Amazon.com

If the mark of true musical genius is a potent combination of timelessness and universality, then the late Argentine composer Astor Piazzolla stands near the summit with other, more celebrated, masters. Before his death in 1992, the classically-trained, jazz-influenced Piazzolla was known for revolutionizing tango, reinventing a largely provincial dance music and spreading it at concert halls worldwide. Little wonder that since his death a wide variety of jazz and classical performers (Yo-Yo Ma, Gidon Kramer, Emmanuel Ax, and Al DiMeola) have recorded albums devoted to Piazzolla's music. Perhaps more surprising, but fitting in its own way, is the recent embrace of nuevo tango by a global army of dance-club deejays, many of whom appear on Astor Piazzolla Remixed. After all, tango was originally born as a dance between two men in the bordellos of Buenos Aires, and the deejays on Remixed--hailing from New York, London, Paris, Stockholm, and Helsinki--are simply reclaiming the music’s past while simultaneously propelling it into the future. Thankfully, all fifteen interpreters are respectful without lapsing into the reverential; they cut and paste the primary elements of Piazzolla’s music –bandoneon, violin, piano, contrabass, and guitar—into new sonic shapes, adding dance beats and a polyglot range of vocals that often meld together seamlessly. Particularly good are the soul-infused take on "Milonga" by New York deejay and ordained African priest Osunlade; the Detroit techno-Latin hybrid of "Revirado" by John Beltran; and the symphonic scat jazz of "Verano Porteno" by Nuspirit Helsinki. Not all the tracks will win instant acceptance from long-time Piazzolla fans: London drum 'n' bass duo 4Hero turn "El Viaje" into four-on-the-floor disco that edges closer to Donna Summer than anything the late composer might recognize. But then, such complaints probably sound similar to the opposition Piazzolla faced when he first pulled traditional tango apart and refashioned it to his own liking in the mid-'50s. All told, Astor Piazzolla Remixed is a worthy tribute to a great composer. --Keith Moerer ... Read more

Reviews (1)

Nothing to do with Piazzolla or tango
This is tango tourism at its most commercial - the producer asked twenty electronic bands to make some tracks incorporating tango themes. Nobody involved with the project from start to finish had a single idea about tango except that they could use it to sell a few records. Relentlessly boring.
If you want to hear some good electronic tango music start with Gotan (ASIN: B00008NRL8) & Carlos Libedinsky's "Narcotango" (ASIN: B0001WPSBS). "Bajo Fondo Tango Club" (ASIN: B00007M5CO) is also interesting.
If you want to hear a good Piazzolla album: "Tango Oblivion" on the European label Music Club MCCD165 (ASIN: B0000072WS) was the best but it's no longer available. Try "The Essential Tangos" on Manteca (ASIN: B0000AVSXG) instead. ... Read more

Amazon.com

The fertile sonic imagination of Autechre wanders through the digital wilderness on Draft 7.30, burying understated melodies with dense noise from the avant-garde fringe. Since their more mainstream dance beginnings, Autechre’s Rob Brown and Sean Booth have operated in the same non-rhythmic, wired turf occupied by Oval, Plaid, and other experimental techno artists. But they’ve always retained an echo of their earlier accessibility, using recurring themes that give their music a Boards of Canada-like elegance. On the other hand, recent work like 2001’s Confield has involved a more cerebral mix of order and chaos that lacks such carbon-based ballast. Draft 7.30 goes even further off into the land of 1s and 0s, manipulating theories and formulas with a fascination usually reserved for higher math classes. Your ability to listen and enjoy will depend on your tolerance for difficult concepts and willingness to embrace chaos. --Matthew Cooke ... Read more

Reviews (47)

Takes a while to get used to..
I hated this album on first listen.

It sounded more random than any of the stuff Autechre had done before, not to mention everything that wasn't random sounded really cliche, like 6IE.CR.

But the truth is, its just another chapter in the long book called Autechre. The album takes a lot of getting used to, and its really not that different from Confield, once you give it a fair listen, and Confield is one of AE's best.

It took me almost 5 months to "decide" I liked the album. I kept trying to listen to it for about three months and just couldn't, so it stayed in my cd tower for a while. The other day I pulled it out and listened to it again, its actually very well done.

The track I mentioned earlier, 6IE.CR is one of the best tracks I've heard Autechre do, and it reminds me of Rpeg from EP7.

Anyway, to wrap things up, if you're the type of person who doesn't like change, and you've been an Autechre fan for a while, -OR- you're the kind of person who doesn't want to "wait" for the album to sink it, don't buy it. Its not worth your time your your money, then you'll go tell everyone about how much you hate it, tricking yourself into thinking you really do, and will probably end up never giving it another chance again.

However, if you're a long time Autechre who DOESN'T mind change... Go right ahead and see what adventures await you in Draft 7.30

Well.... uhhh...
I don't really know what I can say about this album that everyone hasn't said before. It's taken me 4 months to even feel the urge to give it a shot. First off, this is truly a crank the headphones to 11 and listen kind of album. You'll hear details you never heard each time you listen. Second, I think this is probably one of the more melodic Autechre albums they've done since Amber. It's the way they use the melody in such a minimal way that's so intriguing. Take "VL AL 5", the way the melody is drawn over the slow, crunchy beat, weaving in and out until the track finally loses it's mind. It's almost too much. The whole effect the album gives me is of one giant geologic breakdown, not visions of killers machines and angel dust smoking R2D2s. The sound is far more corroded and earthy than LP5 or Confield, and more akin to the black skies of "Chiastic Slide". And that's the only point of reference I can make. The whole album seems harder to get into than the others somehow, my guess is that you basically have to listen from start to end to grasp the whole feel of what Ae are trying to say here. You just can't pick a random track and let it go. But, I guess either you'll love it or hate it. I'm just not sure why I love it so much.

Very good
In terms of style, Draft lies somewhere between Confield and EP7. It is very progressive nonetheless and brilliant work. My two favorites are Draft and Confield. I like this direction.

This is music to be understood. It is a 3D stereogram. It's a mouthful of jellybeans. After time, you will be able to pick out each flavor individually. Once you have the key - you gain the understanding of their other works.

Like running a garbage can lid through a band saw...
This CD is not my favorite Autechre album, but for some reason I cannot for the life of me get "v-proc" out of my head... I have had to play it once a week for the last few months to keep my sanity. Just for that this album deserves 5.

But, there are other good songs on here too; unless you have ADD you can probably appreciate this album.

Evolution
Rob Brown and Sean Booth really know how to keep you moving. Your mind that is. Excellent album, probably my favorite Autechre. RIYL Confield, EP7 and Gantz Graf. ... Read more

Reviews (8)

Matador does another one
As a follow up to the first Everything is Nice - this newest of Matador compilations features some pleasant new music to enjoy. Running the spectrum from Pavement with two quite nice songs (including an alternate version of Grounded which is, in many ways, better than the original) to the always pleasing Boards of Canada hit Roygbiv and the flash in the pan Burger/Ink - there is almost certainly something for everyone here. And with three discs for under twenty dollars, it's hard to go wrong with this purchase. I could have done without some of the Arab Strap and Bardo Pond songs - but once again, something for everyone.

A great sampler for a great price.....everything is nice...
Three CD's with some of the most interesting bands from the last decade....Pavement, of course, JSBE, Mogwai ("X-Mas Steps" great track that...try listening to this when it's raining...), Chavez, Guided by Voices, Yo La Tengo, Sleater-Kinney(who are on Matador in Europe...)and more. But it's the ones who maybe have not exploded over in these states yet that are surprising...namely, Unwound (okay, yes, so maybe they are now making a name for themselves...with a dangerously weird track with growled wordless vocals), Cat Power (both tracks awesomely sparse and haunting...), Solex (Dutch version of Pizzicato 5 maybe?), Bardo Pond (weaving and crunching guitars in a sea of noise...brilliant and groovy...)and of course, the goofy and genius Lynnfield Pioneers (shades of 60's meltdown, funk and god knows what else...). Get it-- it's cheap and it's genius.

The best indie pop in one little package
Not all of the bands included in this box set are great, but as a sampler/retrospective it works. I applaud Matador for doing something like this for the fans, when it would have been 10 times easier not to do anything at all. Even if you don't like Cat Power that much or think Mogwai are self-indulgent, it doesn't matter. You get Guitar Wolf, Modest Mouse, Bardo Pond, JSBX, Cornelius and (seemingly) hundreds of others. You can't go wrong, especially when you stop to consider that if a major label had done this it would cost you about $40. Buy it. Enjoy it. Be happy. After all, Everything is Nice.

A great compilation, a great jumping point
This is a great starter album. I had heard of about a third of the artists on here, but now I'm very interested in hearing more of some of the more obscure ones.

(I'd also like to add that, as a dancer, this is a great set to put on and improv with for a few hours)

Very Inexpensive Sampler of a Wide Variety of Music
As in the other reviews, I'll say that one of the things which attracted me was the incredibly low price. You get 3 brand new CDs for almost the price of one used. And the variety of styles and groups represented is another plus--I've read about a lot of these groups in the pages of _Alternative Press_ and _CMJ_, but this is the first time I've had a chance to hear them. There's hiphop and techno and guitar-based rock. You can't beat a deal like this! ... Read more

Amazon.com

Part dance album and part free-form experiment, When Analog Worms Attack is one of the more curious pieces of woofer-taxing techno to be heard. French artist-musician Quentin Dupieux, a.k.a. Mr. Oizo, proves emphatically that there's plenty of life left in deliciously free, bedroom-crafted expressions. Dupieux calls his sound "dirty house": subsonics are a rumbling ever-present, while the tunes themselves are like Paris on a rainy spring afternoon, lurking with crafty shadows and moments of wonderful high art. There are striplets of upbeat funk guitar laced throughout, but as the album strolls along, matters get significantly darker, the title track taking you into the shadier areas of the metro system before leaving you firmly entrenched in darkness with the fully developed "Analog Worms Sequel." Of course, Dupieux saves the most popular until last, with the European megahit "Flat Beat" (which sold more than 2 million copies in '99 after mass exposure through a Levi's commercial) tacked on as a bonus track some two minutes after the disc has ended. This CD is the aural version of a subversive, French art-house film. Add a good double espresso, some Gitanes plus a copy of L'Equipe, and it's a gloriously cheap vacation. --Steffan Chirazi ... Read more

Reviews (20)

Mixed feelings
As much as I hate to admit it, the first taste of Mr. Oizo I got was while flipping by MTV. The Flat Beat video (included on the CD) caught my eye, and was just too cool (both aurally and visually) to pass up, so I had to grab this disc.

After listening to it for a few weeks, the album is a mixed bag for me. The bass is just massive, which is certainly cool. Most of the tracks are very inspired, and from the cover art to the samples, the album just creates a very fun atmosphere (which reminds Cold Cut a bit). However, I am slightly annoyed by some of the odd arrangements of beats and effects. About 3/5 of the album is very well produced, but it feels like the remainder was just thrown together in a matter of minutes, lacking polish and ease of listening. That probably won't matter to many people though, since I imagine virtually everyone has and will buy this disc for Flat Beat alone.

Overall, it's a bit rusty around the edges, but this album is certainly worthy of a few spins in your CD player. Just don't expect much more on top of Flat Beat.

Analog synths and funky beats at their best!
Not too many people have heard of Mr. Oizo, aside from, perhaps, "Flat Beat" which aired on MTV for a number of weeks a couple years ago (God forbid anyone actually watch that channel though). After hearing "Flat Beat" I immediately fell in love (and who could resist with that curiously humorous puppet from the video?)

After listening to the album all the way through, I immediately started it over and switched on 'repeat'. This is an album that I can hardly stop listening to. Its funky sounds and curious off-beat tempo adds an almost unsurpassable flavor to the songs.

Although this CD is incredibly amazing (to me) I had to give it a 4 out of 5 because of the repitition of sounds and beats. As much as I love it, anyone out there that isn't into this particular genre may find the repeating beats and sounds annoying about halfway through the album.

If you liked "Flat Beat" and particularly enjoy the electronica genre this album is a definite "must have".

Intelligent, minimalist electronic excellence
Warning: This album is NOT for the average person.

However, if you're into electronica of any kind and enjoy music thats VERY unique, get this album - a treat for your ears and your brain!

The album is very minimalist - tracks are somewhat repetitious within themselfs, but with JUST the right amount of variation throughout to keep it interesting. So well done. The entire feel of the album is, in one word, INTENSE. Some of the tracks are funky, but several others will put you on edge; you'll find yourself sub-consciously grinding your teeth!

All I can say is GET THIS ALBUM! You wont hear anything else like it for a long time.

A must have for dance fans!
Mr Oizo or Quentin Dupieux is one of many good french Dj's out there, he's probably most famous for his multi selling single of 1999 "Flatbeat" but it's not the only good song he's been making in his career. The music is a mix of cool beats, samples and scrathing in many of the songs. It's cool and original but nothing for the average music fan. Howerver, if you're into Dance/Electronica you're gonna love this. Some songs are fast and quite rough others rather slow but you'll hear that they are Mr Oizo songs anyway cause many of them got a quite common sound. Other then "Flat Beat" i especially like "Last night a dj killed my dog" and "The Salad" that remind me a little of The Chemical Bros. "Bobby can't dance" is funky, with a quite diffrent sound then others. "The Kidney Machine" is dark and strange, but spectacular. Mr Oizo proves that he can make music of everything, too bd this is his only album to buy. But if you like this kind of music it's a must have!

Flat Beat is the Cream de la Crop de la Cream de la Crop
I bought this album just for "Flat Beat". When I realized that it was only a bonus song, and that the first 14 songs were the REAL album...
...I realized I should've just bought the single.
First of all, "Flat Beat" is different from the rest of the album, in that it has new analog sounds, a good beat, and it doesn't have the same old tune which gets used a LOT in this album.
Compare "Inside the Kidney Machine" to "Analog Worms Sequel". Still not convinced? Compare most songs to "Inside The Kidney Machine."
The second song is great in that it has hilarious voice samples, which goes great with the politically incorrect name. Number 12 is very similar to the bonus song.
If you REALLY really like "Flat Beat", then get this album. But if you only like "Flat Beat", don't even bother, for you will find yourself skipping to the same song(s) over and over again, and it will become a great nuisance, in that you won't want to pop this cd into your stereo ever again. The same has happened to me, and I wish it hadn't... ... Read more

Album Description

3-song EP to warm up the third studio record for Dan Snaith, now CARIBOU, formerly MANITOBA. Contains 2 exclusive tracks. ... Read more

Reviews (2)

promising prelude to his forthcoming album
For a few releases this fellow (given name Dan Snaith) formerly went by the moniker Manitoba -- geography lesson: that's the Canadian province located between Saskatchewan and Ontario -- but he's recently switched over to the name of both a heavily antlered wilderness creature and a mountainous region in another province, British Columbia. Okay, now that classtime is over, let's move on to the music... this electronic-pop-trician has crafted a trio of tracks from playful but not excessively twee sounds that make you think he's been rummaging around in the toybox. But don't worry, none of the toys... oops, I mean sounds are gonna spring out and sock you in the nose. I mean, yeah, the live drums get a little rambunctious near the end of the title track as well as the third, but then it sinks back into his more typical mellowness with acoustic guitar plucking, and rounds from a lil' flute or recorder that's sorta like a mini ode to Wickerman. Furthermore, let it also be known that this has nothing to do with Amon Duul II's classic kraut-psych album of the same name. No, this is a much gentler beast. Dreamy, softly pulsing, gauzy and almost Christmas-y in its shimmery frosted chimey-ness! A promising prelude to his forthcoming album, The Milk Of Human Kindness (due out very very soon).

can't wait for the album
For anyone who liked "Up In Flames" you will not be disappointed with this.Yeti expands on the sounds from Up In Flames, has the same warm drones and incredible percussion, but there's something else that is hard to pin down.Track two is good, but obviously a b-side.
The real suprise here is in track three, which starts out with acoustic guitar and a group of a Asian flutes, then after a few minutes, goes more in a direction you'd expect it to go in.This is an incredible track and amount of growth for any artist.
Like the singles from Up In Flames, this is definitely worth the money for any fan.Incredible music here.
if the Milk of Human Kindness is near as good as this, it will be great. ... Read more

Album Description

Freescha's third full length album released on their ownAttacknine label, brings 14 songs from the creative pairing & friendship of the San Fernando Valley born NickHuntington & Michael McGroarty. Their Californian brand oforganic electronic songs are observed & enjoyed by fans the world over by other music figures such as, Two LoneSwordsmen, Moby, Casino vs. Japan, Opiate, Hermann & Klein, Bauri & Marumari. Freescha was chosen for URB magazine's"Next 100" artists to watch for in their year-end specialissue. Sounds from by-gone days, when the naivety of 1970srelinquished its day dreams over to its successor, theequally awkward, trendy 1980s, Freescha opens the doors toa special place that escapes specific dates or promisesthat can not be kept, & only hopes to sweeten that ache.Digipak. Attack 9. 2002. ... Read more

Reviews (3)

Bam!
The thing that sets Freescha apart from others in the Boards-Of-Canada-neo-nostalgic-lo-fi-electronica genre is the incredbile sense of melody and harmony in this disc; whereas most bands working in this genre rely on texture and repetition for effect, Freescha gets under yo skin with gorgeous harmonies, chord changes and bass lines. The texture and beauty is there as is the yearning-for-childhood bliss, samples harking back to 70' and 80's public TV service announcment themes, repetitive based strucutres, lush reverbed soundscapes balanced against bubling glitch and static, but all of this is made within a beatiful (almost) pop approach to the shong writing. Absolutely amazing and beatiful chord progressions and melodies dat fixin to stay in a brother's head for a long time. The album is consistent and lacks any throwaway tracks. If youse like this check out Casino Versus Japan.

This is FANTASTIC!
ONE of MOBY'S favorite bands! This is exeptional music and it's perfect to leave in your car or in the bedroom. Great ambient vibe. A must buy if you're a music fan of any kind.

Slower than slower than church music
Freescha's sound...it's impossible to not mention Boards of Canada, even if it's just to mention that people need to avoid taht reference. After a careful inspection -- instead of a careless gleaning -- one notices the subtly that sets these guys apart of their Canadian nemeses (ha). The music is slow and driven, but with a much more digital styling and minimal approach than BOC. There are pitch-shifted drum loops that go on forever -- in a good way -- lots of evolving organ sounds and an aesthetic akin to Brian Eno and other ambient guys. ... Read more

Amazon.com

Carpal Tunnel Syndrome is possibly one of the most self-referential turntablist releases of all time; one kaleidoscopic track segues into another, punctuated with sampled spoken phrases such as "those crazy sound-effects records you like to show off," "stacks of wax," and "they don't even have any instruments, just two record players." But Kid Koala doesn't just drop in a spoken tidbit like "we're nothing but the nerds they say we are" for a quick laugh. Rather, he lingers lovingly over it, back-spinning with such minute precision that he isolates and reorders every phoneme in a technical tour de force that transcends its own virtuosity when it transmutes seamlessly into an equally chopped-up bebop drum solo. This short (38 minutes) but dense release pulls together an astonishing variety of source material and is consistently engaging and technically impressive, although many tracks revolve around comedic elements (like slightly surreal extracts from an interview with a broadcast sound-effects expert and dating how-tos) that may not stand up to repeated listening. In the same way that Eddie Van Halen is not a better guitarist than Jeff Beck simply because he plays faster, Kid Koala and his contemporaries might not strike everyone as an improvement on the innovations of Grandmaster Flash. --Bob Bannister ... Read more

Reviews (29)

Amazon's review here irks me....
This is a really good album.

First, to people who are new to the genres of turntablism, avantish jazz, trip hop, hip hop, electronica-- or-- by the big people's words 'music concrete' and 'music electronic' (with some French accents added in) it is a safe bet that any CD that comes out on Ninja Tune (or its affiliated labels 'N-tone' and 'Big Dada') is a safe bet and won't be a waste of your money. Kid Koala is a DJ who was said to idolize the label's founders-- soon enough, he was signed and putting forward some of its strongest releases (though points should probably go to Amon Tobin on this last point....)

This is a 'whimsical' album, but not one on which Koala's talent is either hidden or hindered: he is one of the best DJs that exist-- and (some may think this blasphemous) is as entertaining to listen to as are any of the ex-Invizible Skratch Pickles....

This album would be a must-buy just based around the songs 'Like Irregular Chickens' and the two songs focused on pick-up lines. Sure it relies on humor; I'm not so sure that he was pulling Hawaiian guitar licks anyplace; it sounds more to me like old jazz guitarists like Django Reinhardt if I am thinking of the right place. The thing about music collage-- or, DJing to use the term the kids'll relate to-- is that it makes one think. And this album makes one think. And then just sit and wonder....

I like the Deltron album too though this album and that are about as different as too come (sorta like how DJ Spooky's stuff with Kool Keith and Sir Menelik on 'Riddim Warfare' is oodles different than his weird stuff like 'Viral Sonata' (recorded as Paul D. Miller) or the stuff with Scanner (which is a definate must buy). People would dig this and hate that; a lot of people might not like that because Del has a tendency to be loved or hated. Whatever-- I've written enough. Hit the buy button and spend your cash. You'll be happy.... and laughing....

The Muppet of Hip-hop
Everytime I listen to Kid Koala's work, I'm always struck by how well he exhibits what's missing from hip-hop today: irrelevence. No, I'm not talking about the "funny-guy," Colt 45-drunken gangsta-mack who pays thong-clad ladies to let him harass them in his $2 million videos, I'll taking about a DJ who actually found and samples Winnie the Pooh asking, "How would you like to spank somebody?"("Barhopper 1").

What's so great about Kid Koala is that he takes hip-hop back to its roots, with funky but innocent humor to crack at block parties, with a "what the hell was that?" class. I'd agree with the previous reviewers, in that the Kid is best seen, not heard on tape. But then again, turntablism itself is essentially a visual artform.

As for the music, compared to the so-so album excursions of Mixmaster Mike, Dj Qbert and Rob Swift, the mood of "Carpal" coheres and swings with genuine chupatz. The best tracks seem like previews of 21st hip-hop with their almost avant-garde approachs to vinyl. One example would be "Drunken Trumpet" where the Kid uses the diffrent arm weights on the turntable to make tones out of a bassline. Unlike his "scratch masterbating" peers, he actually uses his truntable as a real instrament.

However, I can't say that "Carpal" is the best exhibition of his work, since it's mixed in a rough 'n tumble pace with samples and beats thrown together like an amateur's basement tape.

While I have yet to hear the now legendary "Scratchsctrachscratch" demo tape, I believe that it's always a great pleasure to see DJs like Kid Koala revealing the fantastic possiblities of what hip-hop can be.

5 stars for chops, minus one for all the noise
I like Kid Koala, but I would probably hate him if I was a DJ, in the same way that a marginally talented musician would hate a criminally gifted child prodigy. He did everything on this record by hand, i.e., no samplers or loops, which makes an additional testament to the incredible technical skill displayed in this album (which barely lasts longer than a sitcom). In an interview he said that this cd was his place to put all the stuff he couldn't use at parties, which is evidently a whole friggin lot of stuff. I guess you could sum this album up by noting three things: obscure vocal samples and such, feverish scratching and manual looping chops that make my non dj wrists hurt, and enough strong head bobbing beats to fill...something small. It has a good sense of humor and a fiercely unique sound which may grow thin with repeated listening, but the gimmick is welcome if you approach it wanting to be amazed by the unusual showoff stylings of one of the world's best djs. But if you want the usual fast rhythmic stuff over loud hip hop beats listen to Q-Bert.

...
After listening to this record the 3rd time, it dawned on me that every noise, every bustle, every tweet and buzz I hear in my head, is so perfectly organized into a grand orchestra and put on CD. The beat is solid, and the music seems to be composed with such abandon.

For the geek in all of us
Kid Koala, who is also a member of the band Bullfrog, is simply one of the most creative DJs spinning today. This is an esoteric little record, for those of us who can appreciate the nuances of the turntables. The record is a slew of inside jokes and innuendos. Regardless, it really is a fun listen for just about anyone, but especially geeks of all ilk.

But beware, this is bad background music. If you're looking for some DJ music that you can put on and ignore move on to something else, something by Amon Tobin perhaps, because the beats and sample on this record grab the attention and need to be listened to carefully to be appreciated. ... Read more

Amazon.com

As his alter-ego, "Kid Koala," might suggest, Eric San applies a joyous childlike vision to his music on Some of My Best Friends Are DJs. Following turns with Money Mark, Deltron 3030, and Lovage, Canada's cheekiest mixologist defied weighty expectations with his beguiling debut album, Carpal Tunnel Syndrome. Three years later, and Kid Koala has retained his youthful verve. Packaged with a 52-page, self-penned comic and a travel chess kit, Some of My Best Friends Are DJs offers less in the way of music, with the 35-minute running time meaning the restless sonic snippets wisely end before his humor has a chance to grate. Mixing sleazy whisky-bar vibes with adolescent antics, his second album never allows the listener to settle. Moments of playful mixing magic are at times followed by baffling inanity as "Skanky Panky"--with its wonderfully shattered Ska rhythm and frantic scratches--runs into "Flu Season", ostensibly a series of beat-accompanied coughs, sneezes, and sniffs. Blending blues, jazz, and funk with a myriad of bizarre samples, moments of pure eccentric genius such as "Robochacha" and "More Dance Music" make this a flawed yet fascinating slice of beat-driven bravura. --Christopher Barrett ... Read more

Reviews (8)

kind of like the last one...maybe a little better
Those who became acquainted with Carpal Tunnel Syndrome will buy this album and be pleased, but not surprised. This one comes through with more beats and more layered work, especially the innovative MASTERPIECE of Basin Street Blues. Anyone who complains about this cd just because it's weird and silly should really listen to that song and realize that behind all the jokery, Kid Koala is a serious artists who is pushing the bounds of turnablism and truly using the machine as an instrument, as fluidly as a voice. There are lots of funny vocal samples like the first cd, and although the format is simillar, this one is more fun and accessible than the other one. Hats off to him for making songs like Basin Street Blues and More Dance Music that build and climax like real songs by using music instead of just loud drums...this kid is going places. No one else is doing this stuff.

Underrated
The work of Kid Koala is so impressive and creative that I can't give less than 5 stars...this album is a masterpiece because it does not look like any other album...it's a mix between jazz, blues, scratch with hip hop beats...
The real plus for kid koala is the spirit of the album, exclusively positive...
True fans of hip hop don't miss it

REALLY NOT THAT IMPRESSED!!!
Since the Ninja Tunes Record label is known for putting out incredible artists such as Amon Tobin, Mr. Scruff and Bonobo, I thought I'd try Kid Koala. He is indeed a turntablist, maybe too much of one, which to me makes "Some of My Best Friends are DJs" sound too choppy and incomplete. Unlike others of his ilk who actually compose full-length songs through scratching, sampling and mixing, I found Kid Koala to be a tease and slightly unimpressive. IMO there's no consistency in his songs and just when you think you're gonna get a jamfest from KK he throws in some dumb samples from God knows where that destroys the entire song...buy only if you're totally into the whole turntablism thing.

Some of My Best Friends Are DJ's
If your looking for something different then this is a must have CD. Its a combination of well, all sorts - a sort of raw mixed funky jazz flavour - I think!

By far my favorite track on the CD is Skanky Panky, with a sort of really heavy Ska-style bass rythm and twisted trumpet effects its deffinately a must-listen. Unfortunately not all the tracks do it for me, infact only a couple do, and its a bit short at just 35:07.

However, as far as 'something different' goes, this is a must have album and it has a certain honesty that many superstar DJ albums don't have, a sort of charming neivety, almost as if you are in the room having a laugh with the DJ himself. Try it, it can't hurt!

everyone needs to know about Kid Koala
Kid Koala has the best sense of the turntable as a tool. He morphes deep smooth beats with fun transition clips. This cd goes really well with his past cd carpel tunnel syndrome. It is too much fun to hear scratching mimic waves on a beach or resemble a blues trumpeter in outer space. I saw him please the crowds in Detroit as well as my friends saw him tour with Radiohead, so he definetely is as awesome live as he is on this cd. I highly suggest that you mute the tv and play kid koala music in the background to different channels, such as the history channel. I cannot express in words the hilarity of armies marching to More Dance Music or Elevator Hopper while watching a soap opera.

I describe him to others as this: An ingenuitive asian-quebecian weilding turntables, pen, and paper. ... Read more

Amazon.com

A perpetual workaholic, Squarepusher (a.k.a. Tom Jenkinson) released three albums in rapid-fire succession in 1997. While his complex compositions stayed admirably fresh over each disc, by the end of the series it was evident that he had exhausted every trick in the abstract drum & bass book. On Music Is Rotted One Note, Squarepusher wisely expands his musical palette by sidestepping the conventions of electronic music. Relying primarily on minimalist jazz patterns and contemplative rhythms, he creates a low-key freeform soundtrack that is accented beautifully by electric guitars and moody bass lines. --Aidin Vaziri ... Read more

Reviews (31)

It's a shame some people just don't get it...
I can't believe some of the reviews I've read of this. This album is amazing. Plain and simple. Talentless? Need I remind you people that he played all the instruments (including live drums) on this album himself? It's is extremely difficult to get the timing right when layering music like this with unconventional rhythms and strange time changes. It's is definately very fusion jazz influenced (see Miles Davis - *** Brew, Weather Report, and Herbie Hancock - Headhunters if you have any doubt), but it puts a new twist on things. It's seriously a shame some people can be so narrow-minded. The 2nd track is my favorite on the album. Amazing time keeping, very good bass playing, and decent drumming and keyboard skills are evident throughout the whole album. This is a kick in the face for all the "raver" kids out there who think if it's not techno, it isn't good. I'm glad to see Squarepusher experimenting with new things. It's about time somebody did.

This is the cd you buy it slowly grows on you till you go in
the way Tom did this was absolutely brilliant. definately alot more jazz, some micro-sound. Hypnotic bass lines. Absolutely brilliant. I almost love it more the "Feed Me Weird Things"

Gone Plastic
Something happened a few years ago, when techno artists wanted to make more album length type music. Some music is for the dancefloor, but has disco ever been taken seriously? I can't think of listening to Aqua between Pink Floyd and Steely Dan, and somehow thinking of its merits. There is a place for cheesy disco, and rightly it's not for the progressive or the gentle couch dwellers. Squarepusher has gotten more and more unlistenable to those who have grooved to the likes of Joey Beltram or Paul Van Dyk. But for those who have Jaco Pastorius deficit, who wondered what happened to Bill Nelson, have come to love Squarepusher. Even those who are open to these fast beats, probably would be stretched to tell the difference between this and Aphex Twin. If Squarepusher seems too much of a prog rocker, maybe you would like the more purist Autechre. Their landscape is cold and devoid of humanity, and they make Kraftwerk look like a barrel of laughs. Autechre is the sound of machines falling apart, while Squarepusher is like an Ornette Coleman with a Roland 808.

someone turned a bunch of squirrel monkeys loose
This is not the squarepusher I remembered.
No cool techno beats, no sweet bass n drums. Just crap.
This is a bunch of monkeys beating on instruments with the record light on.
If I wanted chaotic 70's fuzion jazz, I would go buy it.
This just sucks.
rhythm? none.
just a bunch of unrelated sounds that sound bad together.

Tubular Jazz
I know that many people will not agree with my review but I don't care. You may find this album has the same structure of 'Tubular Bell' in form of progressive jazz with some experiment. Most of the tracks are connected each other, you can listen to it from track to track. It flows smoothly. You can start to listen to Squarepusher with this album if you expect the unexpect. ... Read more

Album Description

Full Title - Hi-Fidelity Dub Session Chapter 4. Containsexclusive and hard to find tracks and remixes from Tosca,Horace Andy, Cutty Ranks, Groove Armada, Boozoo Bajou andInternational Observer (aka Tom Bailey formerly of theThompson Twins). Digipak. Guidance Recordings. 2002. ... Read more

Reviews (2)

amazing
As a huge fan of the old school Marley/Tosh/Wailer/Culture school of late 60s - late 70s reggae, it's alwasy touch to find somethign new that captures the bass-heavy tight grooves. This is a totally modern take (electronica dub but with SOUL) on that old stuff. Very cool. I listen to this a lot.

Very nice!
I pretty much bought this cd because it was a compilation that had "Superstylin'" on it which is my favourite Groove Armada song, so I figured it'd be nice to see what else falls under the category. The minute I pushed play I was sucked into this groovy sort of place that I don't hear from quite often enough. I'd say anyone who likes Derrick Carter or Moonshine label artists could appreciate this cd. Nice reggae/drum&bass/house/psychedelic sounds brewing with this one. ... Read more

Amazon.com

Like the best drum & bass musicians, Photek explores the nuances of the rhythms that most jungle musicians, blinded by dance-floor strobe lights, take for granted. His rarefied electronic tracks rarely overlap more than a handful of discrete sonic elements. On "The Water Margin," for example, cetacean burbles bounce amid an extended percussion solo and a lone, vaporous, synthetic woodwind. And that's it. The composerly sense of musical development Photek brings to these skeletal constructions has lent his earliest recordings a reputation as the blueprint of avant-garde drum & bass. Four of those early recordings, "The Water Margin" among them, are collected on Form & Function, which also includes six appropriately uncluttered remixes (by J Majik, Doc Scott, Peshay, and others) and two brand new tracks, one spooky, one funky. --Marc Weidenbaum ... Read more

Reviews (29)

Another great compilation from a great artist!
If you just want drum n bass,that you can dance to or listen to casually,don't buy this! You'll probably end up finding it boring and monotonous! This stuff is much more than that,more perplexing,more intelligent,the patient audiophile will definitely be rewarded! This album is also kinda along the same lines as "Modus Operandi"(you definitely wanna check that out,if you like this,a definite DnB classic),precise and minimalistic.Some of Photek's old classics are on here(finally available on CD),and some excellent remixes of those tracks as well,like "The Margin 98",very well implemented by the great Doc Scott(also check out "Lost In Drum and Bass"),the "Rings around Saturn(remix)" by Peshay and Decoder("Miles From Home" is defintely a MUST BUY! ),and the "UFO(remix)" by J Majik(still waiting for his full length debut! ),and the excellent remix of "The Lightening",by Digital(waiting for his album,as well! ).Needless to say,the remixes by Photek are brilliant! All his tracks have always been exceptional! On the whole,this is an excellent compilation!

Argh - no, not quite.
First star off: no Ni Ten Ichi Ryu. This wasn't even on Modus Operandi, and it isn't here either!

Second star off: not enough other real classics included, some that everyone needs to hear. e.g. Into The 90s and The Rain. Instead choosing to include the overly-repetitive Water Margin (the remix is a good one though), and the tacky UFO (these days, those sighting samples don't even sound quaint - they're embarrassing).

But despite that, included here is the staggering Parkes hat-trick: Rings Around Saturn, his own remix of Seventh Samurai (making the original sound very VERY lacking by comparison - just a Ni Ten rip-off, in fact), and the totally, totally devastating Peshay and Decoder remix of (again) Rings Around Saturn.

Santiago gets pretty close just by having the single greatest use of handclaps in a d&b tune, and Knitevision proves that Parkes is the only man who can make 7 minutes of - pretty much - only drums, sound fascinating.

Throw in a couple more sorta-decent remixes, and there you go, you have Form & Function (although we could do without the remix of UFO - no disrespek to J Majik, it's not really his mixing, but the track that I dislike). Starting off very well but faltering from beginning to end between good and dodgy tracks. 3 out of 5 it the most I can give it. Grab Risk vs Reward (for the stunning Ni Ten Ichi Ryu) first, then pick up Modus Operandi. Only come here if you thoroughly loved both.

A disappointing ,middle of the line release
This Cd sounds like an unfinished product from the music genius, Photek. I purchased this release soon after Modus Operandi and I suggest you get M.O. before this one. F&F contains too much mind-numbing repetiton and lacks the exceptional sampling that it's predessor had. This is a relatively boring CD without variety. If you liked Modus though, you will like this. Tracks 5, 9,10,11,and 12 are very good while the remixes become boring after a couple listenings. Even though i ripped on it i do suggest this for any Photek fan!

Middle of the line release from master of musical precision
I bought this CD soon after I bought Modus Operandi. And I would have to say Form & Function was a disappointment, but after listening to Modus Operandi, anything is a disappointment. I suggest you stay away from this alnum until you listen to M.O. because of the overbearing mechanical precison of this album leaves you feeling dry. Too much uniformity can be a bad thing if it's not backed up with enough variety of sampling. This CD does not have much listening life to it unlike it's exceptional predecessor: Modu Operandi. Form & Funcion was good but could have been a lot better. It just doesn't sound complete, almost as it was released by Photek unfinshed.

experimental breaks at their best
In this album Photek has shown that there is no limit for finding new ways to produce an experimental drum and bass compilation he is always breaking new grounds and is a constant inspiration. ... Read more

Album Details

1995 Release. Produced in Collaboration with EX-SHRIEKBACK/XTC Member Barry Andrews. ... Read more

Reviews (13)

Different for Fluke...
Before I bought this album, I had Risotto and Six Wheels on my Wagon. Oto has a much different feel to it than the others. It is much slower, much more of an album to just kick back and listen too. Although there are some fast tracks like tosh and eventually bullet, the others are real chill. Really good though. If you're in the mood for some slow, chill out music, this is definately a go, as you can't get much better than Fluke.

Cats with gloves don't catch mice
On "Oto", the band's third proper album, Fluke makes some effort to get away from the carbon copy of Underworld's sound that characterized "Six wheels on my wagon". However, for all those who think Fluke is defined by high-energy dance music, "Oto" will prove a disappointment. Much of the music is downtempo, and Fluke raise the tempo only for "Bullet" and "O.K.". This mix of dub rhythms, deep bass lines, and ambient sounds ambitious, but the song material often isn't there. The remix versions of "Bullet" and "Tosh", which can be found on the corresponding CD-single releases, are far more clubby and powerful than the album versions. The lyrics alternate between being 'super-smashing great' ("Tosh") and being downright silly ("Cut"). The most memorable aspects are the vocal performances, featuring vocoder voices, robotic murmerings, seductive talk-singing, and even some soulful delivery ("Setback"). "Oto" is not an immediately rewarding album, but it grows on you. I recommend you to save this disc for later and to buy "Risotto" first.

Could've Been A Contender
I'm having a problem writing a review that pays enough attention to this album's faults, which are significant. I'm having this problem because I *really want* to like this album in a superlative way. At times I have managed to convince myself that this is the best from an excellent band. Fluke is unquestionably one of the best acts in techno, managing to write engaging, unduly clever and upbeat dance music that kicks the frequently over-repetitive and boring concoctions of their supposed betters at Underworld in the face. Their sheer mastery can be partially measured by the sheer happiness and good feeling of their music in the world of british rock-techno, a field dominated by the dramatic, dark, mysterious, even alien (moods which can tie together the best albums by acts as disparate as Autechre, the Future Sound of London, Juno Reactor, and of course Underworld). Fluke's willingness to celebrate a 'groovy point of view' even when it's not the stylish thing to do (a friend of mine on Theivery Corporation's _Mirror Conspiracy_: "It's not very good, but it's stylish as hell"), or for that matter the most obviously successful thing to do, is to be admired.

It cannot, though, be the end of the story. A latent appreciation for the troubling things in life has always been a source of tension in Fluke's music. It clearly surfaces well before _OTO_, as early as the too-earnest longing for universal love on "Philly", and as late as "Life Support", a song positively demented when you pay attention to it, a sort of reductio ad absurdum of _Six Wheels_: Fluke's upbeat pop style versus the horror of mortal man's inevitable demise.

_OTO_ was clearly an effort to move this aspect of their music to the fore, to deploy their unquestioned skill in service of more serious music--reminiscent of Orbital, but without the programmatic political approach that dominated _Snivilisation_ and _In Sides_. "Bullet", the opener, is probably the best indicator of what should've resulted. The groovin' dance rhythm and delicate piano chords in the are backed with something decidedly new: a menacing throb in the bass. An initial insistence that "Ain't nothin' wrong, everything alright" is suddenly interrupted with the qualification "Not strictly true . . ." followed by eight straight bars of rapid justificatory and explanatory talk. The comparative moodiness of renders the track's late foray into sheer dance exuberance ("Now let's get it right!") all the more wonderful, but nonetheless temporary. As the track returns to its origins and fades out, a first-time listener is ready to expect the unexpected and the excellent from the remaining seven tracks.

It's hard to say why the album's portended greatness just doesn't materialize. Partially it's just that the sequencing is off--"Cut," a hilarious report from a man not only hopelessly, but debilitatingly in love (required listening for anyone who thinks Underworld's dirty epics can be considered definitive of the concept) cuts the tension way too early, "Squirt" and "Wobbler" are perhaps too simimilar in tone to follow each other directly, and "Freak" is just unfortunately a mood piece which turns boring.

Other than "Freak", though, each individual song has everything to recommend it. The album cut of "Tosh" is vastly superior to the _Risotto_-esque cut used on _Progressive History X_, all simmering unease, bass chops, and monotone, distorted vocals conveying a deep suspicion, evidently considered a bit too culturally deviant for greatest-hits consumption, of superhumans living super-fast lives. "Squirt" similarly blows the _Risotto_ cut to hell, avoiding the drum work for a much slower, groovier, and cartoonish opening that segues through smooth unearthly woodwinds to a fantastic conclusion. Though the disparity in quality is not as marked, this version of "Setback", a barren soundscape that slowly becomes filled with grinding guitar, organ, amazing female vocals, and ultimately confidence, is not to be missed. Of course there are also pleasures that cannot be simulated everywhere else: "Wobbler" draws your attention to who loves you while curing your brass deficiency, and "OK" is simply fantastic.

The final result is equally good and disappointing. Depending on your ability the ignore the album's shortcomings the star-rating may be too high, three stars might be more accurate. Anybody with experience listening to techno should already know, but don't underestimate the effect that sequencing can have on an album (if a newcomer needs convincing, might I suggest some classic Orbital). In a perfect world, this would've been the high point of Fluke's career so far, or at least the album's clear aspirations wouldn't have been abandoned on the machine-perfect but I think a bit soulless _Risotto_. Nonetheless a strong and highly ambitious effort by a great band.

We'll stop. Usual tricks.
What other reviewers write off as "downtempo" is the key to Fluke's genius on this album- a subtle, progressive sound that sweeps the listener away into a world a little more magical than our own- from the subdued, almost childlike melody that begins "Bullet" right to the slow-building anthem "Wobbler" and into the beautiful female vocalizations ending "Setback".
Inevitable comparisons are drawn between "Oto", and Fluke's subsequent work, "Risotto"- if for no other reason than "Squirt" and "Setback", which appear (in different forms) on both albums. But comparing the two is unfair because of the different moods present. "Risotto" is (for the most part) upbeat, high-energy electronica at it's best (especially for those who crave more than just a good beat). "Oto" is infinitely more subtle, and more than a tad darker than "Risotto", and the lyrics reflect that.
"Oto" is a masterpiece of progressive trance, containing wonderful lyrics from the repition of the word "Super" in Tosh (something you gotta read to believe) to the dark, almost apocalyptic world we create from the lyrics in "Setback". Out of the eight songs on the 55-minute "Oto", all but "Cut" are beautiful and well-crafted, the latter being a bit weak and repetitive, but is still heads and shoulders above the mindlessly weak music that sits on the charts these days.
Buy "Oto". Now. And prepare to go to a world full of darkness and danger and even a little glimmer of hope somewhere underneath everything else.

Can't quite match the standards set by 'Six wheels....'
Opening with the magnificent 'Bullet', Fluke's follow up to 'Six wheels on my Wagon' is another winner.

A somewhat more varied and experimental album it struggles at times to match it's more revered predecessor, nevertheless it maintains interest form the listener. With long ambient tracks like 'Setback' and 'OK' this album has a more space-like feel to it.

Worth buying, compared to most of their rivals output. ... Read more

Reviews (4)

Probably the best CD around.
Wow, I really don't know what to say. This CD is thoroughly amazing from start to finish.

Basically, this CD is a bunch of different styles of music artfully mixed into a 72 minute CD that will take you breath away. Everything from jazz, techno, rap, ambient, hip-hop, etc. is on this disc. The sounds go from fast and loud to soft and tranquil. It is a beautiful and emotional masterpiece that is a must have for anyone even remotely interested in this type of music.

Please, buy this CD and listen to it, start to finish, and I am sure you to will be as amazed with this CD as I am!

Game of two halves
he's not short on imagination, our subliminal kid - and his heart is definitely in the right place. The mission is: stay off the beaten path, keep it interesting, mix up some styles. The result: ummm, mostly pretty good. The first section is killer: tracks from all over the musical compass and some absolutely top-notch mixes going on here: DJ Krush brings cool jazzy vibes, the Sharpshooters low-key hip-hop is a high point, old skool styles with Aesop Rock and that's not mentioning the D&B, abstract techno and other moves and grooves hiding in the corners.

...and then things go a little pear-shaped. The second section dwells in the realm of very abstract beats, heavy jazz influences and finally heads off into the hills of ambient electronica. It wears pretty quickly, given DJ Spookys tendency to mix in and out of tracks before they've even got properly settled down. This works for faster, catchier tracks, but is a bit disorientating with more jazzy, open grooves.

- so, if you have Mr. Miller's magpie-like taste and find yourself painfully bored by any mix less interesting than, say, Coldcut's superlative JDJ collection, I'd say this was a risky disc. But it's definitely not dull.

Strictly off the hook
I am a huge fan of this album. It's a little heavier then other work the man has done but not too deviant from the style that has made DJ spooky who he is. The album trails off towards the end but this doesn't detract from the over presentation

Pretty Decent
A clean mix from Dj Spooky, on a Shadow Records kick all of a sudden. We hear from the likes of hip-hop gurus Dj Krush and Dj Cam, some new faces (to me at least) like Quentin's Ladder and Fugitive Elf. Its altogether very jazzy, which is a bit different from his last DJ Mix, which was a bit more boppy and thumpy.
The mix is about 40% hip-hop, 40% jungle, and 20% ambient. Few mixes can accurately join these genres together, but I feel he was successful in the attempt.
I think the highlight track would be 23. Anything with Bill Laswell is bound to be interesting, but this track is very subtle and extremely dope. Hopefully Dj Spooky will go back on the ambient, dubby kick, which is an amalgamation that is sorely missed. ... Read more

Album Description

CD debut of 14 tracks from the first two Caustic Window EPs,each originally limited to 2,000 copies apiece when put out on the Rephlex & Instantly labels. Caustic Window is just one in a number of musical aliases that Richard D. James has gone by, who is best known as Aphex Twin. 1993 Rephlex release. ... Read more

Reviews (4)

A great collection from Richard
Richard D. James, the mastermind behind Caustic Window now has a collection of tracks from various Caustic releases that are very hard to find. With this disc, you can get a lot of what youre missing! Bizzare, trippy, funny, and sci-fi worlds of electronika is what you fly into while listening to Caustic Window Compilation. Those with open minds about music, and have patience for the infinite world of electronika, then this album is a must add to your list. If you didn't know, Rich is also the Aphex Twin, Polygon Window, Gak... hes a genuis. He is my #2 all time artist, falling short only to Trent Reznor. Check out Aphex Twin's Ambient Works 85-92. Richard composed this album at the age of 15. Also check out Ambient Works II for a more soothing abd relaxing feel rather than the raw energy emitted by Caustic Window. A definite reccomendation!

The Many Moods of AFX
Containing 13 of the 15 tracks that appeared on Richard James' early analog "Joyrex" series of EP's, this collection demonstrates a mind that doesn't worry about conventional dance-music structures or cliches. In fact, I doubt they ever even occurred to him as he was concocting these tracks. It's mostly harsh music, and its less-than top-notch production values make it sound as raw as the "Classics" comp James released as Aphex Twin.

The best tracks are also the hardest ones; "The Garden of Linmiri," (which was used in that Carl Lewis Pirelli tire commericial) slams you over and over with its driving, industrial drums while what sounds like a little metallic termite burrows its way into your brain. Next up is the incredible "Fantasia." This music will send parents, dogs, and 'normal' dance music fans running for the hills. Whirling, shrill synths fight to be heard above an absolute din of a rhythm section. This is head-banging music -- I wouldn't try to dance to it for fear of breaking any of several bones.

Also worth mentioning are the robotic funk of "Astroblaster" the melody-driven "Cordialotron," and the one track that contains shades of James' ambient compositions, "Joyrex J5." Shades are all you'll find, though, as this is as far from "Selected Ambient Works 2" as electronic music can get.

Jungle? Not so sure, but definitely classic
These tracks were taken from back when RDJ and pals were throwing parties, etc. simply for a lack of things to do.

I'd say it is techno of the old-school kind, something I rather miss. Some tracks are a bit trancy, and I suppose the second track does have junglist elements, but all in all, this is music to dance to. IDM indeed.

RDJ does Jungle before Jungle exists
I bought this album to compare the early works of Richard D. James (then known as Caustic Window) with his latest breakbeat stylings (under monikers such as AFX, Aphex Twin, Polygon Window, etc.). What I found was a unique example of jungle music that seemed like no other sample I had ever experienced before. Moreover, it appears that Mr. James in fact pioneered the genre of drum and bass long before it became the commercial monolith as it stands today. Many of these songs share certain features with modern d'n'b artists such as Goldie or Atari Teenage Riot but only the warped mind of James could possibly concoct these songs. Whether you're a fan of James or Jungle, this album is definitely a must-have. ... Read more

Amazon.com

Deep Concentration reinforces what you fundamentally love about hip-hop and then proceeds to flip your brain into hyperspace with some of the more progressive DJ compositions from some of the most respected turntablists around. West Coast DJ Cut Chemist (of Jurassic 5 and Ozomatli) reaches extra deep into the archives to build "Lesson 6," while DJs Swingsett and Wally find a hook in a loop of dripping water for the trippy "Centaurius Space Bass." Hip-hop purists will appreciate the X-Ecutioners' assault "A Turntable Experience" and the only MC cut, "Say What," by the lyrical marvels Latyrx. Some of the routines on Deep Concentration are sonically experimental while others, such as Prince Paul's ego trip, "DJ Prince Paul vs. the World," simply excel with excess. --Todd Levin ... Read more

Reviews (2)

A Classic.....
Although a classic of which music genre is anyone's guess. Trip hop prehaps? There so much depth to this album it boggles the mind. I purchased this album over seven years ago when I was just starting to get into DJ Shadow. If you are a fan of Shadow you need this album. This is also what I would call a "bridge" album because the artists on it are tied to so many different music scenes....I guess that's mostly because of Cut Chemist. This is a definate "must" for anyone that enjoys turntable artistry.

Absolute Masterpiece
You get a bit of every style in this package. The skillz amaze, but your butt still moves.

The content alternates where the A sides (2LP in my case), are butt shakin' turntablist rave-ups and the B's are more ambient, jazzy, smoove stuff. ... Read more

Amazon.com

Prolific Italian film-scoring legend Ennio Morricone isn't afraid to use contemporary pop idioms in his work but usually eschews them because they become dated so quickly. That shrewd sensibility helps make this collection of remixes by an international slate of dubsters and electronica artists a bit more interesting--and ironic--than it might otherwise be; after all, what music dates quicker than club remixes? Producer Stefan Rambow (Mondo Morricone, the Canto Morricone series) also notably secured Maestro Morricone's approval for the project, giving it an added cachet. But that official blessing may also account for the set's patchy quality. A few of the efforts seem overly conservative--especially given the genre--and hesitant to tweak The Legend too much. Apollo Four Forty and Terra Nova are satisfied to simply overplay the most clichéd elements (twangy guitars, harmonica, oddball percussion) of Morricone's spaghetti Western canon, while the remainder of the set is surprisingly atmospheric and sedate. The elegant melodies of "Chi Mai" sometimes get lost in Nightmares on Wax's groove lite, while Bigga Bush and DJ Dick produce two nicely contrasting takes (rhythmically edgy and languorously dreamy, respectively) of "Clan of the Sicilians" and Thievery Corporation, Tommy Hools, and Ali N. Askin plumb the often haunting dimensions of Morricone's music. Enthusiasts should welcome these mostly fresh takes on his enduring legacy, even if they ultimately prove Il Maestro was usually one step ahead--or completely outside--of the game. --Jerry McCulley ... Read more

Reviews (2)

Moody and melodic
I was a bit skeptical, but these contemporary rhythmic remixes of some of Italian film composer Ennio Morricone's best-known pieces work surprisingly well and make for an enjoyable collection. Produced with the cooperation of Morricone himself (or at least with his blessing), these tracks work astonishingly well in their new guise. Most are too somber to function as dance music, but are quite evocative and lovely as listening music, thanks to the sympathetic arrangements of the artists involved, all of whom seem to honor and appreciate Morricone (liner notes are brief) and the atmosphere these pieces were intended to convey. Fans of Morricone's music will enjoy this successful experiment and hope for more.

groovy chill out w/few upbeat twists...uneven but worth it.
according to the liner notes of this cd, this compilation marks the first time that maestro morricone has agreed to a rmx of some of his original pieces. there are a number of standout tracks here - the most stellar piece being tomoyuki tanaka's rmx of belinda. tanaka brings in additional layers of brazilian percussion and layers them with those sweet fpm chorals and piano. this reinterpretation is beautiful and worth the price of the entire album. for those who immediately think "kitsch!" DON'T...far from it. thievery corporation turns in a very solid and typically mellow tune with a cinematic feel, "ile grande silencio." dj dick and bigga bush from rockers hifi both turn in separate rmxs of "clan of the sicilians" and both are fine downtempo though i found dj dick's a more enjoyable listening experience. nightmares on wax's rmx of chi mai is spare but effective, his approach reminded me of the one he used with his rmx of shirley bassey's "easy thing to do." no swelling chords, layered percussion, just a strong unifying beat and tinkling melody. tommy hools was the other track which i found to be superb. very chill and jazzy.

you may find that your personal preference for the remixers influences your opinion of the tracks contained here. i found myself drawn towards remixers whose other work i enjoy.

one star off for the lazy efforts of terranova and for the bad judgement in including a rmx by apollo four forty. these songs are the first two on the disc, so if you can get by them, it is smooth sailing all the way through. ... Read more

Amazon.com essential recording

Whether it's Caustic or Polygon Window, AFX, or just plain Richard James, the man known as Aphex Twin always writes dream-inspired music. Not pleasant, running though a field of flowers dreams, but dark, paranoid, and haunting nightmares. The third installment of Analogue Bubblebath is no exception, and continues in the same demented direction as previous volumes. Describing individual tracks this time around is more difficult than usual, as each track is given a (seemingly) random serial number rather than a traditional title. The only exception is "AFX 6/b," an ambient, electro number that tweets, chirps, and hums with mechanical inspiration. Other tracks range from the sound of stuck machine cogs mixed with phazer fire to scratchy minimal techno to gurgling guttural noises. Frightening but inspired. --Daniel Shumate ... Read more

Reviews (6)

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

creativity at its best!
amazing, i love the song "Entrance to Exit" as it feels like a Tornado is consuming your very presense. The molody creates a fast merry go round tornado effect that sweeps you away.

Great cd
Well i've owned this cd for a while now and i would have to say that its one of the best i own. Its only problem is its length. Its really short. Either way the tracks are good. The best in my opinion would have to be "Enterance To Exit". Its such an awesome song! WEll all i can say is this: if you like aphex twin then you should own this album. Its great!

Motion pool
This EP was one of AFX's first commercially available efforts. In his early days, Richard was the embodiment of a bedroom producer, and so the sound quality of this EP release isn't the best. Nevertheless, this CD-single displays the unique abilities of AFX, and it's great fun to listen. The title track is one of his gentler ventures, an acid house track with bubbling water noises (of course!) and delicate harmonies. The combination of harsh beats and psychedelic melodies is also featured here, as "Iso.." demonstrates. The furious rhythms and distorted vocal samples of "Entrance.." prefigure the metal/techno-crossover sound of "Come to daddy". "AFX2" is a typical ambient-techno number which would easily fit onto "Selected ambient works 1". Nevertheless, I think this EP will remain an item for completists. The title track and "Iso.." are featured on Aphex Twin's "Classics", a collection of early hardcore tracks. "Entrance.." was also available on "Wasted", a compilation of unreleased material from the likes of Autechre, The Orb, and Underworld.

RDJ, love him or hate him....
"~Well, I love him!"~ repetative beat, but just enough alteration of sound to keep it interresting... by the end of the song, it's something completely new. got enough of them) ... Read more

Album Description

Following his EP Ceramics Is The Bomb, Chris Clark's second album Empty The Bones Of You is truly representative ofsome of the industrial, slightly gothic elements in much of his music. 11 tracks in digipak format. Warp Records. 2003. ... Read more

Reviews (8)

BEST ALBUM OF LAST YEAR(and I mean it this time)
I had the fortunate opertunity a few months ago to see Chris Clark live. Before then, I had no prior knowledge of what he sounded like but I become completely entoxicated with combination of harsh beats and beautiful, picture-esque soundscaping that rivals even some of the best moments of Boards of Canada. I was hooked and ran out and bought his Clarence Park, a mish-mash of gorgous textures, real emotions and a healthy dose of humor(Lord of the Dance). It was truly addictive but wholy satisfying. After ages of debate, I finally plunked down the cash to buy his Empty Bones of You.

Empty Bones of You, upon first listen reveals Clark still honing and tweaking his craft. The crunchy electronic beats and densely layed melodies are tightly woven together and create a lovelly tapesty that makes it an audiopleasure. However, as each listen revealed to me, the Empty Bones of You has a certain level of evocation to it. Its technicality can easily be stripped away to reveal a gentile, sad, cold landscape that is essentially a devestated human heart at its very core. Rarely has a electronic artist actually been able to create an album that is techincally sound in almost every aspect(with a few filler pieces near the end) that is so emotionally envolved at the same time. It moves through motions of rage, dispare, isolation, frustration, alienation, before finally ending on a brighter note, a sign of hope. Whatever inspired Clark to conceive such an album, he has certainly elevated himself as someone who can play with the big dogs. Other than two later tracks that seem like filler and throw the moment off of the album, it still largely remains the best album of last year with out a doubt in my mind. This one will be a real keeper and hopefully get Chris Clark some real recoginition. A talent like his shouldn't be kept underwraps.

P.S. Durring Luke Vibert's set, Chris began to dance right in front of me. I tapped him on the shoulder to shake his hand but I think he thought that I couldn't see(he did sort of eclipse me). Chris man, I'm sorry!

P.P.S. Two albums in and Chris is already saying this will be his last melodic venture. Who knows what he's got going next.

inward (onward)? spiral
Chris Clark moves into the larger circles cut by the likes of Autechre and fills them with spirals and filligree. Big, bombastic, elastic pads and beats sliced and diced with skittery percussion. Read an article saying that this would be his last 'melodic' release. Too bad. Git this one while you can.

Empty the Bones of You
This Chris Clark release I would have to say tops all others. I found myself on other releases becoming partial to certain tracks. I am sure you know what I mean by some tracks sticking out more then others. This disk makes that hard because every single track tops the technical standards of what I enjoyed about Chris in the past. I put this CD in and I am blown away by every piece of it. I would have to agree with it being WARPS best release in the last year for sure. I try to describe what kind of movie some disks would be a soundtrack for. For Empty the Bones of You I picture something crazy or tripped out with David Lynch type darkness. If you enjoy anything on WARP I recommend this disk. I managed to sample the album first on WARPS Bleep.

Thankyou thankyou
I played this at thanksgiving and with every little crunch my grandmother let out little muffled "oh my" and would spill something in her lap or swallow real loud. I asked her what she thought when the album was done and all she could say was "well I think your pa has the squirts now, however the music is real interesting and is rather beautiful". My grandmother actually saw John cage perform in the early days and has told me if that if she wasn't dragged to the concert she wouldn't have had much interest for experimental music at all in the first place. Anyways, Chris Clark is brilliant. His music is sexy and filled with passion! It is genius, poetic and blessed with nostalgia! I give empty the bones of you, ceramics is the bomb and clarence park all 6 stars.

The best warp release in ages
get this if you like warp but feel a little unsatisfied with what they have been releasing lately(i.e spokes).ive given it about two complete listenss and its getting better and better.excellent album. ... Read more

Amazon.com

Back in the mid-1990s, the release of a new Orb album would have been something of an event. By 2001, most people had probably forgotten that they still existed (their previous album, Orblivion, was released three years before that, an eternity in the world of modern electronic music). Some music critics even questioned the band's relevance in the 21st century. In an age of sophisticated chill-out tastes, could the Orb still cut it? From the evidence on Cydonia, the answer is a resounding yes. The album sees mainman Alex Paterson fusing rolling dub bass lines and classic Orb ambiance with crisp breaks, shimmering synths, and off-kilter electronics. There are spacious vocal numbers (singers Aki and Nina Walsh sound remarkably like Björk); short, dub-house instrumentals; and spooky, other-worldly drum & bass pieces. It's like rave-era ambient house given a new millennium makeover. It's hardly revolutionary, but that's not the point. As far as space-age chill-out music goes, the Orb are still in a class of their own. --Matt Anniss ... Read more

Reviews (40)

Fantastic, as usual.
First off, I must let you know, dear reader, that the four years that passed between the Orb's last album and this album were not spent idly and without lots of other releases ... they're just not "albums" and after all to be taken seriously one must be judged by "albums" .

If you want your Orb to be stagnate, unchanging, and eventually boring and dated, this isn't the album for you. Stick with "2001: A Space Orbessey" which has plenty of those 15-minute-plus tracks you love so much. Or keep up with the DJ sets performed online, grab those and stick with those. If you'd gotten your way, the Orb would have been a joke by now.

If you like your Orb to change, just like you've changed as a person in the last 13 years, then this CD should keep you happy. As an entirely different direction for the Orb from previous albums, it's not an easy first listen, and there's no reason why it should be (Alex doesn't make music for you-individually-per-se). Put it on, relax, listen to it, and hit repeat on the remote when you get to the end so you can listen to it again. And *learn* it inside and out before you make up your mind whether you like it. And appreciate that each Orb release is different from the last one. Pretty soon you'll be clamoring for the next one, wondering what new direction *it's* going to take.

Not bad, but not great
The Orb was one of the first acts in electronic music I really got into. Their smooth, chilled ambience was a great soundtrack to just relaxing and being mellow. "Adventures Beyond the Ultraworld" was a great, great album, and "U.F. Orb" is an absolute masterpiece. So when I heard of new Orb on the way, I was very eager.

Unfortunately, it wasn't as great as I had hoped. There are definite highlights, such as "Once More", "A Mile Long Lump Of Lard", "Terminus", "Hamlet of Kings", "Centuries", and "Plum Island", but there's a lot of filler too. It wouldn't have hurt to cut the length some. The production is wonderful, as always, but often it just disguises the emptiness that lies in the song.

I'd still rank it above "Orblivion" because of its' more cheerful vibe, but it's not the best out there. Pick up their first two albums, the live disc, and the greatest-hits compilation first.

We have a pope! And his name is...
Of the four Orb albums I have (the others being "Ultraworld", "Orbus Terrarum", and "Orblivion"), this is almost certainly my favorite. Somehow filling a happy medium between the dark, thumping grooves of "Orblivion" and the often aimless (though sometimes beautiful) ambience of "Ultraworld", "Cydonia" is a beautiful cut of low-key electronica that usually hovers just on the edge of consciousness but sometimes ("Ghostdancing", "Hamlet of Kings", and especially the haunting -- yet strangely upbeat -- repeating arpeggios of "Terminus") shines forth as a little slice of electronic brilliance. "Terminus", in particular, is a wickedly addictive track that always seems to end about ten minutes too soon... but then that's why we have the "back" button, right?

Nice one, Dr. Patterson.

Bonus track on Import version
Another great album from Orb! Just wanted to mention that the UK import version has an extra track inserted at #12 (EDM) which (IMO) is easily worth the extra cost.

Still Orb, yet not Orb
I can understand why some people didn't like this Orb album. At first, I didnt like it much either. But, I kept listening to it every now and then, because no CD should be judged just on one listen through. Gradually I came to like most of this album. I can safely say that the first 7 tracks, through "a mile long lump of lard", sound great.They flow together and have mixed sounds that combine for that same great Orb feel. Conversly, the last 5 or so tracks seem to be a lot worse, some even pointless. I still can't quite put my figner on what this album is supposed to be, but its still a quality buy for Orb fans. This one gets about an 83 percent...for now. ... Read more

Album Description

Full Title - Bhangra Bloody Bhangra - A Tribute To BlackSabbath. The Opium Jukebox team have brought you theirtrademark dubbed-up, chilled out, chemically enhancedtribute featuring Ozzy Obbourne. 2002. ... Read more

Reviews (1)

Not A Novelty Record.
Being a fan of both (early) Black Sabbath and Indian Pop music / Bhangra / Sitar, I just had to try this one and I'm very glad I did.

The music on this CD is more than listenable on it's own & the Black Sabbath connection only makes it more interesting.

It works so well (esp. N.I.B.) that I might just buy their Sex Pistols Tribute next.

Recommended - have a listen to the samples on Amazon. ... Read more