Amazon.com

With giddy tunes and electronic whirligigs, Schneider TM's Zoomer blips and beeps its way into your brain, causing the same hyper-happy effect on adults that sugary cereal has on a 9-year-old. While 1998'sMoist and the 2000 EP Binokular helped define blip-pop, Zoomer is yet more accessible, even introducing some hip-hop into Schneider's digital confections. Tracks like "Reality Check" and "Cuba TM" would be Britney-style pop songs in a world run by robots, but there's no mistaking the carbon-based hooks and melodies. Even mini-symphonies like "Hunger" depend on good old song craft for their addictive effects, despite the layers of ultralight, mechanical glee. Schneider TM's sound won't appeal to those looking for beats, and it isn't quite out there enough for the experimental future crowd looking for the next Oval or Mouse On Mars. However, if you like Tortoise despite their overt pretension and adore Stereolab when they aren't wandering aimlessly, Zoomer is worth a listen.--Matthew Cooke ... Read more

Reviews (3)

A great listen
The best word to describe the unique sound of Schneider TM is organic. Not in the sense that the sounds he samples are naturally occuring, but more in the sense that these sounds occur all the time and we have become totally oblivious to them. It's as if all the various noisemaking devices we zone out on a daily basis have risen up and starting jamming together. If Dada movement was "found art" then Schnieder TM would be "found music." Taking everyday "noises" and turning them into something sublimely beautiful takes the special skills that only TM has.

candy music with depth
schneider tm's zoomer shares a remarkable quality with david gray's previous 2 albums in which the electronic realm is merged with the acoustic realm without depreciating a sense of humanity from the music. however, the man behind the curtain takes it a step further by successfully creating sentimental electronica. on zoomer's first track, "reality check," schneider manipulates his acoustic guitar (maybe bass...) to sound like it is weeping. on the final track, "cuba tm," it are synthesized arcs of tone that add a sense of deep, lonesome sighing to the song. it is a remarkable feat i think when a musician can disprove that electronic music is fundamentally without soul. other artists that i think deserve this trophy are underworld (any of their works (except their latest); but especially the song "moaner"), aphex twin ("moo kid", "alberto balsalm"), radiohead ("kid a"), and whatever trent reznor puts out. furthermore, zoomer is lush to the ears, fountaining a thousand circles of endless colors. it clips, clocks, and clinks in subtly unique and affecting ways, and the lyrics are conscious and creative. there's also a brief but rockin nod to hip-hop. but what the hell does this suburban-bred whiteboy know about hip hop? i give zoomer 4 stars in hopes of an even greater, longer album. if you like zoomer check out the "frogtoise" remix single.

get more sleep and drive out to the country.

no stranger to the shadows
Never complacent to settle with his comparison to Aphex Twin, Dirk Dresselhaus, aka Schneider TM's, latest shows that, rather than walk in R.D. James's shoes, he followed the path out of the primordial ooze where many electronic artists still stagnate.
Zoomer has as many interesting blips and bloops as the next "laptop" CD, but it adds one key element lacking in many of the folks working is this genre: the music has a soul (like a Tin Man of sorts).

The progression of style from Schneider TM's earlier releases shows that not much has changed; and that is definitely for the good. To his credit, he sounds more confident with his vocals, his producing is more solid, and his instrumentation a bit more creative
and slaved over, but Dirk's heart is still in songwriting. The disc has a warmth and
spirit that make the work endearing as "songs", not simple exercises in the electronic abyss of freedom with a "look what I can do" technique. And theseare (for the majority) SONGS man: verse/chorus/verse/bridge with the standard harmonic shifts of the pop world, however the inventive sonic palette creates enough interest to avoid boredom with these "mainstream" sensibilities. The melodies are lush, soft, reminiscent of
Plaid's, Double Figure and the orchestration and (yahoo) harmonies that surround them are clever enough to match them. The opener, "Reality Check" fuses heavily comb-filtered guitars over glitchy up-tempo beats. Dresselhaus employs the over-used,
oft-clichéd vocoder route for vocal effect, but makes it warm and natural. The surreal "FrogToise"; a lamenting tale of dissection ("cause in my dream I cut a frog in half and a turtle too...how it looked at me, the one to blame") features choral washes, Dirk's
signature Beck-like voice, and a warped-record wobbling that creates a home for his intriguing lyrics. "Turn On" finds MC Max Turner delivering the goods ala Q-Tip inspired free-styling over tremolo guitar and seriously damn fine "clicks and cuts" style drum programming.

Zoomer is a stellar example of how to make trends into tools. The novelties of bip-hop, glitch, drum and bass all fade, but Dirk is there at the funeral, scooping up the ashes, discarding the sludgy bits and forming his own niche in the electronic realm. ... Read more

Reviews (12)

Six Stars for Six Wheels!
A little over a year ago, I bought Risotto on a vacation and figured it could not be beat.. by anyone or anything. Then I get Six Wheels and it seems as though Fluke has created a masterpiece that perhaps defeats the mighty, incredible Risotto album (and the album "Oto", which is still excellent, but in my opinion doesn't even compare with these). This CD is almost totally different in style, but it still manages to keep the Fluke feel. Several songs on this album are specific mixes of tracks that are on individual singles, i.e. Groovy Feeling (Make Mine a 99 Mix). Sometimes the selected mixes are better than the others, sometimes not.. but it doesn't matter because this whole album is fantastic. Fluke utilizes vocals much more frequently in this CD than in Risotto.. which in the electronic realm may seem like a drawback, but it in no way takes away from the music, it actually enhances it. In tracks like Groovy Feeling, Letters, Slid, and Lifesupport.. the vocals are essential to get across the feeling of the song. With this release Fluke changes styles.. they explore everything from prog. house and trance to ambient to poppy trip hoppy. It's all spectacular! Some of the best tracks I think are 1,2,6,7,9,12. Anyway, if you're a huge electronic (or even pop) music fan, you will NOT be disappointed! GET THIS CD! :)

Seminal techno/house album by Beaconsfield's finest
From the opener 'Groovy Feeling' you can hear this is going to be a great album. More mature and knowledgeable in their musical tastes, Fluke were never going to make a boring techno/house record that others have. (See Underworld's 'Beacoup Fish').

Dance orientated enough to get the younger generations listening but also musically complex enough to get the mums and dads out there to take notice, this album showcases the best in techno, house, trip-hop and ambient dub.

'Electric Guitar' will always be at home both on the stereo and on the dancefloor, 'Slid' remains a great pop song and 'Top of the World' builds and builds as only a Fluke song can.

Get this now, you'll always find time to listen to it.

Its OK, not "great"..
I was expecting something alot better, based on all the glowing reviews of this CD, but "Six Wheels.." is only mediocre. Technically it is very palatable but this CD is missing all the imagination and musical flair that is so obviously present in "Risotto".

Parts of it are pretty boring, to tell the truth. Tracks like "Slid" and "Astrosapiens" come close to being inspired but they don't quite make it. That's the way I feel about the whole CD.

Ignore the release date; this is now
I am normally scared off by release dates as old as this one, but I think _SWOMW_ actually sounds *better* today than it did in 1993. It's a fantastic CD. The eclectic mix of aural and vocal styles make it a favorite in the office. Accessible, but worth repeated listens. Worth the import surcharge.

Coolness.
I think the world of Fluke and have been a fan for years. This is my favorite album of theirs. Great ambient trance techno. ... Read more

Album Description

1996 release on Eskaton Records, the first half of theband's then new project & compared to their 'Protection'release. 11 tracks, including 'Unprepared Piano', 'RedSkeletons' and 'Green Water'. The full title is 'Black LightDistrict - A Thousand Lights In A Darkened Room'. ... Read more

Reviews (6)

Coil's transition
This album falls somewhere between Coil's early, drugged decadence, which reached its apex with the acid house inspired "Love's Secret Domain", and the recent works dealing with alchemical sound sculpting and magickal lunar energies. The urban grit, most evident in the '80s albums, is still present to an extent, albeit more as an inseperable quality of a total reality being rapidly molecularized than the patina of Thatcher-era postcolonial decay that was an undercurrent of the work of so many great British artists of that decade. "LSD" signaled a shift to a more electronic Coil, and that process begins its refinement toward a more subtle approach with this project. Crunchy, reverb-laden loops are the backbone of many of the tracks here. For the most part, they are multi-textured, despite their repetitiveness. Clanking, damp stretches of industrial(sorry!) atmosphere are interrupted by the occasional more straightforward song. However, most of this album relies on mood and texture to carry it. It has its dull stretches, but it's creepy and trippy in that unmistakable Coil way. I can see how some people might not get into this album, especially those more into coherent tunes than abstract electronics, but "Black Light District" is an intriguing byway in the continuum that is Coil. It lies on a more obscure part of the map than the major works, somewhere amongst "Horse Rotorvator"'s demented Gothic manor, "LSD"'s warehouse party delirium, and the rural midnight conjurings of "Musick to Play in the Dark".

Uncomfortable Deja Vu
Coil is just one of those bands that is next to impossible to describe. Every album they've done sounds very different from the last. Here is my best to describe Black Light District. After you've just finished a very long and strenuous exercise, while your heart is still pounding, lay down flat on your back in a very quit place. Then just listen. You can hear your heart, but you can also hear a very soft rushing sound. The blood surging through your veins. That's the sound of this album. This picks up from where Transparent left off. But its far less minimalistic, and much better thought out. If you're into long, dark, rhythmic atmospheres, then BLD is for you. Like a lot of Coil's previous work, most of the tension that you feel isn't from what you hear, but what you think you're about to hear. BLD brings that to the ultimate extreme. Some of this album is closely reminiscent to Aphex Twin's Selected Ambient Works Volume 2. It also works on many different levels. Besides being damn creepy, the sounds that are used in this album are nothing short of mind-boggling. It will inflict fear, hope and uncomfortable Déjà vu from a childhood memory you forgot years ago.

Here is a list of similar releases.
Aphex Twin: Selected Ambient Works Volume 2
Einsturzende Neubauten: Silence is Sexy
Nine Inch Nails: Further Down the Spiral (mostly Coil remixes)
Coil: Transparent
Kevin Key: Music for Cats
Skinny Puppy: To Dark Park

World without warning
After Coil's long lay-off during the first half of the '90s - where the band merely cleaned out their archives and reissued some older albums on compact disc - the musical climate had certainly changed in the avant-garde/ambient/dark wave genre, so some fans may have wondered how Coil would continue their musical journey into previously unknown territories. 1995's "Worship the glitch" (under the ELpH banner) tapped fully into the then-modern approach of cut-and-paste soundbits, mechanical ambience, and heavy digital distortion, but the real surprise came with their next offering - 1996's "Black light district", ominously subtitled "A thousand lights in a darkened room" and originally released by Coil's side-project of the same name. Although the band's line-up had changed since the late-'80s and since "Worship the glitch" (and perhaps the reason to ditch the ELpH name), the music is sometimes along the same lines as the ambient tracks on Coil's earlier albums, albeit with a much more refined, coherent quality. Considering that "BLD" is an astonishingly diverse and innovative album that includes everything from creepy atmospherics to quiet ambient waveforms to somewhat hyperactive glitch textures, it becomes clear that Coil have created a piece of music which often seems to be the opposite of those smooth-as-silk ambient ventures we came to expect from so many '90s electronica artists. No album by Coil is easy to start with, but in my eyes "BLD" is very accessible and listenable due to its diversity and Coil's ability to hold the listener's attention, if only to see what will happen from track to track. You know...things happen a lot! A short piece called "Unprepared piano" (and exactly sounding like that) gets the album underway, followed by "Red skeletons", which consists of shuffling, muffled layers of rhythm and lots of non-musical effects. The first real highlight, however, comes in the shape of the 10 ½-minute "Die Wolfe kommen zuruck", which is German for "The wolves are coming back". Although the title strongly suggests a sort of environmental feel, the soundscapes rather work in an industrial direction: A heavy, repetitive metallic pound (an alternative, more vivid description could be 'clanking graveyard rhythm') plays over dark, droning noise loops and siren-like tones - this will make your little puppy dog hide under your bed. The first few minutes of "Refusal..." will sound familiar to owners of "The Angelic Conversation" in that it uses various processed water noises before a shimmering melody works its way through the gloom, backed by John's fantastic, dreamy vocals. Unfortunately, a couple of slightly uneventful pieces lurk in the middle of the album, most notably "Green water" with its rather childish keyboard noodlings and the two-part "Stoned circular" with its deranged effects, but thankfully things quickly perk up again with the 9-minute, appropriately titled "Cold dream..." and the utterly stunning "Blue rats". The latter sneaks along on a bass-heavy, punchy sequencer arrangement and features another excellent vocal performance by John, this time much more paranoid and aggressive. The album-closing "Chalice" seems a bit similar to Autechre's and Black Dog's early material, especially due to the way the descending synth chords and melancholic undercurrents are presented, although the sound effects and choir-like voices are pure Coil. Despite the unquestionable quality of this release, there's one thing which really annoys me: The vinyl edition of "BLD" features the 8-minute bonus track "London's lost rivers", perhaps one of Coil's most disturbing songs because it displays the feelings and impressions of a suicidal before he drowns himself in the rivers of London. Quite why this excellent track was left off the CD edition remains unclear, but it can also be picked up on the Russian compilation "A guide for beginners: Silver voice". In sum, if you're looking for a more dance-oriented Coil album, like "Scatology", "LSD", or "Stolen and contaminated songs", then this isn't for you. If you like to explore the outer realms of ambient music, then "BLD" should impress.

zzzzz.....
If you can listen to this whole album without falling asleep, you may need to cut back on the heroin.

Rip the System
Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose Overdose ... Read more

Amazon.com

For the Plastikman concept, Plus 8 founder Richie Hawtin sought to create an all-encompassing sonic environment, a slowly evolving "plastic world," in which the listener could commune with the machines.On Sheet One, the classic Roland boxes that made Detroit techno possible are placed front and center, bringing to light the psychedelic subtext of modern dance music. Meditative and hypnotic rhythms mingle with the distinctive undulating pulse of the TB-303 synthesizer, extracting and highlighting the essence of dance music. But unlike a dance-floor stormer, Sheet One's tension is not dramatically built and released; the point here is to slow down and listen closely, noticing change only after the fact, if at all. The ideas laid out in this album are later explored in the two subsequent Plastikman LPs as well as the limited-edition Concept series of 12-inches. But Sheet One is the most conceptually solid (as well as the most listener-accessible) LP of them all. --Matthew Corwine ... Read more

Reviews (8)

<---------{ Outer Limits }--------->
I've been listening to this since I first purchased it back in 94-95. There aren't too many albums that I can say that about.

I pop it in when I am working, surfing, sleeping, driving, eating, and all other activities that one can go about doing during a 24 hour period.

This is what "acid" SHOULD sound like!
My CD collection has reached somewhere around 200+ CDs and I can confidently say that this is my favorite out of all of them! This is a CD you can put in and zone out and be perfectly entertained! (I usely watch a special effects-driven movie on mute with Sheet One up loud)
Hauntingly alien ambient melodies with soft yet often locomotive synthetic percussion make up much of this epic masterpiece. Every track transions smoothly from the mellow ambient beginning all the way to the intensive climax of the last two tracks with eerie dialogue samples from what I think is "The Day the Earth Stood Still." I can leave this CD on repeat all day..even after owning it for two years! Just all around outstanding! Acid House revolutionized!

Seminal acid record.
In one of the reviews on this page the person states that this isn't the Plastikman he once knew. I think it is important to know that this is the CD version of the first Plastikman release, the double 12" of "Sheet One" (which contained Spastik) that came out in 1993 and along with Acperience 1 by Hardfloor was one of the main forces behind the acid explosion of 1993 and 1994 that unfortuntely lead to many lesser records featuring drum rolls and 303s. That being said, "Sheet One" is one of Richie's best and most focused records. It is a meditation on acid house stripped bare and laid clean. As far as whether or not it's from Detroit or Windsor... you can't separate the two communities... Richie used to spin on 96.3 in Detroit and at the Shelter (in Detroit) when he was young enough his mother had to drive him over the bridge. This is a seminal record from the early years of the peak of the Detroit scene, 1993-1996.

hypnotic beats
This album is fantastic for chilled out listening especially the 2nd track, which is amazing. Fantastic for work after a night out, soothing and ambient. Top!

This isnt the plastikman I once knew
I myself am a big fan of plastikman (aka Richie Hawtin)but this effort seemed to be lacking in depth,seems like he isnt trying anymore . If anything buy this cd for the art work its a sheet of blotter paper ,hence SHEET ONE. ... Read more

Reviews (1)

Great sampling of ambient tunes
Most of the works in this compilation are of a more leisurely, relaxing pace. Some ambient music is more appropriate for a chill out room at a club, but this seems better suited for relaxing at home with a few friends or alone. The majority of the songs are very soothing and melodic, gradually lulling you in a half-lidded, restful state. The music itself is fairly minimalist, opting for carefully chosen and assembled tones over a wall of noise. Sometimes it almost feels as though you are drifting through space. My favorite tracks are Omicron's Nightfall, Selway's Inside Wasting Time, Human Mesh Dance's Freefall, and Escape Tank's Room 9. ... Read more

Amazon.com

A companion piece to last 2002’s DJ Spooky/Matthew Shipp collaboration Optometry, Dubtometry features a hodgepodge of techno, turntablism, andexperimental trip tunes. Despite its title, Dubtometry featureslittle of that familiar rumble, though dub master Lee "Scratch" Perry doesdrop in on "Jungle Soldier" and "Sequentia Absentia." The album, however, is concentratated around clever samples from the likes of Karsh Kale, I-Sound, and Negativland. The jazz-oriented material on Optometry survives only in spirit, as Spooky'sreinterpretations keep the emphasis squarely on the electronic. While John Coltrane fans will appreciate lithe lines in "Parachutes" and "Rosemary," this dreamy, extraordinary effort has a heart made of Spooky’s natural medium--wax. --Matthew Cooke ... Read more

Reviews (2)

Another gem added to a long and fine catalog.
I have been listening to music from this artist since the late 1997, and from Necropolis, to Riddum Warfare, to the Frieght Elevator Quartet, to The Blue series with Matthew Shipp, this artist has proven that he has few peers if any at what he does. And what DJ Spooky does is to create landscapes made from tones, ambience, and samples. Along with his own brand of turntablism DJ Spooky continues to do two important things; Elevate the state of hip-hop underground in general when everyone wants to be Fithty Cent or Trick Daddy; Help to keep the music out of the clutches of those who would do little more than glorifly the "thug life".
However, it is important to also say that we have ignored genius in this culture before, I hope that the fact that we still get releases from DJ Spooky is a sign that things will get better for those in the population who need to hear genius, unfeddered by corporate greed.

wicked mash up!
This album is one of those rare remix projects that actually comes out better than the original (at least for my tastes). The abstract/free jazz aesthetic on the original 'Optometry' album was engaging, but not exactly my thing. This album is killer. Just look at the roster, Mad Prof., Scratch Perry, J-Live(sick track!), Karsh Kale, and I-sound just to name a few. Actually, I think the best remix comes from newcomer, Colorform, who records for DJ Spooky's Synchronic Records. His remix is perfect for chilling at home, but at the same time could rock the dance floor. Same could be said about the DJ Goo remixes. DJ Spooky has to be one of the most consistent artists working in today's industry. ... Read more

Reviews (7)

superbe
I feel that this album is very cool-
my favorites are mr whisky and groovin with you

Deliciosamente Frivolo
Un cambio excelente de Gentle People, SimplyFaboo es un album diferente al trabajo anterior del grupo donde deja a un lado el 100% del down tempo que los caracteriza para hacer piezas mucho mas alegres y con letras absurdas e inocentes como acostumbran. Lo mejor del disco: Shopping World y Gentle People are Love. Un disco muy divertido.

I LOVE the Gentle People!
I have all their CD's, thanks to amazon.com. I rarely see them in stores. Their songs are like puppies - soft and cuddly. But still very cool. There's no one else like The Gentle People!!

instant classic
Apart from serving up some of the best sounds of the moment (file under ambient/lounge), the Gentle People are a great product: the album cover, the web site, the lyrics, the names all create a unique, homogenous world. In short, the music sounds like the name suggests. It's all done with tongues firmly in cheek, of course, and not meant to be taken seriously. The 70s disco pastiche, "Gentle People are Love" will bring a smile to your face but the music is too damned good to be dismissed as a loungey joke. Good fun and a great listen.

Gentle People are funky
The Gentle People do it again, and again and again! These masters and mistresses of tasty electronica will put a smile on your face and keep it there. "Gentle People Are Love" is alone worth buying the CD for: a funky disco groove-on that will get yer booty shakin', yeah! ... Read more

Reviews (8)

industrial soundscapes
The album's good, a mix of early Coil work, but hard to listen to in one sitting since the album as a compilation has no continuity. Though great stuff, I'd recommend buying a real album such as one of the Musics to Play in the Dark or Horse Rotorvator (which has a similar sound to this stuff).

My main reason for writing this review, however, is to make clear than Unnatural History IS NOT Horse Rotorvator with different song titles. I don't know where the previous reviewer heard this, but it's not true.

unnatural history 1?
I got this a few weeks ago, and found it to be a very interesting and entertaining CD. The liner notes pick out each track and describe the sources of each from various titles of long out-of-print cassette tapes and vinyl LP's. But, I recently found that it was really "horse rotoravator" re-issued as "unnatural history 1" with all the song titles renamed. What's the point of doing that?

unnatural history 1
A very interesting and entertaining CD. The liner notes pick out each track and describe the sources of each from various titles of long out-of-print cassette tapes and vinyl LP's.

First Coil CD...
This is my first plunge into the musical world of Coil, and I have to say I'm surprisingly pleased. If you're into 'experimental electronics' at all, Coil is one project to take a look at.

A decent compilation
It is an alright album, there aren't really any tracks that stand out besides Dream Photography. ... Read more

Amazon.com

Florida DJ and producer Michael Donaldson, a.k.a. Q-Burns Abstract Message,is one American beats and electro artist who rates favorably with the U.K. kingpinsof DJ swank. Though his jumble of ideas makes his muse rather indistinguishable, hisundeniable melodies and clever production make for a smooth party CD you can programfor repeat.

A house-centric record that sounds as if it was made entirely with the same bank ofsynths and presets, Invisible Airline sticks to the groove but explores crossoverpop, blues shouts, bent guitars, and Brazilian bumps within its monotone mold. "Differently"recalls the dark doom of Massive Attackwith coiling acoustic bass and ethereal female vocals. Q-Burns adopts a Moby blues twist with the B.B.King cries of "Mother's Dead," thencreates buckling Brazilian cacophony on the warped "Asa Nisi Masi." Like "Differently," therockish "Drifting Off" sounds like a hit single, embellished with rupturing My Bloody Valentine guitars and the vocalsof Lisa Shaw.

Like BT's Movement in Still Life, Invisible Airlineattempts a pop crossover, but ultimately it arrives at a different, more elusive, and ultimatelyfulfilling destination. --Ken Micallef ... Read more

Reviews (6)

Abstract?
Q-Nurns Abstract Message......I like this guys name.Anyway I guess I think the album could have used a little more variety.While there is few different genres represented here,quite a few of the songs sound too similar to me.That said this is still a solid effort,thanks in no small part to Lisa Shaw's vocal talent.The trouble is that she carries the album too much.While songs like "mother's dead" and "imprisoned glitch" stand out from the rest of tracks,I think that without Lisa Shaw there wouldn't be too much to rave about here.Anyway,like I said it is still a solid effort and worth owning I think....3 1/2 stars.

smooth deep and so nice
I'm so happy with this disc. I tried to write a review but really just can't find words to do it justice. I think this recording will be part of my "don't leave home with out it" pack for a long time.

What an incredible album, totally caught me by surprise
I wasn't sure what to make of Q-Burns Abstract Message for awhile. I always assumed that his music was inaccessible and more experimental like drum & bass but when I heard "This Time" on this month's current CMJ compilation cd, I automatically knew I had to check out "Invisible Airline". I was mesmorized by Lisa Shaw's stunning vocals and the infectious, sugar-coated melodies of "This Time". Now that I have listened to "Invisible Airline" a couple of times I must say that I was absolutely wrong with my presumptions about Michael Donaldson's music. I would say that his music is a blend of house, hip hop and break beat. I love this cd, especially the songs that Lisa Shaw sings on like "Drifting Off", "This Time" and "Shame". I knew from the moment I heard "This Time" this album would be awesome. It is rare for me to know from one song if an album is going to be great or not and "Invisible Airline" is one of those rare albums with that one song that just suckered me into buying.

Didn't Wonder Woman have one of those invisible jets too?
The second studio album from Florida's Michael Donaldson finds his Q-Burns alias looking more like a band. The majority of these tracks feature Lisa Shaw doing a nice job on vocals, with other vocal appearances by Elmo Williams (doing the alt.blues thing on "Mother's Dead") and Swamburger kicking the rhymes on "Imprisoned Glitch". Stylistically this disc is all over the place, bouncing from house to pop to blues to rap to folk to tr*p-h*p. There are plenty of uptempo dance beats, but also plenty of guitars and front-and-center melodies.

A whole new Q-Burns
The second studio album from Florida's Michael Donaldson finds his Q-Burns alias looking more like a band.

The majority of these tracks feature Lisa Shaw doing a nice job on vocals, with other vocal appearances by Elmo Williams (doing the alt.blues thing on "Mother's Dead") and Swamburger kicking the rhymes on "Imprisoned Glitch".

Stylistically this disc is all over the place, bouncing from house to pop to blues to rap to folk to ...There are plenty of uptempo dance beats, but also plenty of guitars and front-and-center melodies. ... Read more

Amazon.com

DJ Food has become an identity that grows independently of its individual members. Originally it was an alias for Coldcut's Jonathon More and Matt Black, who were responsible for the first three volumes of Jazz Brakes in the early '90s. They joined forces with (the man known as) Strictly Kev and Patrick Carpenter for two more Jazz Brakes releases and 1995's A Recipe for Disaster, while at live DJ gigs, DJ Food was just Kev and Carpenter. Now those two have taken over the group name wholly and--unlike classic-rock bands past their heyday who hit the county-fair touring circuit with no original members--Kaleidoscope is DJ Food's most mature (in a good way) release to date. "Jazz" is a reference point throughout this release, from the downtempo, Zawinulesque electric-piano chords on the opening track to Chicago radio personality Ken Nordine's rather too ironic evocation of an aging beatnik. When they drop the self-consciousness and let the music speak for itself, the CD changes from merely clever to quite beautiful, and the second half sounds like the soundtrack to an intriguing imaginary film. --Bob Bannister ... Read more

Reviews (13)

From the people in Coldcut comes a sonic extravaganza...
DJ Food is a collaboration between the founders of the down-tempo groovers Coldcut and this definately marks a change in their musical evolution. Whilst Coldcut's music is Jazzy and uptempo, 'Kaleidoscope' represents a distinctly more dramatic and experimental turn. The main style of the album is that of an aural landscape which succeeds in letting the imagination soar amongst the synths and whispered beats of the album. The only tracks which differ from this style are 'aging young rebel' which sounds like something a stoned Morricone would write, and is no less good for that, and Nocturne which is a fantastic tune, rising xylophone beats and breaks. If you want challenging original and provocative music then buy this, it's definately worth your while.

tastes strange....
a word of warning - this isn't the same DJ Food responsible for the superlative "Recipe for Disaster". It turns out Moore and Black (aka Coldcut) tired of the DJ Food moniker and generously passed it in to Foakes and Carpenter (who had at least contributed to the "RoD" album), who - presumably chuffed at appropriating such a mark of quality - tossed off a bunch of experimental jazz-slash-dance tracks.

Listening to the album, I couldn't help feeling somewhat cheated. It's ok for a football team (and maybe bands like Genesis) to change their staff without warning us, but I don't expect decent artists to. It's a trust thing.

anyway, back to the album. There's some strong tracks here - some tracks ooze quality and cool late-nite vibes (Full Bleed, the Crow), but it's inessential stuff, especially since a much better mix of Crow is on the "Funkingfusion" compilation. Elsewhere, their experimental jazz background wears right through the cool stylings, leaving you with indigestible noodlings like "The Aging Soul Rebel". Sorry boys, but the "Reprise: a Splash of Debussy" is downright embarrassing, as are all synth experimentations with classical music, as if they wanted to show that they were above all this nasty "dance music" stuff.

There's really no reason to get this over "Recipe for Disaster" and particular the stellar remix album "Refried Food". Trust me, I own a lot of Ninja stuff and this is probably the one I listen to least.

Throwing some paint on a canvas and calling it art
For every type of music there is a listerner - no matter how lifeless and uninspiring (like country music). Thus we have DJ Food - overrated, boring, and simply to cool for their own turntables. I do give DJ food credit for creating very avante guard music as I would give an artist credit for being the first to think of putting a yellow dot on a green canvas - but I don't have to like it.

Simply put...
Kaleidoscope is a masterpiece. It's one of those classics that will never, and won't ever, outdate itself.
Much different than previous works by DJ Food, probably because the Coldcut duo didn't collaborate on this one. The past releases were all excellent productions. But I have to hand it to More and Black for stepping out of this one. PC and Strictly Kev, previous Food collaborators, created this one by themselves.
Nice job guys.
One of Ninja Tune's best in my opinion.

Moody fusion...
This is one of my favourite albums at the moment, quite possibly THE favourite. It's responsible for changing my outlook on music.

I've always preferred electronic music to the "ordinary" variety, and until recently I was dead-set against buying anything that smacked of jazz. Elements of jazz were acceptable though, which is why I was willing to take a chance with Kaleidoscope.

As you may have guessed, I was shocked to find out that the album is heavy on jazz influence; indeed you have to listen carefully to some of the tracks to discern where the mixing comes into play. My reaction to this was very negative at first. But slowly, my attitude began to shift. I discovered that Kaleidoscope isn't that dreadful light jazz popular with baby-boomers. It's noir, and it's keenly self-aware. Exactly what I like in pure electronica.

I'm now a full convert to DJ Food's brand of fusion. I'd list the outstanding tunes on the CD, but the album is so superb as a whole that I'd be doing it injustice by holding up some tracks and dismissing others. Suffice it to say that I'll remember "The Crow" and "The Sky At Night" for years to come. ... Read more

Album Description

Coil were formed by two founding members of Psychic TV - Peter Christopher And John Balance. Scatology originally released on LP in 1984 on the label Force & Form and received rave reviews as well as provoking scandal amongst prudes. It was co-produced by ... Read more

Reviews (5)

BRILL ALBUM!
I only found out about coil 18 months ago. I decided to download something by them out of curiosity (one of those random WinMX searches, you know) I downloaded probably the worst introductions that exist in the whole Coil back-catalogue "Windowpane", and "Dark Start" - they scared me to death! I thought nothing more of it until I searched for the original Tainted Love - coil's name came up - so I decided to give them one last try. Again, it scared me to death, but was somehow more familiar to me than the later stuff (I'm a massive Joy Division fan - work the rest out!) I decided to get "Scatology", and it was like a cross between Joy division/New order's stuff (Check them out if you like this album!) the album recorded after this "Horse Rotorvator", is better for people who want to dip their toe into the water - It is more guitar-based, and the songs have more structure - but this is the album for me! (I'm sure they nicked Steve Morris's drumkit and used the same studio! - if not, it is just scary...!!)

This is fun
I've had this album for about 6 years now, (thats not me showing off, just trying to say this was one of the first things I heard by Coil, this hellraiser themes). It is very different to what they are upto now, so take this into account. I say that this is one of my favourite albums of early eighties industrial scene. You get the feeling that two guys used anything they could get their hands on, which keeps in the vain of Peter Christophersons earlier work with Throbbing Gristle and very early Psychic TV. There version of 'Tainted Love' still makes me feel extremely emotional if not a little scared inside. Panic is also a supperb song, with the very true words 'the only thing fear is fear itself'. I think it's fair there a lot of energy (probably sexual), with niave punk attitude. There is also another gem here that was used for a Derek Jarman film, later (or before) on 'The Angelic Conversation' album. If you like this album check out 'Horse Rotarvator' as well.

Certainly not their best
If you started listening to Coil recently, and like their new music, you probably wont like this as much if at all, it is nothing like the "Musick To Play In The Dark" series.

Ok, my previous review was pathetic
I'm sorry, I got carried away and didn't really say anything useful in the last review. Except that I am sad the covers changed.

Scatology and Horse Rotorvator don't sound like later Coil to me. They are neither in the strictly melodic Coil category, nor in the strictly noise Coil category. The two releases, similar in style, have that old-school almost-industrial (i.e. certainly not in a category with 80's Einsturzende Neubauten or Test Dept. but akin to some live Psychic TV, yet more focused) thrusty edge to them, and an appealing sparseness, although the tracks are obvious "songs", with "melodies" and "rhythms." Dramatic, chafing, provocative, excellent 80's-style, there is a gorgeously twisted magickal intestinal honesty about the whole affair on both CDs. Vocals are dominant on many songs, unlike later Coil. Coil of the many faces. Scatology and Horse Rotorvator are must-haves for Coil fans and didn't serve me as a bad introduction to the band, having bought them both on vinyl I did in the 80's.

classic coil
maybe 2 songs sound a little 80's annoying, but the rest is golden. Raw Coil. Can't not turn it up every time. Still have & love original album after 13 years. Too bad the cover has changed for the CD. Ditto for Rotorvator. ... Read more

Amazon.com

It may come as a shock to the purists, but after two albums of pushing abstruse drum & bass to minimalist and epic extremes, the producer has thrown a heap of new sounds onto his percussive palate. To some, Solaris is going to sound like a chicken in search of a roost: both "Can't Come Down" and "Mine to Give" are pure 1988 old-school tracks that even feature that era's legendary vocalist, Robert Owens. "Terminus" and "Junk" pay loose homage to the nu-school breakz template, while "Halogen" and "Lost Blue Heaven" are beautifully poised, damaged electronic torch songs. There's even some drifting ambiance too. But what's missing in terms of coherence is more than made up for by the visceral power of Photek's production. Intense, stripped back, and wielding more brute force than Leftfield's Swords, there's a menacing beauty at work here that reinforces Photek's reputation for tingling sonic sculpturing on a grand scale. --Calvin Bush ... Read more

Reviews (34)

A disappointment.....
Photek set himself up for this album being bad....

He's revered as a minor god in some places because, well, he made drum n' bass like no other. It was so stripped down, so powerful, so simple.... so obsessive.... that if you were into it, you were into it, and you just knew.... that it couldn't be done any better.... 'Modus Operandi' is both a nightmare and an object of worship for those of us who would listen to just beats.... and would wash our hands thirteen times a day....

I was prepared to be a little disappointed when I first listened to this disc. There is always the slight disappointment with new, out-there kinds of records: I hated 'Supermodified' by Amon Tobin upon first listen; I was ready to burn 'Sex Style' by Kool Keith.

This I sort of liked, which disturbed me. Compared to the stripped back ninja essence of other Photek things, this sounds like stuff that my kid sister, if I had one, would like. For anyone else, it might be a brilliant album: I like the sounds of the drums on some tracks.... BUT....

This is a commercial album AND a house album. It's NOT on par with ANYTHING I have ever heard by Photek before. I was so pleased that other people hated it.... at least I'm not alone....

If you are thinking of buying this and don't have his earlier stuff, skip this and get that. If you have that and don't have Tobin or DJ Food, get them. And, if you have all of that, get Datach'i: at least it's different....

Photek Solaris
Comparing this to "Form and Function" is quite a big jump, but never the less the Photek soul is still visible. I wasn't all into diva singing...I almost regretted buying the CD completely, especially when I discovered the next track had the same deal once again. But I gave it another chance and they grew on me, and before I even realized I was singing along! Along with all the uniquely developed sounds, the song order rolls on very nicely. It beings quite chaotic, but positive, then aims towards love, gets aggressive, then very glum. People that don't like this CD are shying away from Photeks experimentation that's executed extremely well.

if this is bad then I can't wait to hear the good stuff!
i've never heard of photek.

then one day i stumbled upon 'solaris' at the music store and was instantly taken by the CD for two reasons: 1)the CD cover, a cerulean blue sky meeting a cerulean blue sea in some far off exotic locale was the most gorgeous CD cover i've seen in a long time and 2) the CD title 'solaris' is the name of one of my favorite foreign sci-fi movies. so warily i shelled out the fifteen bucks for it, popped it in my stereo and was immediately suprised by what i heard.

judging by other reviews, die-hard fans are saying he's selling out with this release and i don't know if he is. if 'solaris' is any indication of what he's capable of doing then the man is a genius.

'terminus' is a weird track i liked the moment i heard that familar yelping synth sampled from autechre. two sets of conflicting yet complimentary jungle beats battle it out over a lot of synth keyboard.

'junk' is my favorite track w/ it's throbbing warbled bassline, a trippy jungle beat and the word 'junk' repeated at intervals. i can never sit still when i listen to it. this track is the closest thing to perfection on 'solaris'.

'infinity' is true d'n'b and sounds a lot like roni size w/ a little bit of u-ziq thrown in for good measure (maybe it's all those rising strings that make me think that).

'lost blue heaven' is like a dragged down, slowed up version of the orb's 'plum island' even down to the echoed out bjorkesque vocals. drifty, dreamy dub.

'solaris' is another track of pure perfection. a throbbing house beat doubled back on itself that you can feel at the bottom of your belly with an eerie melody and a weird solar wind effect (possibly a sample from the movie 'solaris'?). if swayzak did dark menancing house tracks this would be it.

'glamourama' sounds like filler to me. minimal trance stuff i danced to at early 90s raves in san francisco. a repetitous beat, 4/4 claps, hi'hats and some gal rambling on and on in french. YAWN.

i also have to admit the two actual 'house' tracks on here, 'mine to give' and 'can't come down', are pretty weak (although robert owens has an awesome voice, it just doesn't quite gel with photek's beats). of the two, 'mine to give' is the best. it's turer to the stripped down minimal Detroit techno grooves associated w/ a lot of house music which is probably why it's one of the singles off this release. in any case it's still good stuff.

i know i will definitely buy photek's previous releases. if this is considered his worst 'sell out' CD, then i can't wait to hear what's considered to be his best.

Unexpected cool
I remember feeling betrayed when I read that Rupert Parkes was experimenting with house on Solaris. Parkes? The same man who gave us "Ni Ten Ichi Ryu"? That turned me off. I was really into his brand of martial arts-inspired jungle.

So for the longest time, I had no intention of getting Solaris. Then recently my brother and I decided to pool some record store club cards and claim a free CD. We couldn't really agree on something that we both wanted (within the offer's price restrictions), but after some pressure - including the store closing as we argued - my brother gave into Photek as a suggestion.

I'm glad he did. The two house tracks on the album ("Can't Come Down" and the ridiculously successful "Mine to Give") still feature Parkes' signature sound, the meagre changes being vocals and a 4/4 beat. The rest of Solaris is basically a logical progression from Modus Operandi - brooding and somewhat minimalist, with heavy staccato bass hits. But whereas MO had a film-noir feel, Solaris is science-fiction. It's difficult to explain how this translates into music. Have a listen to samples of "Junk" and "Halogen" though, and you'll know what I mean.

The only reason I've knocked a star off of my review is because parts of some tracks seem sterile and uninspired. If you're willing to put up with this, as I am, then Solaris is a recommended buy. Even for fans of earlier Photek.

a good effort
in photek's latest release, following "form & function," he has shown interest in different sides of the electronic dance music spectrum. in "solaris," photek experiments with house, breakbeat, and ambient sounds, as well as his signature minimalist jungle. the first three tracks are solid breakbeat cuts, straight up, plain and simple. "mine to give" and "can't come down" are house tracks, which aren't my favorites of the album, but are nevertheless decent. my favorite track of this album has to be "glamourama," because i love breakbeats and photek gives it his golden touch. plus, the track also features some eerie female vocals in italian (?). while this album is nothing like "modus operandi" and "form & funcion," it still stands strong. ... Read more

Album Description

Absolutely essential Squarepusher album from 1999 reissuedvia Warp Records at a nice price. 2003. ... Read more

Reviews (6)

Squarepusher does it again.
If you can't enjoy Squarepusher simply because of the fact that there are no lyrics, you're a fool. This isn't supposed to be hip-hop, so please don't compare to Bone Thugs or Outkast. This is idm/jazz at it's finest. So if you're looking for something to "sing along with" like some mindless parrot, steer clear, but if you're looking for an album that will make your jaw drop to the floor and amaze you every time you listen to it, Squarepusher will never let you down.

Squarepooper: What Genius!!!!1!1one
My, how did people with such a low intellect even come to find who Squarepusher is? Bone Thugs, trying to edit the work 'heck', and lack of vocals? Why are you even in this genre? What wanks.

This album, which isn't his best material, is still a very nice listen. The bonus tracks seem to give more of a fulfilment when finished. Compared to his newer, and even some of his older, works, this seems very thin. Which isn't necessarily a bad thing, just that his later albums have more of a personality to them. Kind of a completist's thing to get, really.

Great disc by Squarepusher
After listening to a lot of his music, spanning from his first stuff to his newest, I like this one the best, right next to Big Loada. It's more straightforward than a lot of his stuff, but it got a great feel to it.

Those reviews above about the fact that there is no lyrics is hilarious. Vocals don't always make better music. I prefer no vocs, hence this is a great disc, buy if you like Drum and Bass/Jazz, and otherwise unique and creative music.

Bone thugs,... hehe.

Vastly Disappointing
I have to say i tried to listen to this with an open mind. but you know, there just aren't any lyrics? What the H*ECK am i supposed to listen to? i don't quite agree with the first reviewer, as i don't like bone thugz n harmony, but having just listened to Hey Ya! for 3 days straight, i find this really lacking. especially compared to mister Tom's prior releases, this blows.

If you want finely crafted music with spot on vocals, you just can't beat Merzbow. Much better than squarepooper.

More like squarePOOPER!
SquarePUSHER? More lik,e SQUAREPOOPER!
Their musoic is SO WEIRD! There are BEEPS AND ALL THESE WEIRD sopunds but you cn't sing alonfg becausw ethere aren't any words opr anything! Not even any rap!

I'll take BONE THUGS any day over SQYARREPOOPER ... Read more

Reviews (1)

A sonic masterpiece
Kesto is an extraordinary piece of sonic craftmanshift. 4 albums, each with its own identity, Kesto is the perfect instrument to enter a pre-contemplative state. I had been impressed with Aaltopiiri: a true paradigm shift in the world of noise-based electronic music. Kesto elevates electronic noise to art.

The first album strikes you with unpolluted violence, mixed with unadulterated fastidiousness. Its hypnotic rhythmic base, its growing decibels, its textural denouements stimulate the adrenalin while keeping you stuck, literally glued to your seat. The result: an odd, unique cognitive and physical short circuit. Requires a very powerful and hi fi stereo. The baselines can be heard in odd bodily cavities.

The second album slows things down. You are now able to focus more clearly on the slowly throbbing baselines, and the synoptic snapping. Good music to listen at a pool, before dipping in. A walkman will do.

The third album is a series of subtly interposing and intersticed noises. Here the silences become more important focusing points. Best listened to at night. Alone.

The last album is an extraordinary, one-hour long monotonic but subtly textured play of frequencies. I use it in my yoga classes to facilitate a pre-meditative state. Requires a clear mind.<(...) ... Read more

Reviews (5)

Rising above...
Marumari has never been one to dismiss in the super saturated world of IDM. Taking more inspiration from classic video game score composers than from "last weeks favorite" electronica release, The Wolves Hollow is an incredible statement filled with sweeping obscure melody soundscapes and soothing beats that compliment rather than dominate. The album flows in an unpredictable but elegant manner, kissing the foreheads of dub, ambient, hip-hop and trance. Although the sci-fi wolf fable suggested in the liner notes and track titles seems more an afterthought that a compositional theme... It does introduce a light sense of playfulness which reminds me that Marumari is much more humble than one would expect from an artist with his talent. If The Wolves Hollow lacks in perfection, it merely does so in promise of what's to come from Marumari down the road. I'll be waiting anxiously.

nothing revolutionary...
...and CERTAINLY not a creative or original as Boards of Canada. The first track is pretty good...but the rest seem very minimal and boring.

21rst century cosmic sound genius
BRILLIANT!! This CD BLEW ME AWAY. This artist has created such a complex electronic sound that he's no doubt driven by some extraordinarily unearthly force, which makes me wonder can that crazy cowbrain eating alien wolf story in the cd be true? This marumari guy is PURE GENIUS and anyone who listens to this will agree totally. Layer upon layer upon layer of pure scintilating cosmic sound. OUT OF THIS WORLD!

I keep on howling over this
MARUMARI IN CONTROL OF THE MUSIC SCENE AGIAN WITH HIS NEW SECOND RELEASE ON CARPARK RECORDS....EVERYONE ON THE PLANET SOULD PICK THIS UP, AND GIVE IT A NICE LISTEN.. IT IS IN THE SAME VEIN AS CITY CENTER OFFICES STUFF.. VERY MELODIC AWESOME BEATS AND EVEN A STORY TO GO ALONG WITH IT ALL....IF YOU LIKE BOARDS OF CANADA I PROMISE YOU WILL LIKE THIS.. IF YOU LIKE GOOD MUSIC I PROISE YOU WILL LIKE THIS!!! NO WHAT ARE YOU WAITING FOR ORDER IT NOW!!!! YOUR COLLECTION IS NOT COMPLETE WITH OUT THIS!!!! AWESOME..

Wolfingly Mad
if you've never seen or heard another album about howling wolves from outerspace attacking the wolves of earth, then its about time. this is the greatest thing to happen to homemade electronic music in the united states... somewhat likened to mouse on mars and boards of canada - but with a sense of strangeness and expression all of its own. to a degree a modified pop sound with melodies inducing childhood wonder and a warped percussion section. who knows what marumari will do next? ... Read more

Album Details

Electronic: 12 tracks from Prefuse 73, Roots Manuva, East Flatbush Project, Push Button Objects, Sluta Leta, Ko-Wreck Technique, etc. ... Read more

Reviews (3)

hip-hops New Wave
Experimentalism abounds on this delicious number from Chocolate Industries. Push-Button Objects, East Flatbush Project, and Roots Manuva are just a few of the treats you may have heard of before, but it's numbers like Ko-wreck Technique's "metro dade" and Sluta Leta's "whispers special" that make this comp truely stand out from the rest of the crowd. The most original hip-hop/trip-hop/electronic mix I've heard in a while. Fans of Big Dadda/Ninja Tune, Battle Axe, Stud!o K7, will not be disapointed.

Thank You USA.
If your into N.O.W and B.O.C and all that then buy this.I found out about Chocolate Industries through Warp Records and have made a few purchases since.This is a top album.If your like me and you spend large sums of cash on music then this is a good purchase to fill some gaps in your C.D collection.ENJOY!

A dim sum of breakbeat cultural fusion
It's funny how the winding road of indie/non-commercial music takes you down so many paths, and every fan finds themselves going off on a different limb, taking chances, learning about new music, etc.

I found out about Chocolate Industries (the Miami based label whose showcase this is) via a Schematic records compilation. I found out about Schematic somehow since I was a fan of their album on Astralwerks, Soul Oddity (who are now called Phonecia).

Chocolate Industries seems to have had a similar evolutionary process, picking up bits of influences from varied ends of the musical spectrum, and fine tuning their own quirks as individual artists, then finally tying them together with a unified vision and a ton of amazing breakbeats.

Push Button Objects is definitely the big name on the album (and also the man behind the label). The artist most directly related to Hip Hop on the album but is not afraid to span the musical globe and include While whose freeform jazzscapes help the mind wander, or Sluta Leta's mix of kitsch and head nodding.

An unbelievable re-introduction to the U.S. electronica / IDM / breakbeat culture scene. This album is NOT an import, just an indie release from Chocolate Industries. And it's great to see these artists using their own music experience instead of creating an offshoot of a UK sound we've already heard to death.

A must buy! ... Read more

Album Description

Radian is at the center of a very fertile and exciting musical scene in Vienna. Critics are citing it as one of the most adventurous and important movements taking place, much like the free jazz movement in 70's Chicago, the no-wave movement in 80's NYC, and the garage/jungle movement in 90's London. On "Juxtaposition", the band recorded instruments (drums, bass, guitar, vibraphone, and marimbaphone) in unusual ways, like microrecording through synthesizer patches. The sounds were further manipulated and recorded along with live instrumentation. The result lacks a simple melodic line, but the record is surprisingly accessible. Its well-crafted tunes offer infinite depth and flow. ... Read more