de travers III" cut short. Come on, guys! Give credit where credit is due ... (You can hear a beautiful version of the song on Erik Satie ~ The Early Piano Works two-disc set. :)

A very beautiful...and playful album.
This is truly an electronic album that steps outside of the normal boundries. It doesn't limit itself to the basic bass-snare-bass-snare format of most other "electronic" albums on the market. Plaid have forged an album that is both intricate and erratic, playful and beautiful.

Plaid has always made albums that bear simalarities to the more popular and cliched electronic albums on the market. Their albums are not nearly as eclectic as say, the Aphex Twin, Mu-ziq, or Squarepusher. And they have never delved into the mechanical meloncholy that is Autechre. Instead, they bring in samples of guitars, scratch records, and use a variety of synth sounds to construct complex orchestrations that push the very boundries of music itself. It is strange, in a way, that a band that is so complex and can be considered as a mainstream dance act, can also abide so closely with classical compositions and experimentalism. Perhaps the best example of the way in which they combine various aspects of various genres into single songs is on the track Dang Spot (track 9). On this song, they begin with a short ambient interlude with intangable voices and a very simple melody. As the beauty that is the intro progresses, a second melody is delicately drawn into the fray. After a few sampled screams and screeches, the main body of the song starts, a very playful melody counteracted by variations of the same melody in different octaves backed by an off-kilter looped drum-beat. As the song continues, the seem to go to progressive influences and slowly change the song in subtle ways over time.

This very characteristic of most of Plaid's songs. It may not be overly new or original, but it truly is beautiful and alot of fun.

GREAT!!!
Well, all the tracks on this CD are not perfect, some are quite boring. But still the good songs are good enough to make this a fantastic record. Just listen to "Lambs Eye", a musical masterpiece(note how the bass turns to treble and gets replaced by another bass pattern). ... Read more

Amazon.com essential recording

A downright minimal 40-minute outing from a pioneering English techno duo who on earlier discs required that long to warm up. And with six discrete "pieces," there are more ideas and musical themes here than is the norm with both the band and the genre. The title track, with its "you've just had a heavy session of electroshock therapy" voiceover, is the trippiest headphone experience in years. --Jeff Bateman ... Read more

Reviews (20)

AMBIENT EXPERIMENTATION
The 9 minute title track with its symphonic overtones opens this charming album with its varied sonic textures and interesting samples. More Gills Less Fishcakes starts of with a strange cacophony of barely audibly voice and loud noise samples cleverly integrated and then turns into a type of eerie bleepfest with discordant percussion, synth whooshes and voice samples. Somewhere in all of this there is a melody.

The electronic textures of the opening of We're Pastie To Be Grill You sounds like The Residents before the track evolves into an interesting experiment with human voice samples, only to change again into synthesizers first tinkling and screaming, then gurgling and burping; a track very hard to describe.

Banger And Chips provides welcome relief with its dreamlike melody and lilting rhythm, quite a hypnotic and engaging piece of music. The next one Alles Ist Schoen has an atmospheric female vocal and more lovely ambient sounds and flows out on evocative synth strains reminiscent of Autechre.

The last short track, His Immortal Logness, has beautiful organ sounds and just a snatch or two of samples. Throughout the album, there is a male vocal sample that refers to electroshock therapy and that ties the whole together thematically, I suppose.

Although Pomme Friz has its moments, it does not represent The Orb's best work and is not cohesive enough. I recommend the listener interested in The Orb to investigate the albums Orbus Terrarum and Adventures beyond The Ultraworld to hear the best of this innovative band.

Why is this CD so difficult to find?
I don't believe I've ever seen this CD on the shelf at any record store I've ever either worked for or shopped in. And I'm not sure why; it bills itself as an EP, but at almost 45 minutes, it's still a lot longer than most other artists' full-length recordings (Hole comes to mind, here).
>
This "little album" makes a suitable companion to "Orbus Terrarum" in terms of the atmospheric soundscape it paints, and is at least as good as "Orblivion", and probably better than "Cydonia" (Mother Of Mercy, are The Orb finally all played out?)...the recurring sample "You've just completed a heavy seassion of electroshock therapy..." shows up throughout the recording, tying it all together even better than The Dude's rug in "The Big Lebowski" (by the way, that sample, for anyone curious, comes from a VERY OLD Saturday Night Live faux commercial advertisement for a product called "Spud"...I remember seeing it for the first time when I was about 8 or 9).
>
Considering that this recording may have been an "extra time" project (perhaps even a contractual obligation piece, given their recent history), it's fairly well-rounded...I do think it's worth the investment for Orb fans specifically and ambient/techno fans in general...but for people who want a better idea of what The Orb are really capable, "The Orb's Adventures Beyond The Ultraworld" is the best recommendation I could make...with maybe "UFOrb" a close second.

You've just had a heavy session of electroshock therapy
This is a great CD that is both difficult and demanding as it is fun to listen to. Admittedly the fun might come later once you begin to accept and like this CD. The first track Pomme Fritz is possibly the most accessible track on the album. After that it get's a little weird. Possibly paranoid as well. Throughout the album you might hear someone talking about how he guns, compasses and some voices telling "you will die" which really makes you feel at ill at ease with the whole thing. Track 3 probably will have you freaked out the most. Martian like voices squeaking " We're happy to be with you are you listening" and then sped up and slowed down and sometimes saying some things without a trace of a meaning

In short it is one hell of an album to come to terms with but when it does begin to sink into you, you'll begin to love it

the best Orb for interstate driving
I would argue that this is among the best works of The Orb. The double albums -- Adventures Beyond the Ultraworld and Live '93 -- are the definitive Orb. They are The Little Fluffy Clouds.

Sometimes, however, you just want junk food. Like in the car on the freeway (an inappropriate venue for raving). Even the culinary doyenne Julia Child said that french fries are good food. So there.

Pomme Fritz means the continent and irresponsible travel. It's Amsterdam and so very much more, a bit of shock treatment to erase all the ugliness in your head.

Many folk are ashamed that they like pomme fritz (which can qualify as vegan, if you don't use lard). This shame leads them to knock this cd down to four stars (or less) even as they admit they like it.

Not every moment of your life need be spent flossing. It's OK to enjoy this beautiful Orb comfort food. Spin it in your car and let it massage all of your troubles away.

Soundscapes for the brave only
If you're into the pre-success Kraftwerk, but with even more minimal leanings (think Eno or Glass), or some of the beat-less tracks of Skinny Puppy, you might find something on this record to make it worth your while. This is a record for people who are already electronic music connoisseurs, and I don't mean people who happen to find they like house or drum-n-bass. This is a hardcore soundscape set, like a keyboard version of Kid Koala's funny noise record "Carpal Tunnel Syndrome", and don't be surprised if you don't like it. It's an acquired taste, and not the most solid offering in this respect, but fine for existing fans. ... Read more

Amazon.com

The companion CD to the film from director Lynne Ramsey (Ratcatcher, Gasman) isn't just a soundtrack--it's also a plot device; these 14 tracks, which range from gamelan drumming to a rollicking ditty from Ween's bizarre 12 Golden Country Greats, compose a mix tape left for the titular heroine by her boyfriend before he committed suicide. Consequently, an individual, yet not inaccessible, inner logic guides the programming, through hipster staples by the Velvet Underground and Nancy Sinatra and Lee Hazelwood to a judicious handful of contributions from Warp stable artists ("Nannou," a whirring symphony of wind-up toys by Aphex Twin, proves a captivating capper to the disc). But it's the cuts from or inspired by Kraut rock pioneers Can, from the jittery funk of "I Want More" to bassist Holger Czukay's goofy "Cool in the Pool" and the multipart "Blue Milk (Edit)" by Can disciples Stereolab, that best convey the mix of introspection and absurdity that permeate this mesmerizing set. --Kurt B. Reighley ... Read more

Reviews (3)

i love movie soundtracks
Great music, totally linked up with the film plot in meaningful ways and holds the tone or vibe throughout.
One major problem I had was the missing club tracks, these full-on techno, almost hardcore and metal sounding tracks that went with the dark, strobe light, club scenes were not included in the soundtrack and definitely should have been. To me these tracks/sounds were a huge part of the movie's soul, almost climatic in a sense as far as feeling the brunt of a connection with death and the intensity of realizing a loved one has died, and going through that experience of contact with the dead/underworld, and at the same time feeling that intensity dissipate and move on, healing the psyche.

Great Soundtrack with One Flaw
If you loved the movie like I did, then you love the soundtrack too. It takes you on the journey back through the movie and the journey of this girls self discovery. Each song reminds me of different parts of the movie. The songs are very well arranged and a good mix. They give you a range from Aphex Twin to The Velvet Underground to Ween. It's excellent! The only flaw I found was that they didn't include the last song of the movie, 'Dedicated to the one I love by the Mamas and the Papas' that irritated me. I thought that song really ended the movie well and it would have ended the soundtrack perfectly also. Thats why i only gave it four stars. But, if you liked the movie, get the soundtrack, its well worth the buy. Even if you haven't seen the movie, it's still a good Zone album.

Good soundtrack, good movie...
I'm listening to this soundtrack right now...it's really quite good. I don't think that any of the music on this soundtrack is very obscure (with the exception of Holger Czukay, maybe) but all of the songs are well chosen and if you like Boards of Canada, Aphex Twin and other electronic pop, then you'll like this CD a lot. The Broadcast song is definitely a nice inclusion, made me go out and get their new CD. ... Read more

Album Description

In a way it was only a matter of time before múm would end up on Morr music. Anyone who has had the pleasure of listening to the Icelandic trio knows that múm’s "eye shutting-bicycle beats, sounds and melodies" would feel suitably at home with the Morr. This record came to be raw for múm, like a raw carrot. In a way their machines wrote the musik themselves, while múm were playing around on a mountain, lying down, standing up, running around. When they came back they were surprised by their beauty. This is where things started looping and feeding back and even the old mountain radio swam in with a few random words and murmurs. A very old distant friend joined in singing, but only for a split second. When the songs had recorded themselves on tape, Thomas sent them out to all his nice guys who made new pieces out of them, each one special in its being music: Christian Kleine’s old mountain radio is playing a steady diet of old school electro pop. 8 bit snare drums and a deep massaging subbass manage to put a headnodding, perfect groove into múm’s delicacies.Styrofoam has the original múm melodies spinning out of control while somewhere along the way a vocoder and a steady kickdrum manage to sneak in. Bernhard Fleischmann makes a happy return with some splendid cut-up old school hiphop action and the múm girls humming along gently. Phonem turns múm’s clearcut melodies into shifting layers of grainy sound and deep textures, only to be interrupted by an ever evolving broken beat. Arovane does what he does best. Lush homemade synths and basement beats. two step amx style so to speak. I.S.A.N. contribute their dark and brooding cantena mix - all deep analogue bass and persistently ringing bells with the original melody making only the vaguest of appearances. ... Read more

Amazon.com

The first full-length in four years from 28-year-old post-techno electronic musician Richie Hawtin under his Plastikman alias, Consumed has more going on underneath its cool, minimal surface than first meets the ears. Contrasting pretty heavily with previous Plastikman efforts, Consumed is a slowly evolving, serious work of tranced out microgrooves with deliberately paced, almost textural changes in synth washes and percussive sounds. Neither ambient nor techno, but existing in a delicate, contemporary space between, Consumed reminds one of a less harsh-sounding Porter Ricks or a sedated Mouse on Mars with an even heavier Kraftwerk fetish. The music has a serious metronomic thing going on, but it foregoes traditional beat tyrannies and bowel-rattling buzz bass in favor of an altogether more ethereal, subsonic groove. It's delightful. --Mike McGonigal ... Read more

Reviews (33)

Claustrophobicly Consuming...
I once read in a magazine an effective description of this album. It sounds like what you would expect to hear and feel if restricted to an extended stay in a submarine. Needless to say, this is only appreciated by the most adventurous of music fans. Major nods here to the minimalism of Terry Riley and Phillip Glass, replacing "Rainbow In Curved Air's" open, ... well, airiness, with a confined claustrophobia that feels like you are being swallowed by a boa constrictor. Yes, you will be "Consumed".

Are you as real as this?
If you know what it's like to feel such a work, if you are about appreciating music without pretense, and all that environment and sound can provoke, then check this album out. I recall my first listening, while surrounded by country music fans, and while I had trouble listing to the whole thing it what was a first for me. I had to get it on the spot and give it more time. After losing it once I've since bought it again, and it still fails to dissapoint. This album may take some time to appreciate fully. If you don't care for electronic music you might not care for this at all. Consumed is, for those who can appreciate it, a master work. This album is all about feelings, sounds and connections. If you like it, you'll know it. If you don't, you're just not ready for it.

Laid back
This whole album is nothing but undertones. This album is very quiet (if you listen to it you'll understand). It is not %100 ambient. I wouldn't even know how to describe it because I have heard nothing like it other than his other album, Artifakts(although a little louder). I listen to this when I want some background noise, ie sleeping and working.

I hope my brief review didn't sound negative, because I do like this album.

(this is the same review that I gave Artifakts)

NOT FOR ME
Good album, deep dark heavy, heavy, heavy just not for me. I like Closer to the Edit much more this is good just like i said not for me.

the nothing
i remeber seeing plastikman from a depeche mode remix, and so i picked up this peice of absolutly wonderful album. passage (out) is like the abyss of it all, i feel like the nothing in the never ending story of whats has been swept away. all that remains is nothing in passage(out,)a very pestimistic view. however it still remains as a whole one of the best cd i own.

there is always something hidden in hawtin's music i have yet to find in another. maybe i just love hawtin musik ... Read more

Amazon.com

This is the second solo outing from Labradford's Mark Nelson under the Pan-American moniker. While Labradford is firmly identified with the drone-rock and postrock aesthetics, Pan-American appears to be his vehicle for exploring a fascination with the experimental electronic music associated with Berlin's Chain Reaction label, specifically the groups Monolake and Porter Ricks. Nelson shares their approach to creating a rhythmic backbone; instead of booming, breakbeat drum-machine patterns, each pearl of a song accretes around a starkly simple pulse that's not too many evolutionary steps beyond the click of a scratched vinyl record as it rotates. Nelson layers equally minimalist electronics on top, and the record's most singular element is the muted but insistent cornet of Rob Masurek. Masurek, on loan from the Chicago Underground Duo and Him (among others), is featured throughout the two longest tracks. Another intriguing guest spot is occupied by Al Sparhawk and Mimi Parker of the group Low, who contribute the almost incongruous vocals. --Bob Bannister ... Read more

Reviews (2)

Making a Virtue of Understatement
This album by Pan-American is a very beautiful, very austere collection of songs. If you like your music stripped down, yet still with enough melodic tooth to keep you subliminally interested you'll surely enjoy this album. Strongly recommended...

Bliss out ! ....
Well well well... Mark Nelson eh? Aren't you the new music media darling yet?... HE WILL BE. This is an absolutely stunning collection of tracks ranging from "Pole"like atmospheres to eno/delerium style pieces. A must for anyone who bought "Pole", "Plone" or "Labradford" releases or anyone who just wants to hear some of the most beautiful music being created today. ... Read more

Reviews (3)

masterpiece
this album is great, it's some downbeat glitch-hop, very smooth, technical, and groundbreaking idm. it has a lot of instrumentation, which makes it different from most idm, kinda like savath & savalas with the tricky glitch type beats. if you like autechre, boards of canada, prefuse 73/savath & savalas, ect. this album will not dissapoint. a must have for any idm fanatic.

really I gave it 3.5 stars
This is Ed Ma's first album and has drawn comparsions with the work of Prefuse 73. In my mind that's rather misleading but if we keep with this comparions "Crying over pros" is more like "Vocal Studies + Uprock Narratives" than 2003's "Extinguised" albums. It has also drawn some comparisons to the work of Cex (check the Wire, 245).

The album could be described as glitch-hop. Underneath the tunes is a definite hip hop beat but one which twist in turns in some interesting directions (ie. the hop). Over the top there's nice guitar prolifitating throughout, some outakes from a supermarket purchase, other strings (violins possibly?) all cut up like (ie. the glitch). The production is really tight and I found this quiet an emotional record; the arrangements are melodic and senitmental.

Favourite tracks include Laundry, Dex and Ants. It's a solid first album from Ed Ma and suggests good things to come. Recommended.

Nice coffeeshop music!!
Heard this album in my favourite coffeeshop the other day, and it made the night for me. Went to the music store straight away, but they didn't have the CD in store. Waiting for it at the moment... It's a nice one. ... Read more

Amazon.com

Released as a tribute to the fact that Coldcut's legendary Ninja Tune imprint had been releasing records for a decade, this collection showcases the label's rich array of artists. Though assembled in the same spirit as the seminal Ninja Cuts series, comprising a mixture of back catalog and material exclusive to the compilation, a crafty alteration of the title acts as a nod to the 10 years since Bogus Order's "Zen Brakes" first fought its way onto a turntable. From the Steinski intro, the track listing of the first of two compact discs has a distinct hip-hop leaning. It slinks through lyrical activity from the likes of the Dynamic Syncopation before flipping a skit from Roots Manuva over Amon Tobin's "Saboteur" and dropping down to the sultry vocals of Sarah Jones, which parallel the Gil Scott-Heron standard in their declaration that the "revolution will not be between these thighs." Flip to the second disc for a demonstration of Ninja's recent foray into cinematic funk, whether through the raging percussion of Chris Bowden or breathtaking orchestration of Clifford Gilberto's "Restless," the resultant experience is nothing if not widescreen. Settle down and reset your ears for two hours of cross-dressing, genre-bending bliss from one of the U.K.'s most innovative record labels. --Kingsley Marshall ... Read more

Reviews (21)

Disappointing to be perfectly honest
Yeah i know, (the price) for 3 cds (just under 50 songs) is great, the packaging is real nice and the names performing are top notch.

The problem is that i was expecting something really mindblowing and there where some great touches but overall i wasn't that impressed. Maybe its because i had most of the best songs because i had at least 10 of the artists individual albums.

Cd 1 is strictly for the hip-hop headz. Roots Manuva kills it of on track 2 while the Herbaliser and Latryrx show just why i think they are the most gifted writers in the scene on track 5. Roots Manuva strikes again on Tobins brilliant Saboteur (track 9), and Quannum MC (track 15) is real hot. This is probably the best cd in this collection with Mr Scruff and Kid Koala making decent apperances. Track 7 is my least favourite (by Neotropic?).

Cd 2 is probably the worst cd. Clifford Gilberto saves it from the dustbin with the amazing Restless and the 10th victim.
Funki Porcini and Arc are above par with decent tracks as is Amon Tobin. Dj Food has the worst song on this whole album with 'The Ageing Young Rebel' (tRACK 10).

Cd 3 is decent with Eastflatbush project (Track 11) and my main man Roots Manuva on (track 10). Funki Porcini gets it right again with (track 2), Porcini's 'Ultimately empty million dollars lp' was real poor so this shows he is decent. Finally (track 12) by DJ Food is brilliant. CD3 has many decent but uninspiring songs on aswell as the ones mentioned.

In conclusion, the is a must get purchase for any Ninja Tune fans and since i purchased a cd recorder i have made a one disc compilation which is great, i advise you to do the same.

(...) To be honest when i started this review i gave it 3 stars but it deserves 4.
DJ Krush vs Coldcut, Funkungfusion and DK and DJ Food compilations are also banging but Funkjazztical Tricknology should be avoided. Laters

Everything Xen
So Ninja Tune decides to release a huge, mega-compilation (3 CDs, 46 tracks) ... I then decided to take a chance (going simply on the label's reputation and a few tracks I'd heard). And I'm glad I did. There's so much here, and the amazing part is how much of it is outstanding.

Disc One concentrates on hip-hop. The general theme here is decent MCs dropping above-average lyrics over phenomenal beats. It's probably the most consistently high-quality disc here.

Standouts: Amon Tobin - "Saboteur"; Big Dada Sound - "Showtime"; Kid Koala - "Emperor's Main Course"; Luke Vibert - "I Hear The Drummmer"; Up, Bustle & Out - "Hip Hop Barrio"

Disc Two emphasizes the more chilled, jazzy, trip-hop stuff. There are some moments that don't work (Loka, Animals on Wheels, Flanger) because of off-tempo programming, but the vast majority of the disc is excellent.

Standouts: both Clifford Gilberto tracks, Funki Porcini, Amon Tobin, Up, Bustle & Out

Disc Three is less cohesive as a single unit, but is equally fun. The winners here (out of a huge batch of winners) are Saul Williams, DJ Vadim, DJ Food, and Roots Manuva.

All in all, a great compilation of innovative hip-hop/techno/trip-hop. The only drawback is there's so much here it may be overwhelming!

If you're going to get your feet wet, you may as well swim.
Lets rate the label not the tracks. The label, as it stands, is on the up and up, introducing the best aritsts that jazz-core and hip hop (REAL HIP HOP, NOT LUDACRIS) have to offer. The problem, is that this compilation only lets you get your feet wet in the ocean that this label has to offer. Tracks by Amon Tobin, Saul Williams, Kid Koala KILL the rest of the cd. I would honestly reccommend this compilation to those who are ready to dive into some deeper music, it's the perfect introduction into the world of electrojazz and tru hip hop heads. Heavy and hard, this one carries. Just know that this compilation is mearly a cliff note in the world of the tunes of the ninja. Ninja tune reprazent.

Xen Superstar
Xen Cuts is basically a compilation of music from different musicians from the Big Dada and Ninjatune label. It's a great showcase of all the labels have to offer and is almost like like gourmet dish of different foods to sample before you decide to buy them on your own. The tracks range from trip hop to hard acid jazz (I love Clifford Gilberto's tracks) and some lyrically sound hip hop tracks. With as many musicians as they have, a lot of the tracks are well done. Granted, I would be hard pressed to find all the tracks appealing, the ones that are give birth to a sense of style that each of the musicians have thoroughly developed through the years and deserve the recognition that they get for their respective genres.
The hip hop tracks are nicely done, the Big Dada Sound track is a highlight just because it features some big name (well, relatively speaking) that all collaborate on one track. It's the perfect high-bass track for any bloke rolling out on the town one evening. The acid jazz tracks are spectacular, especially the clifford gilberto. The tracks leave you drenched in saturation, and push you towards the epiphany of "This is *real* acid jazz". The drum n bass tracks are alright, besides Amon Tobin, it's not really a genre that the labels are known for producing, but some of the d n b tracks are enjoyable. Overall, there are some tracks that pale, while others that embody their respective genre in full. But for the price, it's all good.

Must have
Live kid Koala cuts! Rare 'Revelution won't happen bwt these thighs' track and many others. Dude, get it. You gotta. ... Read more

Album Details

Leftfield: Capitol K Combine Electronics with Guitars and Live Percussion. Follow Up to their Debut Album 'sound of the Empire'. ... Read more

Reviews (3)

My Favorite Album of 2002....so far
Captiol K's 'Island Row' is in constant rotation for me right now. I can't get enough of the intense melodies, glitched out beats, and earnest lyrics. Normally I would not be into an album like this, I tend to like my IDM with out any lyrics what so ever. Honestly, this is the first time I have ever heard it pulled off right. This is what Radiohead (Kid A/Amnesiac) would sound like if they could ever enjoy themselves...they are excellent, but perpetually depressed. The album actually sort of reminds me of Jane's Addiction...although I doubt anyone will notice that. I was in line at the record store buying one of the Orb's two disc albums of remixes, when they staff was playing this. I knew this was what I needed. Hell, even the cover art is great. Buy this album, you will not be disappointed.

Exotic
A primitivist with a penchant for clanky beats, snaky guitars and wayward effects, one-man-band Capitol K (a.k.a. Kristian Craig Robinson) has crafted an album of exotic charms. With its ever-shifting moods and modulating soundscapes, "Island Row" is an unpredictable blend that has no qualms about starting out with the stuttering electronica of "City" and then flowing directly into the squishy pop of "Pillow." "Anon" drives along as if possessed of a head-trip trauma, while the reverberating "Soundwaves" is not unlike Radiohead tuning into a slightly different frequency. "God Ohm" block-rocks along before nearly decompensating, "Monster" cranks up some savage guitar noise and "Heat" is the sound of a desert ant under a magnifying glass. "Island Row" may seem disjointed, but it does cohere in its own peculiar fashion. Much like a Chuck Close painting - you have to stand back a bit to get it.

Chewy and Delicious!
I'm a big Amon Tobin fan...Island Row is more melodic/groovy/jazzy than AmonTobin, and equal, ear-candy-wise. The songs are remarkably listen-able, but there is so much texture here, my brain and ears are still grasping it all. Not a CD you can comprehend and digest quickly. There is ALOT of content here, and its ALL very good. Usually new CDs reveal their skip-able tracks after a few listens. Not so on Island Row. Don't get me wrong, this is not some dense difficult art-rock electronic listening "experience". Its wonderful background music too. Wade in as deep as you like. Its all refreshingly cool. Its electric pop rock with glitch-pop icing. ... Read more

Reviews (1)

electro-acoustic summery pop gem
Having heard a couple different releases from one Mr. Ekkehard Ehlers, I would have never expected him to have such a pop music bone in his body. It seems, though, that with his partner-in-crime Albrecht Kunze, a different musical switch in his body is triggered, resulting in the warm electronic pop of März. Wir Sind Hier is the follow-up to their debut album Love Streams, and it fits in perfectly alongside the laptop-filtered folktronica of labelmates like Donna Regina and Wechsel Garland.

The album opens with "Forever Never," and over shimmering beds of filtered electronics come strummed acoustic guitars and enough of a bassline to keep the track moving along nicely while breathy vocals and harmonicas mingle about in a way that turns the vocals into a tangled haze. On "März Im Park," the duo sounds something like a German version of The Books as samples of birds singing mix with vocals, cut-up guitars and other filtered electronics in a way that works quite nicely. Embracing things fully, the duo drops plenty of hooks and a lovely guitar/glockenspiel duet on "The Pop Song."

Not all of the tracks on the album have vocals, though, and in some places it actually feels like they're missing. "Tropige Trauben" mingles lap steel guitar with lots of clicks and plucks and programmed shuffles, but ultimately the track never really goes much of anywhere, while the longer "Blaue Fäden" takes things in a clubbier direction with a more straightforward beat and plenty of looped chimes and banjos, but at nearly seven minutes doesn't offer up enough variation to keep things interesting.

On the other side of things, "Oktober Im Park" again follows a completely non-traditional structure as the first half of the track is all deep harmonic tones before the second half of the track turns into a sing-along with banjoes and chimes that pieces together with the first section of the track gracefully. Even though it's one of the more repetitive tracks on the album, it's hard not to be won over by the infectious warmth of "The River" as well, as flickering slivers of chimes and other electronics mingle with guitar and glockenspiel as soft vocals repeat only a couple phrases over and over before a hypnotic 4/4 thump carries the track home. While there are a couple tracks where the album sags a bit, overall Wir Sind Hier is a highly enjoyable album that mixes electronic and organic instrumentation in a way that feels fresh.

(from almost cool music reviews) ... Read more

Reviews (13)

I beg to differ with music fan NYC
This is a landmark album and a transitional work for Jack Dangers from the early techno style over to the more ambient direction Meat Beat has taken. Jack was way ahead of his time on this album - this is 1992! The spacey, intense grooves on Euthanasia and Edge of No Control sound as with it as any 1999 release. But what really makes this album is the subtle theme throughout that deals with future hype, commercialism, and subversive control of the masses. Without shoving it in your face, the cautionary message of this album gives you a lot to think about. Combine that with the dark kick-*** grooves and this album is a masterpiece.

MBM continues to evolve.
With the release of Satyricon MBM i.e. Jack Dangers continues to evolve to a more techo sound from his industrial roots. Not that its a bad thing. When I first bought this CD back in '92 I was put off by the sound. I was expecting a more industrial sound like 99%. I have listened to it since then and have come to appreciate it. Even though it was made ten years ago, I think it holds up well and still sounds good. Its like he had to make a "mainstream" techno CD before he started to experiment. If you're looking for a sound like "Subliminal Sandwich" you might be disappointed that it sounds like other techno music. Personally I don't think you will be.

Confrontational, Experimental & Progressive Industrial dance
Meat Beat Manifesto will seemingly always remain on the fringes of popular Dance music, with their output towering above most similar artists, but with an approach to music that will delight enthusiasts that purposely seek out their music, but never making that cross over to the mainstream. Not that this matters, as when it comes to beat Programming, Sample augmentation, and genre-crossing, Meat Beat are all in a league of their own. If you had to categorise their music, then 'Industrial Dance', would probably be most accurate. But once you heard the multi-layered, complex excess of "Brainwashed This Way/Zombie/That Shirt", and the fierce Industrial techno of "Edge of No Control, Pt. 2", it obvious there are not limiting themselves to just work to an industrial template. (Think "Music For The Jilted Generation" era Prodigy), and creatively still remain one of the most innovative dance acts ever devised.

transition to mellower sound
Meat Beat's most poppy album and one of its more uneven, this album signaled that the first, harsh phase of Meat Beat's career had ended. Instead, there are some attempts at zippy, popular dance-floor tracks like "Mindstream" and "Original Control" that are downplayed to appeal to a wider audience, but end up repetitive and mediocre, a disappointment from the creative originality of their earlier work. Underneath those products of compromise, however, tracks like "Euthanasia" and "Son of Sam" show the first experiment in what would become Meat Beat's new direction, with mellower but haunting sounds, roiling bass lines, slowly chanted lyrics, and a further evolution of their famous use of dissonant, off-beat counterpoints. Interludes, including entire tracks like "Your Mind Belong to the State," "Untold Stories," and "Brainwashed This Way/Zombie/That Shirt," are filled with a quirky postmodern assortment of spoken-word samples, often provocative and politically pungent, sometimes humorous, and always unexpected. Only occasionally, as on "Edge of No Control," does there appear a consistent, though still muted, carryover from their earlier work. Overall, this is a risky embarking away from their old work - and is definitely not the place to start for a first or second-time Meat Beat shopper. However, it also represents a refreshing break from a group that refused to rest on their laurels and remain content with a sound that had become well-defined over the four previous years. Their trademark quirky creativity shines through on much of it, making it a new dimension not to be missed for anyone who's already gotten hooked on a few of Meat Beat's other albums.

An Extrordinary Resonation
Greatness, magnitude, immensity, enormity, infinity, strength, intensity, fullness, importance!

I thought there were too many negative reviews of this CD, so I wanted to put in my 2 cents. This is an astute musician. The guy listens to what's going on. John Corrigan has always done great work but this one is consistently amazing. I would rank this work up there with all the composers that really took chances: Varese, Stockhausen, Subotnick, Mario Davidovsky, Hugh Le Caine, Harry Partch, Todd Dockstader, Iannis Xenakis, Pierre Schaeffer, Gordon Mumma, Oskar Sala, to name only a few. It's possible "Track 15" is the only authentic testament to John Cage in all of modern recording. This CD compares well to Sal Martirano's "L's.G.A." in astonishment level.

Of course, this doesn't say anything for people that only know MBM for some very decent grooves. This may not have the same effect as previous works, and marks MBM's departure into the soundscape composition technique known as "musique concrete". ... Read more

Amazon.com

If Aphex Twin taught us one thing it's that electronic pop's playfulness is most potent when it's to the point. Schneider TM, the nom du hard drive of Dirk Dresselhaus, has learned this lesson well; half of the tunes on Moist terminate before the five-minute mark, on each track he clearly expresses just one musical idea rather than throw in the kitchen sink, and he always finds room to indulge a sense of humor. But Dresselhaus remains his own man. His drum programs are much less hyperactive and more backbeat-oriented than those of the Twin. On the title tune and "Starfuck" he manages to invest overdriven noise with an almost nostalgic poignancy. And he does know how to stretch a piece out when it merits the treatment. The delightfully driving "Raum in Ort" lasts eight-and-a-half minutes, and gains even more authority when it's put on Repeat and just let go. --Bill Meyer ... Read more

Reviews (2)

intersting german electronica
This album is very reminiscent of Mouse on Mars's melodic aesthetic. The samples and melodies are very simple and electronic sounding, but have a wet, gloopy sound, in line with other geman bands like MOM and OH!. The melodies and song structures here arent particularly complex, giving the album a decidedly amateurish feel. However track 7 has a marvelous rush of guitar noise with a repetitive melody drowning underneath, a la My Bloody Valentine. If you like Mouse on Mars you might do well to check this out. otherwise, skip it.

Up/Down/sideways/circular Groove
I love this Cd! I'm not a big fan of techno/electronic music, but recently I've discovered a few gems. A few on this one aren't me cup o tea (a bit repetitious to the point of annoying) but those points are few and far between. It's kinda like a soundtrack to an eerie horror/suspense thriller in some parts while upbeat & charming in others. It does have a industrial technological electronic feel, but the rythyms bore deep into the 'ol grey matter! ... Read more

Amazon.com

Photek is Rupert Parks, an early progenitor of jungle and precision-driven drum & bass. While living in Ipswich, England, Rupert Parks began making electronic music with a record shop owner named Rob under the name Origination. Parks soon departed Origination for a solo career as Photek. After releasing a series of successful 12-inch records in England, Photek/Parks put out a highly acclaimed recording titled The Hidden Camera. On Modus Operendi, Parks enters into an even more minimalist phase of electronic composition while embracing disparate musical influences, including jazz and the hardened Detroit techno scene. Employing complex, intricate beats and a forbidding, tension-filled atmosphere, Photek's stripped-down sound on this recording establishes Parks as one of electronic music's premier experimental artists. --Mitch Myers ... Read more

Reviews (29)

Not your mothers d n' b....
I can understand why people rated Photek poorly. His work is cold and inhuman-- more focused on precision than melody. It's a tough listen: in many ways, its probably about as inaccessible as a popularly acessible drum n' bass or jungle album is. It's all about straight ahead beats. Melodies become minimal: this is the cold blade of drum and bass with the fluff thrown away...

It's not your grandmothers Oldsmobile either. It's not comfortable and it sounds awfully spartan for the first one.... er... twenty listens. To listen to it you have to think soberly. To analyze. Even with Amon Tobin (who does some really tight work) there is a margin for error as a listener provided by the padding of sampling.... a buffer zone.... whereas here, this record bleeds into your subconcious... tribally... like 'jungle' should....

This is Photek's best record although some of his remixes, etc. are pretty hard to beat. This, along with Vibert's (Plug) "Drum and Bass for Papa" and Tobin, Aphex Twin, and Squarepusher's work is about as far-out as stuff gets.....

But that stuff is better if you don't know what you're getting into. This is like the eighteen year old double malt of electronic composition.....

Wired to Saturn
I really can't understand all those reviewers who rated this record with one or two stars only. Obviously, these people did a review without having listened properly to this CD. "Modus operandi" is Photek's best album and quite possibly one of the greatest drum n'bass records ever. Instead of incorporating fluffy female vocals and radio-friendly melodies, Photek's tracks are based on mathematically precise textures and relentless, sharp beats. "Smoke rings", "Minotaur" and "Trans 7" are pretty hard and aggressive. But there are also some laid-back and moody pieces, just listen to "The hidden camera", "124", and the title track. "124" is a great track with a gorgeous melody of unearthly beauty. "Modus operandi" with its touch of jazz reminds me of Squarepusher's work. I know that drum n'bass has reached its zenith several years ago and this genre was hardly capable of development. But Photek's albums and EPs still stand out because they contain some very fine and timeless music.

sparse
this for me is the pinnacle of drum and bass. the beats are so crisp and sharp that they cut into you. the bass so deep and punctuating it drags you along into the suite. very little else other than percussion and bass. the landscape can seem very barron, very empty. you can almost feel the tumbleweed rolling past or the sound of breaking glass 5 blocks away.

as previous reviewers have noted, this guy has manufactured every single part of this player. the beats constructed in a mans own image.

i dont think this is one for the masses, theres not really anything slightly commercial, nor would i ever recommend it as a gateway into this genre. the player is an entitlement ya gotta earn to appreciate it. it took me about 2 years to really enjoy what photek was doing here, and to listen to it now (many years on) it still unnerves me.

ideally be used as a soundtrack to a dark minimalist film nobody ever watches.

very haunting.....very very good.

Good listening music
Dark, slick and sophisticated drum n bass, Modus Operandi would have made a great accompaniment to the first Dirty Harry movie. A soundtrack of suspense and cool atmospherics. As one would expect from what I presume is called "minimalist" drum n bass, there are no real songs to speak of; no vocals either for that matter. Just a pitter-patter of snare, hi-hat and bass drum, a bass and the odd synth pad, sketching the scene of a New York City streetscene late at night. . Although this would appear to be low-key enough to qualify as ambient, oddly enough this is music that needs to be listened to. And it is in fact a really splendid record that is receiving heavy rotation at home. Just four or five tracks at a time, mind you. A little of this stuff goes a long way.
If you like this then I would recommend Surgeon for more upbeat fare.

...breathtaking...
photek's modus operandi is a unique collection of breathtaking beats and outstanding atmospheres. As you listen the album, you feel powerfull and full of stamina that you feel you want to take it all. This album is like some damn drug, you became addicted and your heart doesn't stops till the music ends. Then ? You start it over.

JuSt don't stop listening it! ... Read more

Reviews (6)

Another bullseye for Amon Tobin
Amon Tobin has made some staggeringly difficult music in his short but prolific career. Although to some his music is instantly accessable and listenable, but to me Amon Tobin was someone you had to sit down and get to know, learn the quirks of his music, pull it apart then reassemble it to truly apperciate what he was doing(why? because I'm pretenious like that). So it came as quite a shock to find that Collaborations & Remixes is as immediate as it is. I was expecting to learn to love Tobin all over again(not a problem) but right out the gate I was shocked and impressed by the quality of what could have been an experiment gone sour.

The CD is split into unequal halves. The first 5 tracks represent the collaborations and the second half, well yeah you got it. The tracks on the collaboration all have that Tobin signature stamp on them but what helps this album is how much life each distinctive artist brings to the table(and a few surprises to boot). Kid Koala opens the album off with a surprisingly moody number that focuses mainly on creating atmosphere instead of virtuouso scratching. Infact, the entire album seems a bit darker and downbeat then his usual batch of stuff. Something of a continuation of the mood that Mighty Micro People left off on on Out From Out Where. From there, each collaborative artist leave their own sound and flavor combined tastfully with Tobin's already masterful production, leaving a fresh breath of air into Tobin's own signature style.

From the collaborations come 4 truly distinctive remixes of one of the best songs(and singles) from Out From Out Where. Verbal was already a song made of cut ups but here, name artists like Prefuse 73 and Kid 606 decide to take it for their own spin. Prefuse adds his usual gorgous digital cut up mess while Kid 606 adds a harder, energetic edge to the song. The other two lesser known remixers give it a far more downtemp feel which sort of disrupts the energy that Prefuse and Kid provide but still offer their own unique takes on a great song.

Honestly, I could not think of a better place to get started for anyone who wants to approach Amon Tobin's music. Its far easier to get into then the difficult but rewarding Supermodified or Out From Out Where. For its price, you get not only Tobin, but a taste of some of electronic music's front runners as well as some new commers. Certainly one of the most enjoyable releases of last year. Highly recommended.

STILL GROWING ON ME!!!
I only found it fitting to get this CD being that it beckoned me everytime I would enter the "Dance" section at Borders, and since I have become an Amon Tobin fan. "Hey, $10--what do I have to lose?" So I got "Collaborations and Remixes"... right now, though, I'm feeling somewhat indifferent as to whether I like the material here or not...some of the music like the opening "Untitled", "I'll Have the Waldorf Salad" and the "Verbal" remixes do have Amon Tobin's signature orchestra- meets-cut'n'paste D&B touch, but in comparison to his material on the classic "Bricolage" and "Supermodified", this "remix" CD is "common"! But then what remix CD really grabs you unless it's Herbert's "Secondhand Sounds", but that's a whole nother review. Definitely get "Collaborations and Remixes" if you're fond of Tobin's work and the producers and DJs who have collaborated with him. However, don't expect to be blown away by anything that hasn't been done before.

A truly Deserving 'Collaborations & Remixes' Album....
As befitting as artist, who is one of the 'Intelligent dance music's' most consistently accomplished artists, is a remix/collaborations album of a similarly groundbreaking standard, as with his solo work. "Kid Koala" adds significant weight to the argument with his quirky sample/Scratch aesthetic on "Untitled", proving that music doesn't have to take itself too seriously. "Bonobo" reach into their organically textural bag of tricks and devise a Mediterranean, endlessly breezy sound on the track "I'll have a Waldorf salad", far removed from Amon's Jazz/D'n'B cut & Paste. Both "Prefuse 73" & "Boom Bip" reinterpret Amon's "Verbal" track.....both are tremendous (possibly surpassing the original), with "Prefuse 73" cutting as Glitching things up like a refined 'Aphex Twin'. And "Boom Bip" favours dark, stark, minimal sounds....choosing mood & Atmosphere to push the remix into places the original couldn't even being to think about, with a strong list on contributors & remixers all handing in a consistently fantastic standard of work, there isn't anything on here that I feel is weaker in comparison to any other track, (although people are undoubtedly likely to have their favourite tracks), and as if that wasn't enough, it retails at a mid-price.

excellent collaborations
this album shows that, when given something to work with, some actual content from his collaborators, amon tobin can make some incredible music. this is shown in the first few tracks of the album. the remixes are the truly great part, taking the only good song from "out from out where" (which was already heavily influenced by prefuse 73) and hearing the unique styles of four great musicians interpret it. The songs have very little in common, aside from the requisite sample cut-up vocals. prefuse does what he always does, with weird tones and unmatchably creative beats. topo gigio puts on heavy atmosphere and creates an enveloping, dramatic song, also the most true to the original. kid 606 turns it into dancehall, and screws around with every element of the song as much as possible, making a fun short-attention-span piece. and of course boom bip brings in some real instruments and gives the album some class. this is the best cd i've seen in a while.

Amon Tobin is the most famous ninja prodigy, ain't he?!
Amon Tobin is the most famous ninja prodigy, ain't he?!

Now you can meet some of the family and friends.

It's always good to know someone-respected's playground friends.
Especially when it's Ninja Playground.

Amon Tobin (AT) offers the admirer a Unique Experience in his Collaborations projects.

AT with Kid Koala in 'Untitled' - funny, atmospheric and a bit lunatic ole'time swingy track
with a kinky turntable /or was it gramophone?/ touch to it. Whoa!

AT with Bonobo in 'I'll have the Waldorf Salad' - beautiful bass, distant strings, deep beats, powerful
noise drill intakes. Bonobo adds some great feel to beautiful detail.

AT with P-love in 'Hot Korean Moms' - turntablism combined with complex drill'n'bass and distant pitched down snares. Add some typical horror strings. True intelligent sound orgy.

AT with Steinski in 'Ten piece metric wrench set' - lowkey hum echoing keyboards, power drums, distant robo voice, tension buildups, warped space headspin feel. Waaaaaaaooo.

AT with Doubleclick in 'Ownage' - spacey drill'n'bass, changing tension - careful, relax, watch it, ouch - feel. Super heavy synths.

Now ...The Verbal remixes - maybe better than the original. Not sure what to like best. Turntablistics, guitar rhythm, euphoria.

Prefuse 73 /intelligent, great feel, great change of patterns/ , Topo Gigio /galaxy spirals, space radio calling, coming home/, Kid 606 /powerful as hell, let's bring the house down, hooowl these drums, tribal trance - blow out your sound system!/, Boom Bip /muffled and bassy/.

As a whole - great Amon Tobin feel with extras. Great bridges between tracks. Excessively decorated and adorable.

Favourite tracks- very hard to choose.
And yet - Untitled and Verbal-Kid 606.

Conclusion: beautiful, twisted, playful, brainy, damn scary, must have. ... Read more

Reviews (17)

His best work under the "Wagon Christ" moniker
While I think that his "drum n bass for papa" as Plug , and Stop the panic album with BJ cole take priorty over this album, This is certainly his best album under his more down tempo sample heavy monkier "Wagon Christ" If you own the other two albums alreayd this should be a no brainer next buy for you. All the tracks on this album are top notch, and the whole things flows better than "Tally Ho" even though "Tally Ho" is a great piece of music on its own. A couple tracks on this album stand out as some of lukes best work ever. Definite unmissable songs. Making this a must have for anybody into experamental down tempo electronic music.

I also want to mention Ninja Tune doesn't tamper with the music thats being released. The reveiwer who said that is full of it. Luke had to scrap a couple songs after his samples where gonna be to much trouble to clear and thats about it.

Vibert's new clothes
I was somewhat surprised when I found out that Luke Vibert had signed with Ninja Tune, since I'd always thought of Vibert's work as being "out there," having no connection to the jazz-influenced sound the rest of the Ninjas are known for. Listening to Musipal, however, explains it all. The style of his first album under the new label sounds like an even wackier variant on Mr. Scruff.

Leaving the comparison there would be selling Vibert short though, because very little resembles the material he puts out as Wagon Christ. This man goes from house to drum-and-bass in the blink of an eye, infusing (most of) everything he does with a dash of techno and a pinch of comedy.

This is an excellent album overall. Despite changes in style it retains a consistent sound, and it's eminently listenable. My one complaint has to do with "It Is Always Now, All Of It Is Now." The track is essentially trip-hop a la Massive Attack, so much so that I could swear the singer is the male lead from the group. Regardless the tone of the music is too dark to blend in seamlessly with the other songs on Musipal.

Actually, I have one more complaint, of sorts - "Cris Chana" is basically an instrumental remix of the Black Eyed Peas' "Joints and Jams." I love both tunes. It's just that one of them is a lawsuit waiting to happen.

But enough whining - if you want to get your groove on and you've got a sense of humour, pick up Musipal.

MUSIPALLY DELICIOUS!!!
Wagon Christ, Plug, Luke Vibert or whatever the hell you wanna call him is a master of his game...taking regular electronic music and amalgamating it with familiar elements of funk, acid, jazz, hip-hop, drum and bass and IDM. Although "Musipal" is not as musically inventive as "Yoseph" or as ground-breaking as "Tally-ho", it still stands its ground as a solid album and beholds elements of both albums. Anytime Wagon Christ puts out an album, you can expect some interesting stuff to emanate from your speakers! And is that a sample of Black Eyed Peas' "That's the Joint" on "Cris Chana"?If you don't own "Musipal", don't you think it's time you should?

the premise of this album is gonna funk the whole world up
What can I say about this album that hasn't been said? How about that it's trip-hop! Inspite of everything I had heard about Wagon Christ, I still had no idea it would be chilled out. I was expecting goofball IDM like U-ziq or Chris Clark, so I was a little disappionted- at first. After a few listens though, I caught myself laughing at and eventually enjoying it. It sounds like a satire and yet the production quality matches the best. With those qualities combined, it makes a pretty good album. I like Plug, Vigbert's other moniker better, but only because I'm not really a fan of "chill out" music. It's all a matter of preferance. If you like funky, get Wagon Christ, if you like spunky, get Plug, either way Luke Vibert rocks.

Holy Christ!
Man, when I first bought this, I was on spring break, I had no idea who Luke Vibert was, nor had I ever actually heard wagon christ, I just remembered that he had remixed stereolab and I really thought the artwork on the album cover was cool. I have to say that spring break would not have been the same without this album as the soundtrack. If you are gonna spend a week munching shrooms and smoking hash, seriously, HAVE THIS CD in your stereo! It is silly without being stupid, and trippy though the songs are pretty tight and incredibly well composed. "I believe it, I believe it, and I belive your receiving it..." ... Read more

Album Description

Following the successful debut of Fear and Loathing in 2001, Resist returns with an eagerly awaited follow-up – Fear and Loathing 2.Although Luke Slater is generally regarded as a "techno DJ," on this album he explores a wide range of electronic music across various micro-genres, showcasing his diversity in music.

Mixing several upfront tracks together with essential tracks from the past, CD1 weaves from ambient sound-scapes by Planetary Assault System and Bola, through to the minimal click-house of Isolee, groovy beats of Agoria, to Carl Craig’s remix of Throbbing Grislte’s "Hot on the Heals of Love."CD2 is a dancefloor-filler mix taking in all that’s hot in the world of electro and techno, including tracks from The Advent, Nitzer Ebb, and Alter Ego’s underground smash "Rocker." ... Read more

Reviews (1)

Great collection of innovative techno
This is a great two disc set of some of the finest electronic music I've heard in years. I'm particulary fond of the Throbbing Gristle remix and the track by Chris McCormack. The Chris McCormack track nearly blew my mind the first time I heard it. Then it nearly blew my mind the next 20 times I heard it. It all fits nicely in a diverse, thoughtful, and surprising mix. As a long-time fan of electronic music I highly recommend this collection. ... Read more

Amazon.com

Like dust motes dancing in hazy afternoon sunlight, the compositions of Scottish duo Boards of Canada seduce listeners by illuminating almost imperceptible elements flitting through the cluttered cosmos. Though their saturated hip-hop beats and deployment of timbres as tactile textures recalls Autechre, Boards of Canada are distinguished by sweet melodies and a fondness for using vaguely familiar sounds outside of Western harmonic tradition--snippets of party conversations, bouncing Ping-Pong balls--to function as emotional triggers. Despite its sonic watercolor washes and childlike exclamations of "I love you" ("The Color of the Fire"), Music Has the Right to Children is not some yellowing document scribbled by glassy-eyed, loved-up rave casualties. This exemplary, evocative recording almost hovers above any fixed point on the time line of pop-music history. --Kurt B. Reighley ... Read more

Reviews (137)

Easily one of the best Electronica albums around
Wow.

Where do I start? This cd is amazing.

BoC has made extraordinarily great use of their instruments and people's voices to create an amazingly lush soundscape that lasts the entire album. No other cd causes me to walk around in public spinning imaginary vinyl with my hands and saying "schwep schwep schwep" (refer to 'Telephasic Workshop'), nor does any other cd make me sit for an hour and try to decipher strange mumblings of a man in the background of a song ('An Eagle in Your Mind').

There's definitely some influence from Aphex Twin and hip-hop on this album (Roygbiv), but somehow they manage to create their very own sound that seems to transcend any given genre. Could this be their own genre? Maybe, maybe. It's definitely electronic, but it's just too warm and friendly to really be put alongside most Autechre and Aphex Twin, and too varied and new to be put inside Trance or Dance cliches, so what is it?

I don't know.

But I think anyone with an interest in Electronica, or great music in general, is doing themselves a favour if they take a look for this cd. It goes from sleepy ('The Color of the Fire'), to textured ('Sixtyten'), to just outright fun to listen to ('Aquarius'). There are no tracks to skip over, no junk or filler, just solid good music.

Wow. :)

Wow.
I, foolishly, never tried Boards of Canada until recently. The first BOC release I got was Hi Scores, that in itself was incredible... I needed more. Their only full length lives up to that state of perfection. They successfully blend trip/hip hoppy beats with classic electronic melodies and simple, yet very moving chord progressions. (Don't be afraid of Hip Hop influence. ALL electronic music is hip hop influenced but people are too afraid to admit it:) Autechre, Aphex, etc...)

The major feeling I get while listening to Music is a very desolate feeling. It is so incredibly moving on a depressed, totally non-motivating level. Pieces like Roygbiv and Aquarius are absolutely breathtaking pieces of music within themselves, but the entirity of the album together is a truly moving entity.

Some say BOC's style is nothing innovative. They may be right to a degree. They may employ some techniques of other electronic styles. But while I listen to Music I get a feeling that it is far beyond any type of other down tempo groove. It is rather unexplainable unless you've heard it. Incredible, painfully perfect work of music.

Alien magnificence
Contrary to people claiming "you've never heard this before", you have come across elements of this music in other's works: Aphex Twin, Auterche, Neu!, Eno...what Boards of Canada have done is take all these elements and fine-tune them into their own distinctive sound that is simply a trip in outer space. I could compare this album to my favorite of this type of genre: Air's "Moon Safari" but it would be an injustice. This album is a much more ambivalent sound, more concerned with creating the ultimate soundscapes than mixing the Beatles and John Barry into a spy soundtrack.
Boards of Canada play with the EQ and reverb on the sounds to create a warm journey through the joy of sound. Obviously talking about this album is akin to discussing the thrills of skydiving: you can't express it, you must experience it. That being said, this album is a slow-burner that will take some time to grow on you, but when it does, you'll be completely immersed. It isn't the most original ambient album, but damned if it isn't the most enjoyable and worth your time.

Great!
This group, is just....wow. Their music will leave you in a different world of emotions. With music that brings you back to being a kid and day dreaming. This cd is very good, great beats and samples! The song the color of the fire, is an old 1980's Sesame Street clip of a little girl spelling I....Love.....You!!! With a very pretty organ/synth playing in the backround. This cd how ever has more beats than Geogodie. I love Geogodie, their latest cd. But this one is a must have for Ambient lovers.

It's chill, but overhyped
Ok, I really like the beats on this one. It's great to chill out to or study with. It's definately better than Geodaddi because it has more drums in it. However, I don't understand what the other reviewers are talking about. It hasn't made me look at the world any differently. And yes, I have listened to it on a set of studio monitors! It's a good album, but not life changing. Come on people, get a life.

I prefer Autechre to this music because it's less organic sounding. Autechre is much more precise and thought out. ... Read more