Amazon.com essential recording

With more than two hours of music, this is a hard-core Orb experience. However, fans and newcomers alike should not be intimidated, because Live 93 offers coherent, wonderfully recorded versions of some of the band's greatest moments. Indeed, many of the tracks included here are even better than their album versions ("Towers of Dub," for example, is absolutely devastating). While no one has ever accused the Orb of condensing their music, the tracks here feel even less constrained by the notion of time. Free to wander up, over, and around the music, the Orb let no thought go unexplored. Bass lines rumble like tectonic plates, melodies echo and float gravity-free, and all the while samples drift in and out of view, as if "Dr." Alex Patterson were scanning the universe with some jerrybuilt, deep-space radio. Tune in, turn on... --S. Duda ... Read more

Reviews (11)

Excellent Orb Album...
I was kind of shocked that so many people gave this mediocre or poor reviews. I actually prefer this to the majority of their studio albums. Nothing compares to Orbus Terrarum, their crown jewel, but I would rather listen to this one before any of the others. '...Ultraworld' is great, but sounds a little dated now, same can be said for'UFOrb'. 'Pomme Fritz' shines, but only on a couple of tracks...same for 'Orblivion', and 'Cydonia' was a massive disapointment. So...this two disc live album, which might as well be a remix album, makes up for the others(In my humble opinion). The early versions of 'Plateau' and 'Valley' are great listening, as are the live versions of 'oobe' 'towers of dub' and of course 'blue room'. Every Orb fan should have this in their collection. Also, if you can find 'Orbscure Tracks'...don't pass it up. Peace...

Live 93 (Evil 36)
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

One of the best
One of the best Orb releases ever, defiantly one of the top 5

This CD rocks. All doubters stand aside
This is my 5th Orb album in my collection and by far my favorite. The "I have a dream" version of "Outlands" is the best version I have ever heard and always makes me want to get up and dance. Any version of "Little Fluffy Clouds" is always an Orb-fan must and, this one is no exception. Ooh yeah, the rest of the songs are good too but, being and Orb-fan you get tend to pick your favorites... Enjoy.

Pick this up if you're a fan
Okay, a live double-disc album from an ambient act doesn't come across as anything essential. And it's not. But if you're into the Orb, this is a surprisingly entertaining disc. It offers up some fun remixes of classic Orb - I particularly enjoyed the versions of "A Huge Ever Growing..." and "O.O.B.E." here. Sadly, not everything here is great. This mix has the habit of putting elements into the tracks that seem dissonant, as in the engine on "Star 6 & 7 8 9". Also, of course, you probably aren't going to sit down and listen to 2+ hours of ambience on a regular basis. But overall, this is a lot better than the title would indicate. So here's what you do - buy the Orb's "Adventures Beyond The Ultraworld" and "U.F.Orb" albums, and if you're into those, pick this one up some time. ... Read more

Amazon.com

Even in the sensation-crazed world of experimental techno, quirkiness for its own sake is only a good thing the first few times you hear it. That's why the music Mike Paradinas makes as Mu-Ziq is such a joy: you're hearing a fertile, young mind bask in its own creativity, and there are also these weird little melodies going on, as well. Mu-Ziq records are rarely focused, which is at times a liability and at others a minor miracle. Royal Astronomy is the most user-friendly Mu-Ziq record to date, with lovely diva vocals and more textures and hooks than ever to accompany both the frenetic, sped-up drill-and-bass tracks and the mellow, loopy ones. Mu-Ziq's rhythmic experiments are coated in whimsy and tempered with lyricism. --Mike McGonigal ... Read more

Reviews (41)

Not so bad... An original style.
This album is quite good, but giving it a 5 star rating and describing it as excellent - that I can't agree with! The quality of the tunes on here vary too much, but it could be worth a buy though as some really interesting tunes can be found actually.

It seems like Mike Paradinas, while in the studio, has the will to come up with something different. The result however is not always so pleasing. This album has a somewhat commercial touch to it, and to me, the tracks can sound a little formulatic and repetitive. When it was so interesting in the starting minute, the track then sometimes gets boring as it passes on. I would have wanted more depth in the music, but the weird breakbeats add a bit of strength though. From time to time cheesy sound patterns appear, to give the feel of a futuristic amusement park or something. I'm not sure if I like that, but it's kind of original.

The Hwicci Song and Autumn Acid are both strong (the first mentioned is a cool number - hiphop combined with a catchy bass drum. You won't have heard anything like this before.), and Carpet Muncher is very beautiful, and jazzy. The Motorbike Track is my favourite on Royal Astronomy. This is a mad tune, a drum'n'bass affair with ravey synths, which is then suitably followed by Mentim, a good chill-out track.

The strings and vocals that welcomes the second half of the album to your ears, in The Fear, don't feel right in my opinion. World of Leather is the highlight among the latter tracks. After that I usually press skip three times to avoid track 11-13 as they are uninteresting, but Goodbye, Goodbye is an elegant finish.

All this makes up for the rating 3 (+) from me. I haven't heard M-Ziq's other album Lunatic Harness yet but I do look forward to hear more of this guy. I definitely believe that he possesses excellent producing skills - not all tracks on this album do prove that though.

Always the Fear
U-ziq possesses me from time to time, forcing me to return to certain albums and marvel at the way they fell from the musical forge. Its never really a particular purpose that brings me back to each electronic byproduct, nor is there really ever something to call "method" within that madness. Sometimes it's simply bits and pieces of the proposal itself that make me want the whole. When it comes to Royal Astronomy in particular, it's sometimes the layering that makes me think that a certain song is amazing, and other times its simply the choices that were utilized when furthering that audio dynamo. Whether it's the pinging that draws me in or the use of instrumentation that sounds like classical music played through someone's dreams on acid, its always a good fix.

Royal Astronomy has a little of everything within it, and I found the album amazingly done when it comes down to the dynamic it possesses. There are different types of music mixed into the mold, building better tempos and meters by merging blends of "something old" and "something new" until it makes something beautiful. That causes the mediums to be different as well, and the hints of shading and the musical textures used to shift moods depending on what type of moody lighting is used is delightful.

What first introduced me to the album was the video for "The Fear," a lovely sounding track that's like beauty beginning in the middle of a forming sea of storms, and its always stayed with me as my favorite track on the album. It begins with a beautiful number, a female voice reaching out from within it, and then it becomes a swell of motion and noise that reaches out to take over. I've always liked that approach to music, too, the calm in the midst of a sea of sounds, with it grasping onto me and tugging me into the beauty of the thing defined within. I also like the approach taken here and the instrumentation used, with quite a few classical sounds mixing into the electronic fold and blending seamlessly into the sometimes-bizarre surroundings. Because of that, I liked the strangely epic yet oddly tempoed "Scaling," the way "Slice" builds itself up while dipping into an electronic swirl of textures, and the way "Gruber's Mandolin" shouts its presence.

Besides those pieces, there are the more electronic sounds incorporated into the mix; with "The Hwicci Song" taking advantage of a little song of static and a beat mingling as one, "Carpet Muncher" building around some of the noise fibers I've become accustomed to from U-ziq as they ride the electronica rollercoaster ride, and "World of Leather" also playing a little building game within that sound-oriented vortex. Then there are the almost hip-hop sounds found here as well, the haunting ballads mixing and mingling in songs like "Goodbye, Goodbye," and a few other fashions forming the work as a whole.

While this album has been met with a few stiff lips, its actually something I can return to time and again because it has so many components within it. The mixes of melody and madness, the tempos within the tempests; these are done in ways that are rewarding to hear.

Easy to respect, hard to enjoy
Don't come to this record looking for the trademark logic-confounding drum-n-bass tweakings of his other work. This one has a more TV-commercial-friendly aspect to most of it, lots of apparent melodies and string-only washes, less of the vaoprizing remixing workouts of, say, his excellent "Lunatic Harness" record. It drones a bit for the first few tracks (which is still decent droning, but droning nonetheless, and not quite what you go to Mu-ziq for). He gives us some of the daring nosebleed-inducing chops he's built a reputation on with tracks like "The Motorbike Track" and "Burst Your Arm", but all in all it's all over the place with the mood, which makes it easy to respect, but hard to enjoy and even harder to recommend.

Not quite a masterpiece but all in all a very good effort
I burnt this disc awhile back and managed to lose it, but I enjoyed it so much that I recently purchased a copy. That's the quality of Mike Paradinas work! Royal Astronomy starts off strong with an interesting piece entitled Scaling and continues to excel on to track three Autumn Acid (reminiscent of an AFX track). He stumbles a bit on some tracks like The Motorbike Track but drum n' bass isn't really my cup of tea and some of the sparse pieces bored me a bit. Besides that, I would recommend this to open-minded fans of electronic music. The standout tracks as far as I'm concerned are Slice, World of Leather, Goodbye Goodbye and my favorite 56. Looking forward to his next release!

Beyond Nintendo Music
Although this album is not as good as Lunatic Harness, it still deserves the full five stars (merely because Lunatic Harness was around a 25 on a 5 star scale). On this album Mike Paradinas has left behind the classic synth sounds and sine wave modulators in favour of live strings and more listener friendly effects.

This still stays in the same style as Paradinas' older works, only this time around, the orchestrations actually sound like live concert hall orchestrations instead of synthesizers playing complex orchestrations. On top of this, Paradinas keeps with his usual flair for telling emotional aural stories. Until Lunatic Harness gets scored and performed by the London Philharmonic, this is the closest we can get...an emotionally stirring symphonic album with record scratching. ... Read more

Album Description

1995 collection on Threshold/ World Serpent, a black & whitepicture disc featuring 15 rare & unreleased tracks from 1983-1993 by this twisted industrial/ experimental act formed byJohn Balance & ex-Throbbing Gristle member Peter Christopherson. Includes the previously unreleased tracks 'In Memory Of The Truth', 'Unqiet Rest' & 'Wait, Then Return', along with numerous rarities from assorted cassette-only releases and limited edition 7' & 10' singles. ... Read more

Reviews (2)

The best Unnatural History album
This is a good album, it includes all of the hellraiser originals, and some other good tracks like theme from blue 1 and 2.

Hauntingly Beautiful, Sinister but enchanting.
This release has a subtitle that explains it perfectly, "Smiling in the Face of Perversity". Tracks 1 through 5, track 15 and the secret track following 15 are delightfully eerie, and have the tendancy to encompass your entire being. Tracks 6 through 14 are the original versions of the Hellraiser Themes, not used because director Clive Barker felt that people would concentrate too much on the music, and not enough on the movie. Definately music for the horror movie that is going on inside your head. Excellent release to the Coil newcomer and the seasoned Coil listener alike. ... Read more

Reviews (7)

Brilliant Minimalism
This album is probably one of the most awe inspiring minimal techno works I've heard by the likes of Richie Hawtin or anyone. It has slow droning progressions that allow you to completely envelope your mind in the tracks. The sound of the synths themselves are masterpieces, but their sequencing is even more bewildering. To some people this music would seem repetitive, but its subtle builds and peaks will take you to another cerebral dimension. I recommend this album to everyone, but particularly people who are into any form of electronic music.

Richie Hawtin...Acid Mozart
No one should have anything bad to say about this album. Considering it concentrates on a few instruments (Roland 303s, 808s and 909s) it's a masterpiece. It's simple and repetitive, but within the repetitiveness there is something that hooks you on to those sounds. I dare anyone to go and make a 303 sound like he does...It makes me think that his parents opted for synthesizers rather than toys for him to play with!!!! If you enjoy this recording, get Artifakts {BC} and Consumed RIGHT AWAY!!

For all of us who enjoy the sound of acid, this guy is our Mozart.

Sound textures galore!
This is probably one of his best works, with a good mix of dark beats and light videogame-ish sounds. Each track builds up the sound scape, and it's a challenge to keep track of everything that's coming and going at the same time. This one is probably the best example of his techno work, not nearly as dark and sinister (and monotonous) as 'CONSUMED", but more diverse and experimental.

Because house needs a superstar
Although this is considerably more experimental than I imagine most house music sounds, it has the funky, highly electronic feel that makes other categorization inconvenient. The aforementioned funk is indeed "simple" and often difficult to listen to (a nice way of putting "caustic noise" to most everyone). When a skeptical friend asked for the least accessible electronica I had, this narrowly edged out early Hardfloor and Aphex Twin in that department. While some stand out more than others, one must appreciate every knob-twiddling inclusion, that is, if you already know the niche. I'd recommend it for anyone genuinely interested in rounding out their electronica collection.

Music For MIND
This album was my first knowing with Plastikman music. And after first listening I found that it was the best thing of this kind of music that I had ever heard before. Richie Hawtin - the one of that man who started a new wave of he techno music near Detroit and developed a new side of TB-303 moved his talent as musician, DJ and producer on this album. Of cause the outcome was predicted - the perfect sound the perfect conception and makes this CD one of the best. The first thing that moved me to such opinion was a very elaborate conception of CD, unlike many other techno musicians, who makes their albums as simple sequence of unrelated tracks which listening to fine in mix but not separately, Richie choose another way. The moving from track to track is congruously with drifting. Without scratching and other DJs methods he reaches the maximal track's convergence, and mind moves with music without any interrupts and pauses. And the second thing is the highest conception completeness of tracks especially for "Plastique", "Ethinik", "Marbles" and "Lasttrak". It's necessary to notice - this music scarcely will suit for dancing, I suppose that that music was substantially made for thinking and meditation. Therefore don't try to understand and make conclusion after the first time, I'm, myself was listening to "MUSIK" many times, and ever new time I was founding and founding now something special. The last - I've never heard such using of TB-303 - instead of standard and simple clacking you can hear very pleasant and beautiful deep sounds, which penetrate in to the depth of you body and soul. Well, if you really like not mainstreaming original electronic intelligence music, I very recommend you to buy this luxurious CD. ... Read more

Album Description

Although we loved Raz’s first two records with ROIR, this is by far his finest record to date (as Badawi or under any other moniker). On “Soldier Of Midian” Raz samples his own live playing (from Flute to Bendir to Zarb) and agitates the mix with the use of subtle electronic effects. Heavy with Middle-Eastern percussion and a mesmerizing beat, it quickens the pulse and physically unnerves the listener. The pulsating rhythms are aggressive and unyielding, bordering on a hard-core drum record. Badawi’s ability to capture a mood and control it, to force his will upon the listener, this is what makes “Soldier Of Midian” so compelling.

... Read more

Reviews (3)

Relentless Heartstopping Electric Boogie Bedouin
Incredible piece of art Raz! Congrats. Dancers listen...if you want to dance to this make sure your doctor gives you a clean bill of health before attempting it! With the right approach to choreography this album is a Troupe's dream. The underlying percussion is relentless and the repetitions are perfect for troupe or prop work. And for clubbing this can't be beat!

Follow the Storm
I agree with the other reviewer...this disc is relentless. Raz Mesinai, formerly of Sub Dub, is a true musical genius. This album got pretty much zero promotion...such a shame because the quality and originality of 'Soldier of Midian' easily rivals Karsh Kale, Badmarsh, Talvin Singh, and yes even Bill Laswell. Not that the style is similar to those musicians, this is much more middle eastern, but quite frankly there are few artists I know to compare this stuff with. Those into this sound will find little that rivals it....as for me I like things with a little more of a dub feel. But..this certainly helps round out my collection.

Relentless
Badawi's latest release is a pounding, galloping romp through the Middle East. It's his best album since "Bedouin Sound Clash," (better if you like his middle eastern leanings better than his dub leanings) and evidence that Badawi is an artist at the top of his game. On this album, Raz samples his own live playing and subtlely warps it with electronic effects. The results are freaking amazing. 14 songs of relentless, throbbing beats, which continually impress with each repeated listening. A perfect synthesis of past, present and future, of over here and over there. ... Read more

Amazon.com

Moonshine presents the first volume in a series designed to take you back to the sweat-soaked, pharmacologically tinged days of celebration on the Balearic island of Ibiza. Big guns such as Leftfield and Underworld are accounted for here, although the paradisiacal island's soul is best reflected in the lesser known outfits' attempts at Latin-flavored progressive house. Most notable is Tabula Rasa's ode to a favored Ibiza haunt, "Sunset at the Cafe Del Mar." Finally, what document of the legendary capital of music and hedonism would be complete without the atmospheric "Smokebelch II" from DIY-electrogod Andrew Weatherall's sadly now-defunct Sabres of Paradise? All in all, Ibiza Afterhours is a nifty collection: a little bit of dance history and a whole lot of just havin' it out on the floor. Shoom! --Bob Michaels ... Read more

Reviews (1)

good stuff
this is superb chill music. check out afterhours 2, too ... Read more

Amazon.com

Bytes is another classic album from Warp's sadly missed Artificial Intelligence series, coming from the hearts and minds of Black Dog Productions, a London-based musical collective and techno commune. At the time, their Discordian approach to electronic music bridged the gap between club-based techno enthusiasts and bedroom-based computer geeks. The combination of Ken Downie's fetish for Egyptian iconography and Arabic music with the mighty production talents of Ed Handey and Andy Turner (who later went on their own as Plaid) produced quite an engaging album; Bytes took the repetitive and atmospheric sounds of European techno and disrupted them with intricate polyrhythms and abstract melodies, breaking out of the 4/4 mould and embodying the spirit of jazz without coming across as snobbish or excessively complex. --Matthew Corwine ... Read more

Reviews (10)

Like nothing else...
Here, here! Please, our friends across the Atlantic, stop calling wonderful music like this "Trance." I mean, i don't like pigeon hole labels at all but Trance is not flattering. As another reviewer said, this album is everything dumb, sticks in the air trance is not.
Come to think of it though, if the reviewer from New York knows "dance" clubs that can get away with playing stuff like this, i'm on the next flight! I always wanted to listen to stuff like this outside my bedroom.
This is GONNA be one of the legendary electronic albums. Actually, it already is! Buy it and once you have got used to it...venture into "Temple of the Transparent Balls" Not as great as this, but still interesting. I haven't heard "Spanners" but i'm sure it's cool too.

An electronica/IDM landmark
Probably one of the best albums ever released in the genre of electronica/IDM. What Black Dog did with 'Bytes' was to revolutionise how we saw electronic music, they set new standards which have rarely been reached by other artists. In fact, Black Dog never matched what they did with 'Bytes', though they did come quite close with 'Spanners'.

This is electronic music at its best. Ambient at times, always progressive and innovative. Black Dog showed techno didn't need to be aimed at the dancefloor. The drum programming on this album was also innovative for its time, few other artists having ventured to do it.

A pretty good early techno album.
The album does feel a bit dated, I'm afraid. There's a primitive feel to the production; the drums sound really artificial and the bass, when it's audible, has the tinny, bleeping sound associated with early techno. Because not all early techno albums sound like this, I would venture a completely unfounded guess that this is because Black Dog decided to go digital as early as possible. In the early nineties, this was doubtless a very forward-looking thing to do (like someone pointed out, the band members even have e-mail addresses - like, whoa, man!), but as a result, Bytes now exhibits obvious limitations, while other albums of the time that were recorded on analogue equipment can be reacted to in pretty much the same way as when they were released. Early MOD music suffers from the same drawback.

But production isn't everything, as I usually say when talking about electronica records. It's all about the songs, man, and this album sure contains some of those. The best tracks here have a refreshing, pristine sound that calls to mind the alpine landscape pictured on the cover; the best melodies have the feeling of walking around on a clear, breezy morning, with no destination in mind, and admiring nature. "Caz" is built on lovely synth-string melodies that actually benefit from the production - they sound just a little strained, but therein lies their charm. "Carceres Et Novum" starts off with an arresting, ghostly keyboard melody that I would have liked to see expanded into a whole track; of course it's soon subsumed by pounding drums, but soon some droning bass and a piano solo, of all things, are layered on top of them. "Focus Mel" plays short keyboard pulses against more drawn-out synthesizer textures in the background. These tracks develop slowly, but they don't stop developing, and they gradually draw one into a feeling of distant, cool melancholy.

The above three tracks are all arranged in a row at the very start, right after the pretty decent dancefloor opener "Object Orient," so the beginning of the album is very strong. But then comes "Olivine," which is just a repetition of one single little keyboard line for five minutes, and two more tracks later, just when the album kind of starts to regain its momentum, a very bad track called "Fight The Hits" kills it stone dead. In this track, the only non-percussive instrument is some kind of distortion that sounds like someone rhythmically dragging a giant piece of furniture across a room. Ten years since, whatever point this was supposed to make is good and lost. Fortunately, the album closes on a really high note, with "3/4 Heart," which has more harmonious synth-strings, and even an acoustic guitar towards the end. Also, the album contains seven short musical vignettes entitled "Phil." These are used as interludes in between the longer tracks, and they're actually quite good, adding some variety to the album.

Many reviews of this album mention the "polyrhythms," and indeed, the drum tracks here are not your average house beats. They're intricate, layered, and very prominent throughout the album. This can get a little overbearing sometimes - the melodies on the album are calm and reflective, and not very well suited to a whole wall of thumping drums, hissing, processed cymbals, and chirping bass, all going at some unusual time signature. The rhythms might be complex, but the very uniformity of this approach detracts from their originality, because nearly every single track has this kind of percussive craziness, without many breaks or much variance in tempo, sound and volume. The band put too much emphasis on this side of things, I think; aside from the drum tracks, there are good musical ideas kicking around on this album, as well as what rock journalists refer to as "hooks," but one can't help but think that the album would be much better if those ideas were taken even further. Every time I listen to Bytes, I like the good parts more and more, and I gradually become inured to the weaker parts, but I still think that excising at least "Fight The Hits," and probably "Olivine" as well, would make the record drag a lot less. Fifty-odd minutes, after all, is a perfectly reasonable length for an album, and there's no reason to make it longer if there just isn't enough good material. Ultimately, though, it may say a lot that the album is as good as it is, since it was never meant to be a cohesive statement - all of these songs started out as singles released independently of one another under different aliases.

Over time, Bytes has accrued the reputation of a lost classic, an early techno masterpiece from back in the day. Though out of print, it gets its share of name-checking and referencing, and sometimes makes surprise appearances on magazines' lists of the best techno albums ever. This might be due to the fact that two-thirds of Black Dog Productions later set out under the name Plaid, and garnered some critical acclaim. Additionally, Black Dog happened to be recording just as Warp Records, today the premier label for electronica, was getting started. At the time, Warp came out with a compilation called Artificial Intelligence, designed to promote the label as the place for the most groundbreaking new electronica, and followed it up with a series of albums by artists who appeared on that compilation. Bytes was third in this series, so perhaps the album's status has something to do with being at the right place at the right time. Still, the praise it has received is far from undeserved; if you see it in a used CD bin somewhere, by all means pick it up.

A Classic From The Past That Is Presently Our Future
I will say that it's by far been my favorite recording in my collection of roughly 400 CDs and 500 LPs since the first time I heard it almost nine years ago, and I'd say that's a major accomplishment. It, however, is not "definitive", because it's so unlike any other electronic release that it doesn't "define" anything except itself. That's a compliment. The majority of "electronic" music suffers from a major case of cookie-cutter-itis, and this release is a major exception. It's got all the things I love to hear in a song: uplifting melodies, harmony (yes, you heard me right. Electronic music with more than just a melody and bassline! Crazy, huh?), butt-moving complicated rythms, a few moments of just plain noise, and it manages to pull it off with a sort of "chillin' in the lounge of a space station in the year 3753" kinda feel. Simply amazing. If you're new to electronic music, don't expect to get a 4/4 in your face here. The real action in any type of music is always found between the beats, anyway. Other stuff worth checking out if you find this interesting: Derrick May "Innovator", Deltron 3030, Sun Ra "Somewhere Else", Amon Tobin, Prefuse 73, Plaid (of course), Mike+Rich "Expert Knob Twiddlers".

please don't call it trance
This album is amazing, emotional, cryptic, esoteric, polyrhythmic, jazzy, beautiful, and unique. everything, in fact that trance is not. Don't be scared off by the trance label below, it's on Warp, so you know it's gotta be good. Black dog were amazing listening techno, bytes and spanners are their greatest works (including plaid's releases IMHO). At the risk of sounding incredibly pretensious Black dog are like the Alice Coltrane of techno, Far out. ... Read more

Album Description

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

Reviews (7)

great
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)

Wonderful album for the RDJ fan, but not his best
I Didn't need to listen to this album more than once to know that it was going to be another incredible Aphex Twin listening experience. This is an interesting compilation, because it mixes many excellent tracks from the most repetitive facet of his hardcore style with some of the the most beautiful and catchy selections from his softer side (Polynomial-c, Analogue Bubblebath 1), resulting in a listening experience that sucks you in with the promise of beauty, and takes you on a hardcore Aphex Twin...head... trip.

Nonetheless, this is Aphex Twin we're talking about, and "Classics" is not his best album. On the softer side of Aphex soundscapes, I recommend "Selected Ambient Works 85 - 92", in the middle, "Come to Daddy EP", and on the hardcore side, "Caustic Window: Compilation". "Classics" is good... darn good. But those three are even better - Unless, you're looking for specifically what this album is - a flowing collection of good, repetitive, hardcore, classic Richard D. James tracks.

'hardcore' aphex
this is a great albuum, i mean it is aphex twin after all. But it is very different from his other albums.

It's almost all early rave music, ie. hard, 4/4 beat stuff.
Calling it 'Classics' is misleading, I think the record label called it that, not Aphex. I don't think many fans would call this his best work. But it is good if you're a fan of his because it is the only chance you get to hear him make 4/4 beat music, before he completely ditched the standard beat as too conventional. So it is unique.

Polynomial-C is the only 'soft' track, it's really beautiful. The last track is 'Didgeridoo (live)' and it's stupid because it just sounds EXACTLY like the first track only recorded played on a PA. It makes no sense.

Simple and Effective
This compilation represents much of Aphex Twin's earliest work. All of these songs vividly illustrate the fact that sometimes less is indeed more. For the most part, the tracks on "Classics" were put together using little more than a synthesizer (Roland's TB-303), a drum machine, and effects. The result is some of the most compelling electronic music you'll ever hear. It's their stripped-down simplicity that gives these arrangements their tremendous energy. "Digeridoo" is a mesmerizing techno song that has no right to be as good as it is, considering that it is only a drum track with an endlessly repeated 303 synth line. The rest of the songs on this collection are of similar caliber.

*new commers beware*
i have recently gotten in to the aphex twin, & if your looking for some off the hook stuff to listen to,this would be the one to buy.
After awhile the album grows on you,but not in a bad way,its kinda like an album you buy & fall in love w\ every track.Polynomial-C is the only one that is kinda normal,but the whole album is really for the head strong. ... Read more

Reviews (2)

Groovy Baby
I like cinemascope a bit more than some of their previous work because of the groove factor on this disc. A bit more tonal feel on this one, as opposed to the clicks, beeps, whirs, and other various compositional noises focused on in other discs. Of course, each one has it's own mood for indulging in, always an interesting moment, never a dull disc for Monolake, this one included.
If you don't already have it Hernan, I recommend Spiritjack as well.
Cheers

Another Sublime Release from Monolake
As there are so many techno dub artists nowadays who follow the path of Chain Reaction's pioneers, Monolake takes it's music to a different and absolutely personal style. This CD is not as dense or dark as Gravity, but mantains the cool and nocturnal feeling. Again with loads of fresh and innovative rythms, with percussion that surrounds you coming from everywhere. Some more processed voice samples than in Gravity, more like the Hong Kong days. I am aware that Gerhard Behles has not participated at all in this production, so this music is representing Rob Henke's ideas only. Some tracks are a litlle faster and groovy than the average Monolake. Although Cinemascope is not as profound as Gravity, it surely displays technical and compositional improvements that show that Monolake's evolution line is still going upwards. Nothing sounds like Monolake, and if there is something that does, please tell me. ... Read more

Amazon.com

Like Moloko, Anglo-American trio Red Snapper have been coming at dance music side-on since they formed in 1993, splicing soundtrack-influenced instrumentals to a distinctive vibrating double-bass sound then piling in dense hip-hop beats and tons of atmosphere--think Mingus kidnapped by Public Enemy. Their last album, 1998's Making Bones, contained the criminally overlooked gem "Image of You," and while there is nothing that scales as high here (you don't write too many songs like that, frankly) it still contains more invention and musical wit than a rackful of Ibiza compilations. From the leftfield funk of the David Essex sampling "Some Kind of Kink" (featuring junglist MC Det) to the pornographic bump and grind of "The Rough and the Quick," it is an album of dark, dangerous moods, explosive climaxes, and bottomless troughs--none deeper, though, than the closer, "They're Hanging Me Tonight." Red Snapper certainly put you through it. --Mike Pattenden ... Read more

Reviews (13)

Satisfyingly tasty, but not classic Red Snapper
I've noticed some rave reviews on amazon.com for this record, but none of the reviewers seem to have heard of Red Snapper before. I've been a fan of this uncategorisable jazz/funk/hip-hop/ambient outfit since 1996's "Prince Blimey," and I was surprised at this album on the first listen, because the sound is less experimental and less distinctive than previous records.

The sound is cleaner and more commercial; Ali Friend's pizzicato bass-playing is less conspicuous on the record, and keyboards and samples have taken over from the rawer, stripped down line-up of early records such as "Reeled and Skinned."

That said, repeated listening reveals this to be a good record nonetheless, particularly "Bussing", with its strident groove, subtle melody and jazzy horns- classic Red Snapper. Another highlight is the closer "They're hanging Me Tonight" a track every bit as spooky as its title suggests.

The instrumental tracks are strongest- MCs are brought in for a few tracks which are the album's weak point, particularly "The Rough and the Quick" which is really just a commercial dance track with naughty lyrics.

Anyone impressed by this should definitely check out the earlier records mentioned above- both are a better showcase for this band's outstanding variety and talent.

genre-defying
I had absolutely no clue what to expect when I picked up this featureless white slipcase sitting around free for the taking at the newspaper where I work. The only identifying feature was the words "Our Aim Is To Satisfy Red Snapper" scrawled on the white cardboard case. The CD went on to confirm that the band's name was indeed Red Snapper, but not much else. So I was in the somewhat unique position of going into an album with no preconceptions about what it would sound like.

When I turned it on, and the first strains of technoized-style sounds echoed out of the speaker, I was a bit disappointed. I'm not against electronic music--in fact some of my favorite bands are electronic--but I've heard too much bad techno music to expect much from an unknown electronic act. But the song quickly proved me wrong, as it defied the often stale restrictions of its genre with what sounded surprisingly like live drumming and some wiry bass grooves working beneath the music.

Later tracks, I was happy to find, actually had even MORE to recommend them. As the album continued, and I listened enthralled, other elements began appearing out of the mix. Stand-up bass, delicately-tinkled piano, horns, some MC-style raggae toasting on a few of the tracks, lovely raunchy female vocals. All of these disparate elements are combined together into a mix that at times sounds more like a live band than any kind of techno act.

The 7th track is probably the best, featuring some lively jazz horns, propulsive drumming, and a bass line so tight that it single-handedly anchors the track. But every song is good, and all the songs contain different stylistic touches that differentiate them and make this a very diverse and great party album. The 8th track especially is a great song for dancing with your honey all night long; it's groovy, with something of a retro-seventies feel, as well as Caribbean-flavored toasting vocals.

Then there's an honest-to-goodness ambient track near the end, with truly lovely textures, and this is possibly the only ambient song I've ever liked, since I managed not to fall asleep to it. Other songs have more of a straightforward dancefloor feel to them, but even these songs were more bearable than most club fare I've heard--made so by Red Snapper's willingness to experiment and stretch the boundaries of dance music into something that is listenable outside of an E-fueled club rave.

This entire CD is near-perfect, combining various genres into one jaw-dropping mix that is sure to leave you gasping for more. I for one will definitely be checking out their earlier work now after hearing this album.

love it
i was given this cd totally by random, and im so glad that i was, because that is how i discover many great bands. this album has definately grown on me more and more each time i play it. some songs are better than others, but overall it is a fantastic collection of musical ideas which makes a great album. definately worth buying.

A refreshing electronica release.
I have to admit. I had no clue what I was getting into when I purchased Our Aim Is To Satisfy Red Snapper. But like so many things in life, the element of suprise can really be refreshing. My first interest in this band(and this album) simply came from the band's name. Come on, you can't tell me that you aren't the least bit interested in a band called RED SNAPPER? Taking to that, I didn't meditate on the CD for a second and bought it(along with some Flogging Molly and Gene Krupa). The result is what my title says, a refreshing electronica band.

The sound can best be discribed as a battle of eclectic guitar noise, a barrage of keyboard riffs, amazing break beat drumming, thick bass grooves and some light sampling and scratching(a noticible and welcome change from most turntable heavy electronica). The end result of that those sounds is mix that sometimes is used to create atmospheric grooves(Keeping Pigs Together, They're Hanging Me Tonight) to dance floor hits(Somekind of Kink, Shellback,). The consistant songwriting never shows signs of stagnation as each song continues to get better as the album progresses, making this album a pleasure to listen to. Production, though nothing terribly special, is mixed well enough were every layer can be heard clearly and distinctively. Its varied song style makes it accessible for any mood. Generally, Red Snapper has made an excellent release that any electronica fan should get their hands on. If their aim is to satisfy, then they've certainly acomplished that. I can't wait to see what they do next.

Best of all...
Red Snapper titles. Only compared to Prince Blimey. Not so spoken like Making Bones. Very Powerfull. Best song for me ¨Keeping the Pigs Together¨. ... Read more

Amazon.com's Best of 1999

This German trio with an arty palindrome for a moniker makes playful, organic music that falls somewhere between experimental techno and "postrock." Like their forebears Kraftwerk, TRR do not use sequencers and computer gadgetry associated with modern electronic music. On this lovely, breakthrough disc, the group flavors their experimentation with bouncing melodies. --Mike McGonigal ... Read more

Reviews (10)

Superb Minimalism
Amateur View is by far one of the most intelligent electronic albums out there. It's beauty lies in it's minimalist approach. Unlike other electronic albums, with songs that seem to go on forever and an unending bass beat, Amateur View relies on the bare essentials. It's quite a calming and ethereal album that manages to push electronic music to a different level. "Telema" is my favorite track.

Quality electronic music to fit any mood.
After first hearing of this German trio when they collaborated with Saint Etienne, I decided to pick up a copy of their CD. "A three-man explosion of electronic excellence," proclaimed the sticker next to the price tag. I shrugged and decided to give it a try. I put The Amateur View on as background to what I was doing, and I'm not sure if I ever really heard the music. Instead, it just sort of melted into the general atmosphere of the room. It was only when the CD had finished that I realized the music had actually invaded my subconscious. I wanted more. Upon closer listening, one can hear distinctions between the songs. "Tomorrow" has an apprehensive edge to it; "She Loves Animals" has a certain wild feel; and the single "Cars" is just an obliviously happy little number. Permeating all the songs, though, is a sense of calm. With the exception of a few bursts of static, the music is unobtrusive and quiet, blipping away at a casual, unconcerned pace. I wouldn't call it ambient, though, with the exception of the last two tracks; there's too much going on in the songs. The music reminds me a little of Autechre, but without the drill-press mentality that some of their work possesses.

Well, whatever genre this fits in, The Amateur View is a winner. After the 42 minutes of playing time had finished, I clicked the mouse and started the CD again. I didn't know to what place To Rococo Rot had taken me with their music - all I knew was that I was definitely not ready to leave. Not until I listened just one more time...

The line between ambient and melody
This is one of these albums you've never heard of, but when you discover them, you fall in love with them. I normally don't like ambient, but this can't really be counted as ambient. It combines the distant, crystal-like sounds of ambient with all sorts of strange sounds, more or less uniform rythms and some melodies. I like it because the pieces are short and, therefore, doesn't fall into monotony, something that most electronic albums suffer of. The melodies are intrincate soundscapes built around a synth base, with lots of strange sounds and occasional melodies. The atmosphere is somehow cold, although the sounds are very warm, using a lot of accoustic instruments. To me, the soundscape it paints for me is a walk through the top floors of Reina Sofía modern art museum at Madrid: huge empty white rooms with crystal elements here and there. Sometimes, though, it brings images of empty grassfields

Unremarkable
As a bona fide electronica buff, I really wanted to like this album having heard so may good things about it. To me, however, this was a major disappointment. It's perfectly listenable, but a bit too cheesey, predictable and well...Euro for my taste. It's competent but falls short of being remarkable, inspring, or intriguing. Its all a matter of taste, of course. No doubt many of you will love this: it's just not original or adventurous enough to stick out from the crowd.

Excellent CD
This CD is great, just about every song is worth listening to. "Cars" is one of the most popular for a good reason. My personal favorites are "This Sandy Piece" and "Die Dinge Des Lebens". I don't have any idea what that second title means, but its a great song. ... Read more

Album Description

2002 release and there are even more vocal delights to behad this time out, from the reggae tinged observationalsociology of '70s to 80s' to sassy diva bounce of the first single, 'Know My Name'. Limited edition comes in deluxepackaging with a bonus instrumental retrospective mix CDfeaturing one track'The Journey' clocking in at over 39minutes. ... Read more

Reviews (8)

Nightmares on CD?
I love Nightmares on Wax... always some amazing stuff. Only problem is this CD has some really good stuff and some OK stuff... the begining of the CD seems weak and too mellow... it's only until you get halfway through when tracks like 70's 80's get's things flowing. Worth a buy to have in your chill collection but don't expect 100% out of this album... suprising since their other albums are pretty much at 100%.

i dig
Mind Elevation is my first taste of NOW, and it was definitely enough to make me want all their stuff. It's a great chill out album, though it has a little more R&B sound on some tracks than i'd prefer, but still that's only 2 or 3 outta 20. Easily worth the 18 bucks.

PLEASE LISTEN MORE THAN ONCE IF YOU'RE A REAL FAN!!!
okay, so YES! the first single "KNOW MY NAME" is arguably the worst song on the album....but, reviewers come on, did you really give this album a chance at all? i can't get enough of this album and play it constantly. "DATE WITH DESTINY" may just be N.O.W.'s greatest song ever!!! everyone that pooped on this incredible talent and album with a lame review should go get their hearing and brains checked! listen to tracks like "SAY SAY" & "THINKING OF OMARA" these songs are nothing but brilliant and instant N.O.W. classics. who cares if every song isn't a diamond with a few priceless gems on each album!!!!!! take a couple more listens, if you are a REAL fan, and behold the incredible talent. finally, "DATE WITH DESTINY" gets my vote for best pop song of 2002, hands down. and don't forget to wear your GREEN SWEATERS when you listen to this band because it's good for you silly.
!!!

the "Know My Name" video
I saw the video for "Know My Name" on a beta release of the monthly DVD magazine-to-be "Remote". Absolutely mind blowing. I dont bother writing reviews often but felt it necessary to put in a good word against all these other sub-par reviews. I have not listened to the whole record so I am limited to reviewing one song that got bashed so badly in these reviews. In the video the singer is pregant and wearing a homemade poor looking "Christian Dior" iron-on t-shirt and leather visor. Her and several other "real people" pass a microphone to each other as they subtly do there own thing(karate, basketball, track, soccer, etc.)against a black backround with a giant speaker. What I found to be important about this video was how "accessable" the people felt. One dancing girl was on the heavy side while being all the more attractive. Brilliant work I must say.

weak, unrefined effort at music
Where did this CD come from? I'm not certain which musician, let alone, which producer would let something this unfinished come off the line. The tracks with vocals are better served echoing through New York's underground system, looking at least for some form of pulse or life form. A shining example of dead vocals.
The other 'tracks' on the CD sound like the DJ looped his creation of "post meal ciggarette" notoriety. What a sordid excuse for creating electronica music. This CD is definately not worth buying, let alone stealingi. I hope the artist thinks twice before releasing this unfinished again. ... Read more

Reviews (6)

Layered Electric
Transmit Liberation. What an absolute piece of classic electronica that is. A slow build over warm lush synth washes. The mind bogies at its imagery. In fact it seems as if the whole album leads up to this track. Previous numbers offering different variations on a similar feeling. Because ( just look at the track titles) after TL were are at that otherplace, blasted outwards so to speak. Up above and loving it.

Flight 2127 has no beat just a wonderful flow of melody. Stunning. The whole voyage ends with the measured comedown of Freefall.

Knockout Drops is another standout piece for me. Very melancholy - just what I like :)

Be sure to check out ( if you can find it ) the other SCO album 'Dead Vent 7'

A revitalizing ambient epic
Although a good portion of this album is spent on tracks that often seem only slight variations of the highlight, "Start," one hardly notices. This is a substantial work and one that will readily transport the listener to the oft-told ambient atmosphere of bliss that few can sustain for this long. Don't expect to dance or anything, but they hold a melody surprisingly well for a light electronic act. It's always a good inspiration to get to work or make art (a la Global Communication, Terre Thaemlitz, et. all).

A Simple Pleasure
Single Cell Orchestra begins with a thin sounding drum track. As another reviewer has stated, it hardly begins to pave a promising path, but hang in there. Wave upon wave of ocean-like layers of sound rise and fall over this simple foundation rendering a mediocre beginning into a fine all-around finish.

This is what you will find in this album. Never flashy, it has a beauty and elogance in its simplicity that you can lose yourself in. The relatively quiet yet persistent drum tracks found in a number of the songs are bound to frustrate the more dance-minded raver sect... but as a fan of electronic music, I found this disc a refreshing splash of water. Some will criticize it for its simplicity, but I feel this is where the music is at its most powerful. A wonderful listen!

Worn-out sounds, unoriginal music
The album starts with early-80's drum-machine riff that I can only describe as cheezy. That sets the mood for the album. The songs are all composed of very tired samples layered on each other with all the complexity of bad trance, but without the redeeming drive.

Pure electronic bliss
What can you say, this guy is a genius. Heart-wrenching melodies, nice beats, perfect sense of timing, dreamy, dreamy, dreamy. If you love electronic dance music, then this is a must have. Absolutely a precious album. From deep grooves to surging ambience, SCO takes you into a place called heaven. ... Read more

Reviews (4)

Competent, but not up to their usual standard.
Compared with the shimmering dub and sampledelic landscapes of their previous albums, Tarwater's latest is something of a lacklustre disappointment. In fact, precious little of their trademark hypnotic basslines remain and the music is reduced to fairly standard synthetic techno. The album is still a cut above most releases and some of the tracks have glimpses of Tarwater magic, but overall it's a less engaging and more sterile offering. First check out "Silur", then "11/6, 12/10" and finally move on to this album as a last resort.

boring music is still boring
Lethargic, detatched spoken vocals over drab, uninteresting tracks, sound good? Knock yourself out. I don't know what you might call compelling on this thing. Certainly not the melodies (god forbid), or the lyrics or the 'atmosphere'. This record practically defies you to pay attention to it, or to remember anything about it once it ends. Maybe it's the sobriety talking, but this is [boring]

A Sweeter and More Trip-hopish Music made in Germany
Oh Damn Stereotypes! We have this human tendency to label everything, from values, to music to people.

Latin Americans are usually identified as passionate and lazy; British are classified as cold and reserved. And the people who concerns us on this review, Germans . . . They are considered to be so cerebral and cold (even more than the British, for that matter).

When you listen to Tarwater, if you have these kind of stereotypes in your head, you hardly can believe that this record was made by Germans. Their most recent opus, Animals, Suns & Atoms confirms once more that it does not matter where you are from to create music this warm and emotional. I doubt people can perceive music like this as cerebral. And this is just what they wanted!

In Animals... Tarwater seems to use the same methods they had used in Silur (burning rhythms, experimentation with samplers -somewhat decreased, though - and new technologies, quotations of excellent writers, visionaries and philosophers...) yet the group's music sounds completely different, with the (natural) exception that it has Tarwater' s personal trademark. This record is less atmospheric and dense than its predecessor, perhaps sweeter, softer, more gentle and rhythmic. But, definitely, Animals, Suns & Atoms has the same sense of risk and cleverness that made Silur wonderful in the first place.

It is really difficult to name the standouts here. But it is good to mention some of them. The peaceful Somewhere has an ocean-like sound that makes it ideal for a brief meditation. The danceable At Low Frequency, has a catchy phrase: "Man is the most adaptable machine in the world, they say".The trippy Noon, my personal favorite, has a couple of other catchy sentences and a beautiful and wisely chosen female voice (courtesy of a girl called Justine Electra). This easily recalls some of Moby's greatest moments (particularly, when he goes downtempo), or Massive Attack. The upbeat and danceable Early Risers, is as close to dub as Tarwater can get, but with a futuristic glimpse. Finally, The Trees and Seven Ways to Fake a Perfect Skin are themes created in the most sensual trip-hop tradition, but (like occurred in Silur), with a very German touch.

This record is one of the best of the year 2000.

Simple and beautiful
Tarwater's last two albums were mainly very atmospheric and relaxed, and apart from a few exceptions, there were not voices. This album is different. The music is somewhat more agitated, and somebody is singing or rather talking. Imagine a relaxed Lou Reed minus all the stupid rock'n'roll attitude and minus the wasted NYC personality - that is actually what I was reminded of when I listened to this album. It is great. You will like it if you liked their previous albums. If you haven't ever heard their music you might like it if you like relaxed and atmospheric music or if you like Lou Reed and can't stand his attitude. Ah, yes, I gave their last ablum five stars, and that's why this one only gets four. It is not as great. ... Read more

Reviews (1)

Splintering Soul
I'm not familiar with Oval. I know OF him, since I'm a fan of much electronic music, but have never given him a chance. Some have described him as "difficult listening," advising that he's trying to appeal to some mysterious demographic. So, when I heard that he teamed up with a Japanese folk singer (and a woman, which further insures its prettiness) on his new project So, I figured there would be a better sense of attraction upon listening to this album.

Listening to the sound samples provided by Amazon.com, I was able to at least get an idea of what I was in for. That's really all I got, one single idea. Listen to the hazy vocals, warped under with sweeping digital effects, on the second track. Those haunted me until the next morning when I was able to obtain the cd, which, upon further exploration of the track, the mood only intensified. What did they remind me of? God only knows. Screechy synthesizers stumble drunkenly into the track, threatening to overbear it, until realizing their own intrusiveness and agree to help things out by leaving. Only to forget why in a few short minutes.

The following tracks offer much of the same, with a consistent stirring mood but coming up with very different ways of playing it out. Some feed directly off of a repetitive guitar line while stirring in tin whistles and decelerated sirens, others draw breaths from the vocalist, deciphering her lyrics with feelings and textures while synths freefall into rockpiles. None of this is unpleasant, either. In fact, it's quite sublime.

I haven't stopped listening to this in days. It is better than any Pole album, lap-top folk attempt, or clicks-and-cuts track I have ever heard. This is sincere, soulful emotion bleeding through an unnatural auburn gauze, looking for someone to listen to. ... Read more

Amazon.com

Spanners takes the dense polyrhythms and complex melodies that Black Dog explored on Bytes and builds an engaging and endlessly listenable sonic maze for your enjoyment. At times it's a straightforward techno album, but in true Discordian fashion the styles are random and slippery; the 12 tracks, held together by short musical "Bolts," bob and weave through Latin, Arabesque, and even country styles, ensuring a surprise around every corner. Unfortunately, the Black Dog split up shortly after this album's release, with Ken Downie continuing the madness with a series of decidedly unmemorable albums, and Ed Handey and Andy Turner moving on to create further gems as Plaid. But their legacy remains: Spanners is an album for which the term "eclectic" doesn't quite do. It's simply a masterpiece. --Matthew Corwine ... Read more

Reviews (13)

Very nice album!
Yes, I can see why this gets an average of 5 stars, and like another reviewer said, I can't believe that it is out of print now! I was lucky enough to find a used copy here on Amazon, and if you at all a fan of Plaid I would highly recommend picking this up if you can find it. I've still only listened to it a couple of times through (I only got it a few days ago, along with two Prefuse 73 albums, so I've been quite busy) but it has the same ambiguity of melody that makes Plaid's music so deep and thought-provoking. It's the kind of CD you can enjoy if you're into the technical aspects of music, or if you just want to lay back and relax to some good techno. Very atmospheric melodies are layered over interesting and unique beats, adding up to a very original product that, at least in this stage of things, seems to have a lot of relisten value. This is an electronica classic that nobody should be without. Highly recommended.

Utopian Dream
This is some damn fine electronica, IDM, techno...whatever you want to label it...it doesn't matter. That's because this is music that defies labelling. Sure, it has a sound similar (but not exactly like) Boards Of Canada, Aphex Twin and Autechture, but it goes beyond to explore it's own territory. I don't think you have to even be a fan of this genre to enjoy it, but it sure helps. I first played this disc after listening to two Porcupine Tree albums. Very different, but the transition was smooth.

This is one of the few albums I own that just keeps getting better as it goes on. When the final notes of Chesh are over, you have the urge to hit repeat because it feels like it was just hitting it's stride. Well, that's not exactly accurate because the album is good all the way thru, but the way it builds is amazing. If you only get one Black Dog CD, get this one...then you won't be able to help yourself when it comes to getting the rest. Definately music worth taking time out for...let it surround you and take you to it's reality.

* A really worthless CD, don't waste your time.
** A CD that has some good stuff, but some major defects. Don't bother unless completeing a collection.
*** An OK CD that will please fans of the artist in question but may not convert new listeners.
**** An excellent CD that represents the best work of the artist in question and can be bought with confidence.
***** An absolute classic that is the best, or among the best, of its genre. Your collection should start here.

A must-own electronica classic
After reading the rave reviews of Spanners on here, I broke down and bought it. Plaid being my favorite band, it wasn't realy a hard decision, and it was certainly well-rewarded.

One of the strange and very unique things about this CD is that while the sounds are very "classic" -- i.e. a lot of analogue synthesis going on -- there is a very modern feel to the melodies in the songs. One of the songs on the CD is about discovering materials from outer space, and it's funny, because that's kind of what this music feels like -- something that wasn't entirely made on this earth, something that has a very odd element of mystery to it. These guys really know what they're doing when it comes to composing the melodies and beats, and the CD, clocking in at over 70 minutes, is a very good work overall.

The highlights for me are:

#5 Psil-cosyin: the beginning vocal samples (Arabic) coupled with samples of some middle-eastern horns lend this tune an interesting organic feel that plays right with the cold percussive sounds and synths. The beat itself is very well-crafted and very groovy. There's no instant gratification as this song builds very well over the whole 10 minutes to three very nice and very varied climaxes. The initial feel is one of wonder, as I might imagine I'd feel if I saw the pyramids or something... it then turns into a sort of hopeful/bittersweet feel for the second climax, and then gets a bit scary/serious toward the end. Overall a great piece.

#8 Tahr: just a great funky beat with a very nice and interesting melody over the top. Great bass work too. Get out your dancing shoes for this one.

#11 Nommo: nothing particularly out of the ordinary on this track but the synth melody that plays throughout is just beautiful; another example of the somewhat mysterious feel that this CD takes on. It makes me think of how I'd feel as I was preparing to land a spaceship on a new, undiscovered planet. Very nice.

The sound quality on this CD is also very good -- some percussion tracks are almost too crisp and clear, but it doesn't detract from the great feel of the CD.

Overall, this comes together as one solid work, worth much more than simply the sum of the individual tracks. If you're a Plaid/electronica fan then I would definitely have this album.

Follow up to classic 'Bytes' album
Although not as good as their previous album, 'Bytes', 'Spanners' is a superb album. If it were by any other artist it would be hailed as a classic. It's just that what Black Dog did with 'Bytes' was so spectacular, it tended to put whatever they came up with as a follow-up into the shade.

There is a more ethnic feel to this album. Waves of arabic touches flow in and out of the music on here, lending it more of a middle-eastern feel. But it didn't overpower the usual qualities of their music, the innovative drum programming, melodic tracks, all what we recall from 'Bytes'. It just tended to add another dimension to their music, that's all.

I can't believe someone let this go out of print.
the black dog are sort of unique in that their sound is absolutely accessible and yet still interesting. their technique of layering arabic rhythms may be experimental in approach but the end result is a sound that is easily understood, heard and felt. that's the beauty of the black dog and this album, their best work. they simply make complex music that is first and foremost...beautiful. the stand-out track is "psilcoysin" which sounds like a thousand musical sidewinders weaving in and out of each other. by the end, you should be hypnotized with your mouth agape. get a used copy if you can. ... Read more

Reviews (2)

Best CD EVER
Luke Vibert (a.k.a Wagon Christ) put this record out in 1994, yet its still lightyears ahead of most trip-hop/idm albums today. DJ Shadow, Amon Tobin, and Prefuse 73 definitely borrowed a lot from this break-through recording. Not even Vibert himself has topped Throbbing Pouch. If you like (good) music, get this album. It's some of the best music I've ever heard.

5 Stars for a tremendous...but now 'Out of Print' title....
Another of those albums that has long been seeked out by music enthusiasts, and thus has been out of print & unavailable to buy. Considered to be his best work, musically this really is everything and the kitchen sink...not insofar that the music is swamped with samples and sound, But insofar that 'Trip-Hop, Techno, Eclectic Breakbeat, Electronica, intelligent Drum 'n' Bass all pass through these doors with an unrivalled adeptness, that it's hard not to believe that it's a collective of artists all contributing. Listen to the blissfully subtle beats of "Scrapes" that gently twitch into melody, and morphing smoothly into atmospheric techno...before warping & disfiguring into rasping samples, with the atmospheric elements still clearly audible in the background, producing a decidedly skilful sound, yet superbly playful...in short, 'Wagon Christ' is a genius and his albums are more than worth the (considerable) effort of trying to track down, if you're into the IDM (Intelligent Dance Music) genre. ... Read more

Amazon.com's Best of 1999

Nobukazu Takemura's dizzying uses influences from minimalist composer Steve Reich and fellow cyberfringe artists like Oval and Aphex Twin to create his own random worlds of wired bliss. Dizzying blips and whirs combine with off-kilter rhythms and spare, electronic aesthetics to produce an album of anarchic, computer-age psychedelia. --Matthew Cooke ... Read more

Reviews (16)

The Beautiful Noise
Do not buy this CD if you don't have an open mind. You'll listen to it once and think... "Huh?", then probably never listen to it again. That would be a shame. This is noise, pure and simple. It's also some of the most beautiful music you'll ever hear. He has taken a wide assortment of odd sounds and molded them into something else - something grander.

"Kepler" is an interesting marriage of chime and voice, with the sound of angels floating about. "Icefall" is simply breathless in its digital melody. "Tiddler" has a nice lullaby sound to it (liked a warped version of Bach). "Taw" is the only track I couldn't get into (ergot, 4 stars). "On a Balloon" could easily fit into a spaceage version of an Ennio Morricone score.

All in all, I really liked this CD...

My Vinteuil's Sonata
The brilliance of the album lies in the stark contrast between the melodies of "kepler" and "tiddler" and the more esoteric noise of "on a balloon" and "taw". Despite my appreciation for the less soothing songs, "tiddler" is my favorite track; it is simply and unabashedly beautiful. Though I admit that the overabundance of V-I changes can be a little too Bach/Haydn, I was listening to it when I finished reading "Ada, or Ardor," a perfect novel, and the association will forever linger, as Vinteuil's sonata did for Swann in another great book. Scope is modern art, a canvas painted off-white, a work that one can only appreciate when one has become exhausted by all other forms (yes, I had my days of listening to Counting Crows and Bush before I was a human being). However, unlike many other avant-garde albums, Scope is not overly dense or inaccessible. I had a little trouble with "on a balloon" at first, as it was completely foreign to my concept of music, but after a few listenings I grokked it. "tiddler" makes you ready to fall in love.

Worth it for icefall alone!!
I only own the track 'Icefall'off the Scope album & feel that any music fan should hear it just because it's so unashamedly different & I should imagine would change anybodies opinion of electronic music.
I agree that some tracks off the album are just blips for sounds sake & sound like Jan Boerman's first toyings with a keyboard. Icefall is a real melodic treat that really is attractive & it grabbed my attention on first listen.
The synth is quite fast-paced & repetitive the melodies sort of
move in a loop & keep popping up at about half way through & sounds a bit like a digital flute being played by a robot in an igloo the size of the Opera House.
The shuffling sort of pitter-patter sound really gives a cut n' paste imagery which really the whole 10 minute track is.
So to me this track is everything, fast, beautiful, vertigo & a masterpiece which kinda blows me a way that electronic music can be so lush. I've always loved electronic music for the main reason that the possibilities of sounds are endless & anything can be sampled, something that radio & music video shows dont seem to comprehend, indeed it is far more meaningful than pop lyrics.
Another fav Kyoto producer of mine is Takagi Masakatsu, much more minimal & ambient songs & is very nice audibly!
So everybody do yourself a favour & purchase this, it's a far cry from what electronica is commonly referred to as techno or 'club' today, if you dont like it, then keep your mind closed.

incrível
this is an very abstract , patchwork stuff,sometimes looks like a Jim O'Rourks partnership with Autechre having a baby ;micro sounds sparking around like snowflakes having their fun on a light day ;is not for beginners ;
The highlight is Icefall one of the best contemporyeletronicemocional piece ever hearded.. it can sometimes on a particular self emotional state of mind take you inside feelings that you are to discover..just try

Maybe somewhere along the line I'm missing the point!
I looked high and low to get hold of some of this music - on the strength of reviews and remixes and was looking forward to a veritable auditory feast - and was abject when I heard this discordant, avant garde, cacophony - it's noise, pure, simple and unrefined - it seems as though by chance that there are traces of melody - tiring in ever decreasing circles.

When some order comes out of the choas there are hints at musical brilliance (Kepler and Tiddler are irrefutably musical - although not my cup of tea - they might better suit as lullabies for the under threes) but for the most part it's merely repetitive and irritating - there is little tunefulness or soul here - just bland electronic whimsy.

It's a shame - although I still have to track down Childs View - as (again) I've heard good things about it. So the jury is still out - but the thumb is well on the way to pointing downwards.

If you want something with a bit more eclectic and perhaps (dare I say it) musical - a worthy alternative might be Amon Tobin. I guess it all boils down to taste at the end of the day though.

My colleague has just commented that - "it sound like someone on their first day playing the keyboard" - what more fitting note to end this review.

Cormski, London. ... Read more