Album Description

Finally! The story of musical independence and experimentalism has a new chapter. David "Brun" Brown and James Taylor, as the British duo Swayzak, created the definition of minimal dub-techno with a penchant for vocals. What began with Snowboarding in Argentina, developed further with Himawari and reached a climax with Dirty Dancing now receives the fourth much-expected title, Loops from The Bergerie.

Swayzak’s penchant for a vocal-based song structure has barely changed and for good reason: Vocalist Clair Dietrich is once again onboard, accompanying the hypnotic effect of the dreamy "Then There’s Her" with her spoken-singing vocal. Swayzak’s Brun also takes to the microphone again and "Snowblind", which sounds like an electronic rebirth of the Doors, and the driving first single "Keep It Coming" showcase his vocal skills. A new discovery for Swayzak is the Parisian Mathilde Mallen, whose performances on the slower tracks, "8080" and "The Long Night", leave us in no doubt why various projects on labels such as Tigersushi and Q-Tape swear by her voice. Also new and probably the most accomplished voice on the album is Richard Davis. The Brit released his celebrated single, "Bring Me Closer", on Swayzak’s label 240 Volt. Three tracks feature his voice on the Swayzak album – "My House", "Speakeasy" and the second single, "Another Way" – have cemented this good collaboration, as has the plan to construct the new live performance around him. This marks the first time that Swayzak have taken the step of bringing live vocals to the stage and underlines even more the importance of vocals in their songs.

Loops From the Bergerie points the way forward for Swayzak. What may look like a retro step backwards technically proves to be a musical step forward. This sign of maturity, with a deep-rooted sound, raises the Brits from laptop heroes to real producers. Swayzak has finally come of age. ... Read more

Reviews (5)

Quality follow-up to 'Sakura'
It was always going to be difficult to follow up his previous masterpiece of an album, but he has managed it with style and class.

A bit more heavy on the percussion than the previous album, 'Grinning Cat' is nonetheless a very good album. It pursues the same themes and sounds as 'Sakura'.

'Sakura' will always be in the minds of people, so when this album is being discussed it will always be in the former album's shadow. I feel this is a shame as it stands alone itself as a great album.

In simple terms, if you enjoyed 'Sakura' then you will very much enjoy this.

Truly Beautiful
In a matter of just a few short hours, Susumu went from being a complete unknown in my collection to one of my favorite. Like Kimberly's review, I purchased Grinning Cat in a Border's in St. Louis (I don't know Kimberly) and I purchased it on impulse. The reviews for this album lavish praise. But no review can compel you so strongly as this album deserves. No review can create the almost addictive longing that you feel after listening to songs like Sleepy Eye, Lapis Lazuli and Cherry Blossom. Listening to this album is like drinking fine tea. Each sip is both intensely gratifying and at the same time enticing.

Mind-altering in a very pleasant way...
As someone who probably owns more ambient music than any human should, I was kind of getting tired the way things were going in the late 90s with the Orb getting (really) old and glitch-hop only marginally interesting. Then I picked up Grinning Cat, which has overtaken Nobukazu Takemura's Hoshi No Koe to become the coolest Japanese experimental chill-out CD ever. Very unusual juxtapositions of loops that don't seem to fit, but do thanks to Yokota's assured manipulative spirit. I still haven't heard Sakura, but rest assured its next on my wishlist...

Black Cat,White Cat
Like a crossing between Chari Chari and Aphex's "Selected Ambient Works II" (looks quite impossible,doesn't it?).Just a great record to get a move on.A slow,loopy and ambiental sound...just perfect to rest and take a ride deep into your toughts and feel "Grinning Cat" as the soundtrack of your journey.Marvelous!

best impulse buy i've ever made!!
grinning cat was a staff recommendation at the local borders bookstore recently, so i decided to give it a listen. after getting a taste for each track, i bought the cd. it's absolutely AMAZING, giving electronica and minimalism fans something entirely different from the norm. the review on the front of the case labeled it a cross between brian eno and aphex twin, which is a comparison i would not disagree with. the entire album is incredibly calming; when you hear it, you get this feeling that you're listening to something no one's ever done before, which puts it on a higher plane. the classical piano loops add an element of class to the album, making it one of the best cds i've bought in a long time!! ... Read more

Reviews (3)

A little weak...
Perhaps the fact that electronic music has evolved an incredible amount just in the last few years is what makes this CD sound a little dated.Granted, there's always going to be someone out there who wants to get a 909 and a DX100 (if you don't know what these are, you are evidently quite new to techno) and bang out some cheap sounding "traxx" - and yes, these do have their place - but overall, this CD sounds like it was recorded using circa 1989 sounding equipment.It's obvious Bones is going for the tweaked out E head appeal where you never remember a single track, but even still, this gets really monotonous and boring.I own almost all of Bones' mix CD's too and this is about the worst one - at least Factory 202 had some more ethereal beats on it.I guess there's always going to be a market for this stuff as long as there's a new batch of 16 year olds "raving" for the first time, but for the rest of us this doesn't make for easy listening, no matter how tweaked your head might be.

Frankie Bones is still one of the best dj's going
For those who say Frankie Bones is burnt out, i say listen to this cd.Frankie is just as great as he ever was.Just see him live, and watch him turn the crowd out.You can't help but dance.This is an excellent cd,start to finish.If your thinking about buying this cd, do it, you won'tbe sorry.

A Masterpiece
Frankie Bones is one of the most talenteous DJ ever been.If you have achance to see him, go on you'll be a happy man !Let's dance on his musicand try this proof of talent ! ... Read more

Reviews (7)

I 1st heard the song"Phiesope" playing in a record store.
When I was Dj ing for a living I would frequent record stores every week looking for music for my set and personal collection. The song "Phiesope" which is track 7 on this disc, came on over the store speakers. I went up to the counter and asked "who is this? It turned out to be u-ziq. I bought it that day and incorperated the song "Phiesope" into my Dj set, usually at the beggining of the night to ease my crowd into a dance mood. The song is so well done with is guitar strumming and total heavy "shoegaze/manchester" beat. I love this song and really enjoy others on the record. They are trax 1,2,3,7, and even track 8 "Mr. Angry" which features a heavy beat with this trippy grandfather clock chime timed into the beat. There is this dude screaming which under the right mood, or circumstance can kinda scare you. But it is a original song. I got the chance to see U-ziq perform live twice. Once in Hollywood and once at the Coachella Fest in Indio CA. He is very talented and I am a big fan! You should get this cd! PK

One of my favorite µ-ziq albums
The first track on this album "Roy Castle" just blew me away. I've probably listened to it more than any other µ-ziq song ever, it just has that ambient, computer, video game type beauty to it. The rest of the album is also good, with some annoying tracks like "Mr. Angry". My only disapoitment is that none of the other tracks come close to the beauty of the first one. Oh well, still a wonderful IDM album.

Not in full effect
This u-ziq album is slower and more melodic than most, lacking the frentic D&B that's in many of his others. It does get catchy after a while but it took me several listens. The first half of the disc is very warm and upbeat, almost popish. It cimaxes with Phiesope (which everyone else who reviewed it seemed to love), then gets disjionted and keeps me on my toes a bit more. There isn't really a stand out track on this for me. I usaully put it on track 7, skip 8, then listen to it through. I rate it smack dab in the middle of the U-Ziq collection, The best of his slow stuff but not better than any of his fast. (Which is better than most so it gets 3 stars instead of 2 1/2). It did disappiont me when I bought it, expecting (or hoping) for it to resemble more closely Squarepusher than Boards of Canada. Oh well, I'm still glad I own it, you'll be moderatly impressed with it too.

I actually really like this album
I am surprised to find myself enjoying Mu-ziq's music, but it really is great. As cheesy as it sounds his best work just sounds happy, and it puts a smile on my face. The album is good for just putting in and zoning out while on a drive, though it does get noticeably weak after "Phiesope" (track 7) click on that track now for a listen, it is the highlight of In Pine Effect and really a great song, I cannot believe it has not been co-opted for a commercial yet. (Or has it???)

After "Phiesope" it does get weaker, it just becomes more harsh and abrasive which I don't think is Mu-ziq's strong point. Still I can recommend this album, it is good fun. Check out his Brace Yourself EP too, good clean fun for the whole family.

Just one more excellent cd from Paradinas
While not perfect, this is certainly a nice little disc.

Starting out with a pretty simple little bass note, you can tell this is gonna be something special just the way it slowly builds. After the initial few seconds, a nice kicking drum beat comes in and basically continues through for the rest of the album. The best word to describe the entire piece of "crunchy". Great texture with the drums, nice beats, good melody.

Definite highlight of the disc, however, is 'Phiesope'. The guitar strumming and nice bassline gets this song placed on repeat quite often. If in doubt about u-Ziq's talent or whether or not you should get this album, just find yourself a copy of this song somehow and listen away. Question answered.

It's not without it's flaws, however. After a while, the disc becomes somewhat repetetive. Not horribly so, but enough that it's noticeable.

Track 8, "Mr. Angry", is simply one of the worst songs I've ever heard. While the song structure and whatnot isn't all that bad, the main portion of the song, featuring a man screaming out something unintelligible, is quite unbearable. It warrants a 'Skip Track' every single time now.

The first half of the disc, up to Phiesope, is by far the better portion. There's a few gems in the latter half as well, particularly the title track and Problematic (featuring a wonderful, almost Old West even, piano bit to start it off).

If you like u-Ziq's other work, you'll certainly enjoy this. If you're new to the man, try the Brace Yourself EP first, chances are you'll get into it much easier than this. But don't ignore this disc, which is often underrated as I've found.

Go for it, it's good! ... Read more

Album Description

'Come Get It I Got It' is only David Holmes' second evermix album, following on from 1998's much loved 'EssentialMix'. The album manages an infectious blend of uptowneuphoria and downtown hysteria. By and large this is minedfrom an extremely rich vein of 60's and 70's funk and r & b (that often only Holmes seems to know about), but isstitched together and modernized by Holmes' own interludesunder his new guise FREE ASSOCIATION, his latest projectwith collaborator Steve Hilton (who has worked in the pastas programmer with David Arnold and Craig Armstrong).2002. Slipcase. ... Read more

Reviews (6)

Can I give 6 stars?
David Holmes's mixing credentials spiral ever upward with this classic release. Holmes mixes trippy electronic effects upon rare vintage soul and funk classics. Some of the inclusions on the set will have you reviewing your collection in a frenzy. From the psychadelic folk of Sixto Rodriguez to the angry blues of Muddy Waters and the soul-lifting vocals of The Staples Singers, all intertwined with great samples and beats of Holmes's new project "The Free Association". I'm currently thinking whether I should stop playing this in public as the response is always the same:- "WHO is this? Where can I get hold of this?" This is even more essential than his ground-breaking 1998 Essential Mix.

In with the old, out with the new. This is GREAT STUFF.
David Holmes takes a much needed break from his Soderberg film scoring and delivers a truly original and fresh mix of tunes with his own touch applied to all. Come Get It is mostly made up of 60's funk and early 70's r-n-b obscurities. All of these are seemlessly blended together to bring you a electro-funk revival the likes of, have never been seen. Being half pop disc, half DJ experimentation, Holmes puts his talents to the test and shows us why he does what he does. The man has quite the record collection, that's for sure. The whole disc flows freely, and dramatically, from Muddy Waters to The Staple Sisters and sounds as new as this morning's coffee. One could put this on for somebody and it's a likable disc from the get-go, the fact is, it's gets better with each listen. Now that's a mark of a great record. Go get it-I got it.

Got to Give It Up - He Got It
A sensational mix n' match. This is a culmination of electronic music's affiliation with the undiscovered glory of recent American musical and sociological past.Accesible and powerful art,Holmes' CD is defiantly cerebral, humorous, and beat-crazed, a PhD in sound.

Holmes deserves recognition
Electronic genius David Holmes, a virtual unknown in America, struck gold once again with an album remixing 1960s and 1970s funk and R&B with smooth instrumentals and modern vocals. Holmes' latest Come Get It I Got It, released in April, has the ingenuity of DJ Shadow and Cut Chemist's hip-hop remixes, without the hip hop, and Moby's soul remixes, without the soul. Holmes' fifth individual release instead blends funk, oft ignored by techno artists, with his own creativity in electronica.
Most tracks feature old vocals with snippets of modern sound bytes and last only one or two minutes, allowing Holmes 26 tracks on the 53-minute album. Despite the congestion of sounds and styles in this short set, the album is never busy or difficult to follow. And of course, it's never monotonous.
Perhaps the most intriguing element of the album is Holmes' ability to scout out forgotten or undiscovered funk classics. Within the rough of unfamiliar artists and songs lie a few diamonds. Recognizable names like Cyril Neville or Muddy Waters and songs like "Purple Haze" grace the album with a degree of familiarity. Highlighting the original artists' musical talent and variety, Holmes merely graces their work with his electronic edge, adding modern samples and tweaking the music at just the right spots. The result is an ambient work reminiscent of Massive Attack and DJ Shadow.
Between the decades-old funk songs fall instrumentals from The Free Association, a moniker Holmes shares with programmer Steve Hilton. Ranging from straight blues to jam-band likenesses to seemingly drug-induced acid trips, the creative instrumentals are so smooth and well-done that they appear improvisational, highlighting Holmes' skill in writing and musical dexterity.

If only it was longer!
Great disc by the artist behind 3 LPs, the "Out of Sight" and "Ocean's 11" soundtracks, and the EXCELLENT 2-CD Essential mix from 1998 (was this ever released in the US)?

This man has made his name by being a rare-groove, easy beats/breaks spinning genius.Compare it to the mixes that DJ Shadow and Cut Chemist do together with a little less hip hop influence and a bit more 60's Motown (and its descendents) smoothness.He's like David Mancuso (of "The Loft"-fame) if Mancuso was a Belfast-born and bred pint-swilling punk.

About the other review.1) All the folks angry about his style evolving into what it is now (and deserting the "hands in the air"4 on the floor beats) shut up back in '97 when he released "Let's Get Killed" (and if they haven't, they're probably too busy organizing their trance collections)2)The "London X-Press" CD was a not lengthy promo given away free to subscribers of The New Musical Express (weekly British music mag) in the Fall of 2000 - decent mix (if you can call it that), but Weatherall did the best work. ... Read more

Reviews (15)

Japanese Flava from Towa Tei!
As one third of Deee-lite, Towa Tei may have been the quietest member of the trio, but I think he had the most to offer musically. His second solo CD, "Sound Museum," is a head-bobbingly agreeable grab bag of sorts: deep house, hip hop, and elctro soul. "Time After Time" blends a rich, deep bassline against electronic bleeps; Kylie Minogue gets roped in for vocals on the house-injected "GBI," and then there's a personal favorite of mine, the funky and Dee-lite-ish "Higher." But the track that will most likely raise eyebrows is the low-key, bossa-nova reinterpretation of the Hall and Oates gem "Private Eyes." "Sound Museum" is a pretty hard disc to dislike; give it a whirl on your player, and you'll be bobbing your head to the groove in seconds.

Funky...in a Japanese, kitschy, quirky style
Not quite in the same vein as his debut FUTURE LISTENING, Towa Tei's 1998 release SOUND MUSEUM left behind many of the Brazilian elements of his first album. SOUND MUSEUM, though just as loungy, is an exploration of funk.

The opening track, "The Sound Museum," is an odd electronica song with robotic samples ("Mr Smith would like to know...how many robots there are") and swinging brass. "Time after Time" is a soul-inspired almost-house track. The Biz Markie-accompanied rap song "BMT" is an interesting diversion that definitely would seem out-of-place to anyone who had only FUTURE LISTENING.

The album's standout single, "G.B.I.", features Kylie Minogue singing on a Chicago-style house song about a typeface. Despite its less-than-exciting theme, "G.B.I." might be the best song on the album. The songs after it include Towa's cover of "Private Eyes" by Hall and Oates, which is actually sort of ho-hum, and "Everything We Do is Music," a journey through samples of that phrase in several languages.

Not exactly revolutionary or must-have, SOUND MUSEUM is nonetheless a nice piece of ear-candy that would appeal to anyone who has a flair for offbeat music, especially of the inexplicable Japanese kind.

disappointing follow-up
The title of Towa Tei's second solo album, Sound Museum, makes it seem like it's going to be a direct contradiction to his first album titled Future Listening. Actually, the style on it is very familiar. Towa loves prgramming his songs on a computer, writing lyrics in about 5 different languages, combining bossa nova, disco and hip-hop and having the beautifully voiced Bebel Gilberto sing on half of the tracks. But while Future Listening was an undoubted success at making a kind of quirky global dance music, Sound Museum retraces its steps but falters nearly every step of the way.

It kicks off with the dense and sampledelic "The Sound Museum" which is nothing more than a cut-and-paste affair. It's like he programmed the computer to be jazzy but I can't decide if he wants me to dance to it or to laugh at it. And just as this album starts off with a dense electronic song like Future Listening, "Time After Time" is this album's "Luv Connection." It's somewhere between 70's funk and En Vogue and I'll just say funk isn't Towa's strong suit.

"Happy" is a little more successful attempt at the same type of song, but that might just be because sweet Bebel Gilberto sings the chorus. I'm convinced that any song could be sung by her and it would sound good. But still, sadly, she just gets the chorus. "BMT" stands for Biz, Mos and Towa. In other words, Towa got two of my favorite rappers, Biz Markie and Mos Def to contribute to the same song! So it's a surprise that this song isn't better than it is. The music is buzzy and repetitive and the lyrics are surprisingly inane.

There's another bad funk song and another inane rap song and there's a song that shows off Towa's love of the strange and kitsch. "German Bold Italic" is about a font that he made up and is actually included in an enhanced part of the CD. The music is nothing to write home about and though he got Australian superhotty Kylie Minogue to do the vocals, all she really gets to do is talk her way through it, playing the part of the font. The last three songs are the only ones worth repeated listenings. The first really good song comes after 7 tracks and is worthy to even be on Future Listening. "Tamilano" sounds like it should be called "Daughter of Bambi" as it sounds just like "Son of Bambi" from the last album but is a lot more playful. Towa again makes a sitar seem like the most obvious instrument to put in a dance song. Then Towa Latinizes Hall and Oates' "Private Eyes" and my favorite Bebel croons her away across the strangely space-inflected bass, fender rhodes and strings arrangements.

But the final song is what makes the CD. If Sound Museum popped up in a bargain bin, "Everything We Do Is Music" would make it worth the purchase. This is where Towa really shines. The ten-minute opus starts with a cut-up gamelan recording and eventually lands at spots all over the world and in outer space. The song's title and message is repeated over and over in the song in different languages to drive the point home. This is a song that deserves to be heard by everyone at some point in time.

Good music!
Sound Museum is a good CD, I haven't heard his previous offering. Which everyone seems to like more than this one..... However, there are some good songs on here. I must say I was quite surprised at the "hip-hop" influence, but it's still all good. "Time after Time", "Corridor" and "Everything we do is music" are my favorites. I bought this because they said "If I liked Pizzicato 5, that I would like this one". Well it's not on the same vein as Pizzicato Five, but I still like it. I would classify this as a dance/hip-hop type of CD. Which is cool, but I just expected something different. I would recommend this to people who have a diverse music taste.

smooth beats, real unique
i've heard good reviews of towa tei, i saw the cd in a used cd store for cheap so i was like well i'll give it a chance. i really enjoyed it alot; i especially love the backtrack for BMT (Fun to bass out to and really crazy!) GBI is a great smooth song and Private Eyes is just wonderful! i haven't heard any other of his work so i have nothing to compare it to, but i must say for my first listen, it was a good buy and i plan on buying much more of his work now. ... Read more

Album Details

Depeche Mode Tribute Album. ... Read more

Reviews (60)

Very, very good!! It doesn't get better than this.
Although Depeche Mode is damn good, modern remakes of their stuff is even better. "Fly on the windscreen" by God Lives Underwater, "Everything Counts" by Meat Beat Manifesto are the best, but Hooverphonic, Failure, Smashing Pumpkins, and Monster Magnet also put out great songs. But the best of all, Rammstein. Who would have thought a Depeche Mode song could sound so good sung by a german guy with a killer voice. You have to hear it to believe it. All in all, my favorite CD out. I highly recommend to everyone.

~Biatch

Very uneven but diverse and enjoyable
The biggest mistake fans make is to rate covers only against the original song. The CD should not just be compared to the prior band but enjoyed on its own merits too. I admit if you've heard the song before, it's hard to enjoy a bad version of it. But, everyone agrees there are gems on this album and while they don't like the same songs, the album is a nice listening experience. Some of the songs are a little bland but still enjoyable, while a few are a bit jarring.

My personal favorites: to me these songs make the CD worthy of purchase. The track by God Lives Underwater is very dark and [sultry], with a compelling chorus. Failure's is smooth yet edgy, and The Cure gives us a dark and heavy rock song.

Good/interesting ones: Meat Beat Manifesto is a good one, with a strong beat and well blended music. Gus Gus has a funky beat and builds up slowly, paired with a far-away female voice. Monster Magnet was dark and moody, Dishwalla's Policy of Truth was smooth and easy to listen to. Rammstein's version of Stripped has an energetic, industrial feel I enjoyed. While I'm not a fan of heavy music, it was enough upbeat to enjoy. The somewhat sweet lyrics paired with heavy beat made an interesting combo.

Lacking something: Smashing Pumpkins felt a little flat compared to their normal work. The Veruca Salt track had sweet vocals but it lacked humor.

Uneven songs: Self did a playful song ruined by a terrible and sluggish chorus. Locust's Master and Servant was done to lounge music and is lacking the original's brilliant, dark edge. Rabbit in the Moon's vocals and music seemed badly paired at first. It came upbeat midway through and turned into an enjoyable song.

Not my favorites: Apollo 440 was jarring and loud, with random yelling in the background. (Maybe I don't like industrial punk enough?) Deftones had some very heavy bass guitar and felt too noisy (sorry, Deftones fans.)

You love those Rammstein vocals--they are sexy and HARD
The only song on this compilation that sends shivers up me spine is Rammstein's version of "Stripped". It is powerful, lovely, strange, and glorious. It manifests the terror that I've always felt the original song merely implied. DM are a band replete with smoldering intensities. Their agonies are subtle and exquisite in their subtlty. Rammstein turns what seemed like a mere suggestion into a demand backed with the threat of real punishment.

Locust take the opposite approach on "Master and Servant" and come up with similar results. I've never been able to take the original vary seriously. It has always possessed a high camp value for me mostly because I've seen Martin in his chainmail. The song threatens something sinister and exciting but it never comes off for me. Now Locust turns a silly song into a wondeful lounge piece replete with alternating vocals between a male and female voice. The result is jarring and far more subversive than the original. Again, DM pose the threat. This is the promise.

The Cure turn "World in my Eyes" into a strange middle-eastern number. As usual, Robert's inflections are sublime. I get closer to swooning every time I hear it. It is starting to have a similar effect on me to the Rammstein track.

Monster Magnet articulate the rage that is implied in "Black Celebration". They also brings forth a tasty dose of machismo with the Phil Lynott/Thin Lizzy vocals that build in intensity over the course of the track. It is heavy, sexy and very direct. Somehow, I imagine that their "Black Celebration" is going to involve debilitating alcohol abuse and varioius criminal activities. The original made me wish desperately for a black mass held in the forest. Monster Magnet doesn't get that, but they've at least got naked sororiety sisters dancing about a fire and that is good enough.

The Deftones shoud have amended the title of their track to "To Have and to Hold (under the water). It is dark, supremely spooky and perfect for those long jaunts alone into the woods. It reminds me of Tool somewhat, and Metallica, oddly enough.

Of the rest of the bands, I like Gus Gus and the Smashing Pumpkins a bit. Dishwalla is alright but becomes less the more I hear it. The only tracks that are completely reprehensible are by Varuca Salt, Apollo 440, and Self. Skip those every time.

Overall, this compilation features tracks by several bands not intent on just copying the master. The result is a pretty good album overall.

Hit and Miss
I am a Depeche Mode fan of the first degree, so it was only natural that I should pick up an album of covers from some pretty high-profile bands. And while there are some things for the DM fan to enjoy here, at least half of the CD is a waste of time and space.

Let's consider what was done right. The Cure and DM already have a major overlap in fan base, so I expected a good interpretation of "World in My Eyes" right off the bat. I was not disappointed; this version is more fast-paced and has almost an Arabian feel to it. Very cool and just as good as the original, in its own way. The Deftones' "To Have and to Hold" is creepy and morose, a perfect song choice to create a nexus between the bands. Chino Moreno's vocals here are less breathy than on some of his more recent albums such as White Pony, but the Deftones were still relatively new when this CD hit the shelves. I also was drawn to Gus Gus' take on "Monument", which is frankly a DM song I was not previously aware of (probably a B-side from the early days... DJs have a talent for digging up obscure early Depeche Mode stuff to show how far back their obsession really goes. Find Danny Tenaglia's remix of "I Feel Loved" for further evidence.) Between this track and their two remixes of "Only When I Lose Myself," I became a huge Gus Gus fan in no time. I like Hooverphonic's attempt at "Shake the Disease" very much, a sultry trip-hop reinvention with the same heavy heart as the original. Veruca Salt's retread of "Somebody" is not bad either, as the song already seems like it might come from a feminine perspective.

There are also some in-between efforts here that could have been so much better with just a few minor changes. Failure's take on "Enjoy the Silence" is initially stunning because it is a pretty effective acoustic interpretation of a totally synthesized song. Then the drums hit a little harder and suddenly you get whacked upside the head with a slab of distorted(...)guitar. All of this would work really well if it weren't for the vocals. This singer has a very whiney yet flat delivery that really disfigures what would otherwise be a pretty cool take on a well-known DM song. Same goes for Dishwalla's "Policy of Truth." Good sonic arrangements are ruined by a guy who sounds like he wants to be Michael Hutchence but is really pretty far off the mark.

The rest of these tracks just sound very odd and quite often get skipped. I have to admit, though, that Rammstein's "Stripped" is kind of addictive in its ridiculousness.

Worth buying if you're a deep DM fan and you don't mind skipping tracks to find the good covers.

God Lives Underwater
I bought this just because God Lives Underwater does an amazing job on 'FLY ON THE WINDSCREEN'. Smashing Pumpkins put me to sleep jeez! There are some versions that are better than the originals like GLU's, The Cure, & Hooverphonic. The rest were good but loungy/breezy, and odd.
Oh Yeah 'UP OFF THE FLOOR' GLU 4th cd will be released late September 2004 on megaforce/locomotive records! ... Read more

Reviews (3)

Miss Kittin puts me "On The Road"
There are no words to describe the rush of energy this woman transmits me, I always play the CD at work, 'cause it makes me work faster and better. it inspires me as if I were getting ready to my best party, but actually I'm going to a meeting to show my work. Unbelievably good. Don't miss the mix between KillaBite and Le Rock 01, is the highest peak of the CD.

AMAZING!!!
After almost an entire year to get a hold of this cd, due to back orders, out of stock and now out of print, the chances and hopes of actually getting a copy were almost dead until this past weekend when I came across it and let me tell you ... to have it on my cd player is a pleasure and an honor.

Miss Kittin, is an amazing artist on her on right and as a DJ she deserves the respect that any female needs. You can clearly feel and her the german techno influence she has picking up now that she lives in Berlin and the mix is AMAZING. A great mix of techno, mininal-tech and some tech-house.

I recomend this cd, for the fact that it never drops the beat, it keeps you going, it's hard to get and find and mainly ... Miss Kittin on the turntables rules.

What else can you ask for?

The Queen of the Techno Scene
This IS the CD you'll grab before heading to the Club Friday night! Just press 'play' and Miss Kitten will take care of the rest! By the time track 5 rolls around you find yourself wondering if sound can possibly get any more tantalizing!? By track 8 you discover that; indeed it can!

Features 17 tracks by some of the finest techno artists on the scene, all brilliantly fused together by the lovely Miss Kitten. A+ for style and continuity.

Grab it, and take your vitamins! ... Read more

Reviews (13)

Mtv doesn't have the right!
Mtv doesn't have the right to even pretend they know whattechno music is. Come on, DJ Skribble is so bad it's not even funny, and the only thing they know how to play is Barfy Spears and the Skankstreet Boys. This collection does have some good artists on it, that's why it gets 3 stars. The Chemical Bros., Fluke, Underworld, Aphex Twin, Orbital, And Prodigy are all great musicians, but the thing is MTV just slapped all this together in one big sticky mess. How bad is the world when Underworld is anywhere near Atari Teenage Riot (or as I call them, Atari Barfage Riot.) The good songs on here are okay, but nothing special. Any fan of these artists can find these songs on their CD's. They could have at least had remixes or something special on them. The way this CD is set up, there is virtually no reason someone would have to rush out and buy this CD.

An artifact of '97 Electronica
It's funny, in looking back at this CD, I feel some peculiar nostalgia in listening to what folks in 1997 believed was the future of music.

As for the content, there are some essentials. Underworld's "Pearl's Girl" still melts my cortex with its synth line that ebbs like amniotic fluid. The tracks by Photek and Apex Twin are still great abstract electronica(see the Mille Plateaux label for further excursions.) There are also some overproduced misfires like the Chemical Brothers remix of "Voodoo People and the Chrystal Method's work that sounds like Musak for future "extreme sports" commericals(whoops! it did.)

Overall, Amp marks a time when MTV had this brief period of innovation before the advent of the Boy Bands and Total Request Live.

One of the BEST electronic compilations
First that all, I'm an electronic music fan from Colombia. I remember that my first SERIOUS contact with electronic music was the AMP TV show, via cable television, way back to 1996. In south america, just like in the U.S. the fresh new sound of the AMP TV show captivated a lot of people like me. And just like in the U.S., here in Colombia, finding good quality electronic music was a lot harder than now...

So when this CD came out, I ordered it in a music store that worked with imports, and WOW... even now after six years, few discs on my collection have the ammount of quality that this one has. It has the biggest artists in electronic music, as well as some of their most famous tracks. Of course, this cd may not be of the likeness of the "bang-bang-bang-boom-boom-boom" techno-fans, because every track on this album is pure flowing style. Real quality. Buy it NOW.

the original gangsta
This CD's a great starting point and nothing more. it was best back in 97 in my friend's car when we first heard aphex twin and atari teenage riot and laughed it off, only to end up putting it back on later. before circuit city came along and labeled it "electronica" and god knows what else, this was the best starting point for american listeners to get into british techno. only a few stinkers out of an otherwise very diverse (drum 'n bass, chaos, cyberPUNKROCK, straight up big beat) and catchy bunch, sure to sell any disbeliever after time.

Experimental MTV?YES!
Can you believe I have owned this CD since 1997? I stumbled across AMP one Sunday night after watching 120 Minutes. On AMP, I was exposed to for the first time Prodigy, the Chemical Brothers, Future Sound of London and many other cutting edge artists. From that moment on, I knew I had to have the CD! I agree with the other reviewers here, it is a taste of what MTV in the US can be if they chose to get back their experimental and groundbreaking roots. With songs from the likes of Goldie, the Chemical Brothers, Underworld and the now infamous Prodigy...this CD gives you an overview of the first AMP shows. I can tell you, all of these groups are still very much popular here in Europe and are not "One Hit Wonders" by any means. If you want a taste of experiemental MTV before the Nu-Metal and Boy Band take over of 1998, respectively, then pick up this CD, you wont regret it. ... Read more

Reviews (16)

ak1200 is the best live and in person.........
but you should buy the cd anyway. beautiful drum and bass, essential for everyone. go and get this now!!!!!

powerful jungle beats take you there
This one grabs you and won't set you down until it's over. Continuously mixed to perfection, this CD features aggressive Drum 'n' Bass and Jungle Beats that have serious bounce to them. You're going to want to dance; be ready.

BEat to love/live by
I personally love/live by this cd. It is by far the best cd out of ak's mind. He is the man who rules all of drum and bass and by far my favorite artist. Buy it and enjoy. If you enjoy drum and bass and old style jungle beats then you will love this cd.

A rock-solid entry to the catalogue
Wow. Of all of AK's mixes I have heard, this is by far my favorite, and the only one I still play regularly. The track selection is the big one here. That's not to say the mixing is not solid; for the most part it is, albeit not perfect. But the tracks are HUGE. Even by today's standards, these tracks still sound at once raw, fresh, intellegent, and aggressive, without getting bogged down in excessive processing and fluff. A good album for both the new listener to the genre and the longtime fan, AK successfully bridges the gap between "accessible" and "overly simplistic," and does it here with style that will pull its' weight twenty or so years from now. Own.

Brum & Bass at it's finest!!
All i have to say is WOW! One of AK1200's best CD's. Has a good selection of tracks, and has a good scary vibe on a couple tracks( my favorite kind of DNB by the way). Anyone who has love for this kind of music, or even has an ear for talent should look into getting this CD. ... Read more

Reviews (4)

music light and pretty, casting a soft glow
Lambent...ambient and gentle like a lamb? Actually the word means luminous, which is appropriate as well, for music this light and pretty, casting a soft glow. Wispy, but not wimpy. Eluvium is the work of Portland Oregon's Matthew Cooper, a post-rock bliss-out artist if there ever was one.

His music, constructed of layers of guitar, piano melodies, and some distant voices perhaps, swells and falls, wrapping the listener in pale, gauzy colors and textures. On the fourth and longest (15 min.) piece, "Zerthis Was a Shivering Human Image" Eluvium gets nicely fuzzed, warm and deep and droning -- not so light but still pretty. Whoosh. There's five lovely tracks here total, all of which should appeal to fans of Stars Of The Lid, Brian Eno, Landing, Labradford, Sonna, P. Jeck, etc. I like.

Junkmedia.org Review - Please and yes thank you
The Temporary Residence label is making quite a name for itself as it continues to quietly release quality albums that range from the backcountry warbling of the Anomoanon to the post-rock hush of Sonna to the bombastic aural explorations of Explosions in the Sky or Tarentel. Add to that list Eluvium 's debut album, Lambent Material, which puts the "bien" back in ambient.

Matthew Cooper (the man behind Eluvium) crafts music best suited for decompression chambers with its pulsating electrical currents, oscillating waves of distortion and tiny piano all overlapping in a starkly beautiful way. It's oddly moving, but make a note that this is not your mother's ambient music. Take the central track, "Zerthis Was A Shivering Human Image", which wraps the listener in a cocoon of fuzzed guitar distortion that shimmers and twists into a gorgeously mellowed drone. It's a deconstructed My Bloody Valentine sans vocals that will surely leave one's elders scratching their heads and running for cover. Other pieces like "Under The Water It Glowed" or "There Wasn't Anything" throw off a soothing phosphorescence that occasionally startles.

So the next time you return from an electric night of busting the latest dance-punk moves and find yourself vacillating between wired and exhausted, put Lambent Material on for the slow fade to sleep. I can't help but concur with the cryptic phrase in the liner notes: "please and yes thank you."

Barin McGrath

Junkmedia.org Review

Junkmedia.org Review - Please and yes thank you
The Temporary Residence label is making quite a name for itself as it continues to quietly release quality albums that range from the backcountry warbling of the Anomoanon to the post-rock hush of Sonna to the bombastic aural explorations of Explosions in the Sky or Tarentel. Add to that list Eluvium 's debut album, Lambent Material, which puts the "bien" back in ambient.

Matthew Cooper (the man behind Eluvium) crafts music best suited for decompression chambers with its pulsating electrical currents, oscillating waves of distortion and tiny piano all overlapping in a starkly beautiful way. It's oddly moving, but make a note that this is not your mother's ambient music. Take the central track, "Zerthis Was A Shivering Human Image", which wraps the listener in a cocoon of fuzzed guitar distortion that shimmers and twists into a gorgeously mellowed drone. It's a deconstructed My Bloody Valentine sans vocals that will surely leave one's elders scratching their heads and running for cover. Other pieces like "Under The Water It Glowed" or "There Wasn't Anything" throw off a soothing phosphorescence that occasionally startles.

So the next time you return from an electric night of busting the latest dance-punk moves and find yourself vacillating between wired and exhausted, put Lambent Material on for the slow fade to sleep. I can't help but concur with the cryptic phrase in the liner notes: "please and yes thank you."

Barin McGrath

Junkmedia.org Review

This album is worth your time.
I was just sitting around listening to this when the thought occurred to me that I should review it on amazon. I don't know why. Seriously. I've probably reviewed like 3 things in the past few years. But, about the album:

Lambent Material kinda sounds like something in between the long drones of Windy & Carl and the slow, sad instrumentals of Mogwai (Like from young team or EP+2). You can classify it as an ambient record I suppose.

A cool thing about it is that it's immediately accesible, though it still works it self out in your mind after several listens. It has a nice low key feel to it. There are a lot of winding loops of slow melodies with sounds from field recordings in the background. The replay value is good on this album, it's not something you'd get sick of after listening- it's the type of album you'd play several times in a row.

The most intense this album gets is on the fourth track, "Zerthis was a shimmering human image". It's amazing how the track is so simple in that it shifts back and forth between two drones for 15 minutes, but it never fails to lose your attention. Throughout the track there is buzzing and rumbling that constantly comes in and out of the mix. The rest of the album is full of slow, beautifully constructed late-night songs in the vein of EP+2.

So, I would recommend this highly to fans of Windy & Carl, Gas, Mogwai, Stars of the Lid, and even Aphex fans. Actually, this would appeal to anyone looking for a good ambient record to listen to in the middle of the night. I'm glad to have heard this. It's just that nice. ... Read more

Amazon.com

Seven years after their last release, former Black Dog members Ed Handly and Andy Turner finally get around to putting out a second album. The duo's polyrhythmic soundtracks are now embellished with live instruments and the lush voices of techno divas like Nicolette ("Extork") and Mara Carlyle ("Rakimou"). Plaid manage to hang on to the sparse intensity of Black Dog even with the new frills, only now the songs offer much more in terms of listening experience. Particularly noteworthy is the quietly detailed collaboration with Björk on the jazzy and warm "Lilith." Clearly worth the wait. --Aidin Vaziri ... Read more

Reviews (27)

music that cares for people who care
This music quite possibly saved my life; it gave me hope during a very dark time. Plaid manages to have a sense of humour while being very eclectic, intelligent, and beautiful. This album is NOT for music snobs - the people I know who love this album don't necessarily like this genre, but rather have curious, compassionate, slightly childish personalities in common.

This music is complex, but sounds very simple and natural. It's very sincere, but at once casual and effortless. To me, this music is like a person...when I have Not for Threes playing in the room, I'm never alone. This music not only speaks; it embraces with loving arms. It may take some time to grow on you, and you may have to have something happen to you that makes you grow up a little before you can appreciate this music, but this album is among the most beautiful I've heard: loving, thoughtful, funny, fragile, very human music.

beautiful
Plaid and Black Dog (the previous incarnation of Plaid) are a little treasure known only to true electronica lovers. I wouldn't define them a quintessential electronica group like Autechre or Aphex Twin (who is a rather plural musician): programming is only an instrument to express their musical ideas. That's why they can take the human voice so seriously: listen to a full-fledged vocal song like Rakimou, and you'll notice the difference with the little children's sampled voices of Aphex or of Board of Canada. Consistently with this approach, they treat synthesizer as a classic instrument; as a result, their timbric palette is very "clean", without much noise or experimentation with artificial sounds. Plaid know how to craft a good melody and how to make a drum not sound dull, two qualities hard to find in the same group. And, they are not afraid to mix sophisticated tracks with danceable, commercial ones. For the first group, check out Lilith; for the second Spudnik. There is an underlying fascination by early music (milk) or eastern music (Rakimou). But every song is very gracious and definitely original. If you happen to be a novice to the "intelligent techno" world, and would like an enjoyable introduction, flawlessly realized, resistant to heavy rotation, good for both careful listening and background noise, consider this. Another beautiful CD could be the second of the "Artificial Intelligence" series of Warp Records.

You won't be disappointed
I've been a fan of IDM and related genres for a couple of years now, and I just recently bought this album. If you enjoy that type of music at all, I strongly recommend this CD (even if you're not into "intelligent" techno, this might be a good place to start). It seamlessly mixes clever and varying layered beats (Abla Eedio) with gentle, softly echoing melodies (Milh, one of my favorites). It's about as diverse as it is engaging.

Some people have said that the end of this album is a disappointment, and, while the first few songs are exceptional, I think the end is just as beautiful. It's just different. Lilith is incredible, especially if you're a fan of Bjork. Forever, like Seph, is short but very sweet. I didn't like Getting at first, but now it's becoming one of my favorites.

Milh is probably the slowest, most soothing song here. It's very different from everything else on the CD, and I think that's why I like it so much. The beat doesn't even kick in until about 2 minutes into the song.

The last two tracks, Undoneson and Spudink, and both very different, and a bit more simple that the rest of the CD, but they're each really great songs. Spudink is a beautiful, celestial-sounding song. It's probably less experimental than the rest the album, but wonderful nonetheless.

All in all, I can't really think of a reason not to recommend this to anyone even remotely interested in electronica. It's a brilliant, deeply original collection of music that you will not regret picking up.

Sebadoh and Portishead went to the Bahamas on LSD...
... and proceeded to kick the ... out of a calypso band while they were in the middle of a set, all the while commiting the whole thing to tape to later be remixed and polished by Tricky.

at least.. that's the feeling i get from this CD. sound interesting? maybe it is, but it's just not interesting enough for me to listen to more than once. that's not to say that it's a bad album.. there are some really stand-out tracks on it, like Extork, Kortisin, Lilith, and Rakimou. Actually, almost all of this album is more than listenable, but it doesn't ever come into focus as an album.. more like a collection of singles with a little bit of filler thrown in for padding. Therefore, it's difficult for me to recommend this to anyone other than to say it's far from the worst music i've ever heard, even in the down-tempo / trip hop genre, but people looking for something inspired and inspiring should look elsewhere.

an excellent composition
This is simply an extremely creative and beautiful album. Plaid seems to paint in colors more vivid than nearly all others who have taken the electronic approach to composing music. The songs are simple and yet complex and subtle at the same time. All moods and emotions seem to be represented, yet still a single motif unifies the work. The vocal tracks (including the collaboration with Bjork) complement the "instrumentals" very well. The balance Plaid has achieved gives the album tremendous staying power as well as initial appeal. This one is definitely a gem. ... Read more

Amazon.com

Six years after their future shock treatise, Dead Cities, Future Sound of London's Garry Cobain and Brian Dougans return with a psychedelic songfest. Exchanging electronic ambient loops, trip-hop beats, and alien textures for backwards guitars, sitar symphonies, and Donovan-style folk songs, The Isness captures '60s psychedelia in all its nonsense and nirvana. You can still hear the FSOL intellect and collagist aesthetic, but the duo have abandoned the sequencer-created hallucinations of their 1994 masterpiece, Lifeforms. Recording live drums, brass, strings, percussion, and vocals in their London studio, FSOL used an Apple Mac to arrange and treat the sounds into a cosmic song cycle. With Mellotrons surrounding Cobain's ethereal vocals, The Isness matches the "I Am the Walrus" dirge of "The Mello Hippie Disco Show" against the bucolic Donovan serenity of "Goodbye Sky." "The Lovers" recreates a boiling Hendrix funk meltdown. "Galaxial Pharmaceutical" recalls the epic bluster of Pink Floyd, and "Guru Song" the droning loops of the Beatles' "Tomorrow Never Knows." It all works as magically as a tab of LSD. The Isness is a psychedelic classic, 30 years late. --Ken Micallef ... Read more

Reviews (47)

The FSOL I'd grown to love is gone.. but...
From banjos and trumpets, to sitars and tablas - the long awaited Future Sound of London album is nothing like you'd have expected.

Having grown up to love FSOL as my all time favorite artist, The Isness came a quite a shock. Those seven years off must have involved a lot of acid and Ravi Shankar. Almost every track involves a sitar - a very beautiful and versatile instrument. Then on track three, The Mellow Hippo Disco Show - vocals! FSOL and vocals? Not just once either - track seven, "Divinity" has to be this albums' masterpiece; guitars, muted trumpets, tablas and a chorus to die for. Sounding like a seventies television show theme (but in a good way) it truly touches the heart. (I have the Jewel Case version with a different track listing than above.)

FSOL has grown and matured I suppose. Everything I've stated notes the differences from the FSOL we knew on ISDN and Dead Cities. That dark beautiful beast is gone. Now we have a changed and more lighter sounding artist. I picture playing in a tall, open field on a beautiful summer's day. This is by no means a bad album. It's quite beautiful. But don't expect dark anthems - expect very well orchestrated, experimental, psychedelic airy tunes. At times I can still hear the old FSOL buried inside, especially tracks with that jazzy cold feel percussion we knew from their ISDN album, but overall it is something brand new.

I very much recommend this album to both Future Sound of London newcomers and veterans. It is a feast for the ears, that may be the only thing it has in common with their other works.

The New Psychadelia
Emerging like a brightly coloured butterfly from a 10-year cocoon of dark, ambient electronica, the FSOL duo delivers an album that has a big smile plastered all over its face.
More upbeat and technicolour than previous releases (except maybe the Papua New Guinea Translations album) the Isness is a bright kaleidoscope of sounds and psychedelic grooves featuring a wide variety of assorted instruments (sitars, guitars, organs, flutes, etc.) and some great melodies. Stylistically it is influenced by the 60s (especially that sitar) and 70s Elysian Fields, for example, is a soundtrack of 1966 Carnaby Street grooviness (or 'Lounge' depending which decade you're born in), Divinity is an uplifting, mid-tempo 70s acoustic guitar spritual strumalong à la My Sweet Lord. High Tide On The Sea of Flesh, on the other hand,shows that FSOL still have time for a good old fashioned ambient dirge. Indeed, despite the change in direction that Isness signifies, this record is still essentially ambient, although very different from the frosty soundscapes of ISDN, for example. It works great in the background and is ideal for laying back, listening to and immersing yourself in. I generally try to avoid using words like 'quality' when describing music but this is definitely a high-quality record and there's a big, positive vibe going on here. If this is what spiritual awakening is supposed to feel like, I'll have two double helpings, please, with extra on the side.
,Ã¥

30 years Ago this was the future sound- OLD IS NEW AGAIN
WHEN THE BEATLES RELEASED REVOLVER- IT CHANGED THE MUSIC WORLD AND KICKSTARTED THE PYSCHEDELIC MOVEMENT AS WELL AS MAJOR ADVANCES IN RECORDING. THEN CAME BARRETT LED FLOYD-TOMORROW- EVEN MODS THE SMALL FACES WENT TRIPPY. EARLY BOWIE WAS THE LAST OF IT BEFORE IT MUTATED INTO PROGROCK AND ELO. FUTURE SOUND OF LONDON WENT BACKWARDS TO GO FOWARDS. STEALING QUITE LITERALLY FROM THE THIS TIME PERIOD- (MAYBE THEY WERE HANGING OUT WITH GEORGE HARRISON(RIP) AT THE TIME WITH ALL THE SITARS AND EASTERN SOUNDS)- YET MANAGE TO CREATE A MODERN AUTHENTIC RECREATION OF THE TIME PERIOD. FROM THE OVERSENTIMENTAL VOCALS AND LYRICS TO THE STRUMMED ACOUSTIC GUITARS THERE IS DEFINENTLY "A HIPPY FEEL GOOD VIBE" BUT WHEN IS THAT SO BAD ANYWAYS PLUS WHEN ITS TEMPERED WITH AMAZING SOUND COLLAGES AND GREAT LIVE INSTRUMENTATION- THE RESULT IS STUNNING. IVE BEEN AN FSOL FAN FOR NEARLY TEN YEARS AND FIND THIS THEIR MOST CHALLENGING AND REWARDING LISTEN. MANY OF THE INSTRUMENTALS ON THE ISNESS SOUND SIMILIAR TO CASCADE(WHICH WAS THEIR PEAK EARLY FORM) BUT ARE MORE HEARTFELT AND LESS COLD- "MELLO HIPPO DISCO SHOW" IS PURE PINK FLOYD BEATLESQUE NUTTINESS( GREAT ORGANS-VOCALS PERCUSSION) AND THE OTHER TRACKS DO PLAY LIKE VINTAGE DONOVAN OR EARLY BOWIE/GEORGE HARRISON EVEN SYD BARRETT. BY RETREADING THE PAST FSOL EASILY WALK PAST MOST OF THEIR COMPETITION WHOSE GENERIC STERILE ELECTRONIC SOUNDS JUST SOUND DATED(IRONICALLY ITS WORSE TO SOUND LIKE 1995 OR 1985 THAN 1965 IN MY OPINION). PLAY ANY EARLY FLOYD RECORD OR SGT PEPPERS(1967) AND THERE ARE IDEAS THAT SOUND FRESHER THAN ALOT OF TODAYS MUSIC AS WELL AS SOUNDS THAT ARE WEIRD AND TRIPPY BUT WARM AND HUMAN. THIS WAS ONE OF 2002S BEST BY A LANDSLIDE. AND IM NO RETRO LOVECHILD- MY FAVS INCLUDE THE JAM-CLASH-COLDPLAY-DJ SHADOW-UNKLE-BJORK-THE VERVE. EXTRA STAR REWARDED FOR THE AMAZING PRODUCTION AND BEAUTIFULLY DESIGNED BOOKLET WITH AMAZING PHOTOS AND ARTWORK-(OF OUTSIDE INTEREST IS THE RARE SYD BARRETT QUOTE WHO DESCRIBED FLOYDS SOUND IN AN EARLY 1968 INTERVIEW AS THE "FUTURE SOUND OF LONDON". HISTORY REPEATING? FOR ANY FOWARD THINKING BACKWARD LOOKING MUSIC FAN WHO THINKS THAT TIME HAS NOTHING TO DO WITH QUALITY.

Which Version?
As a previous reviewer pointed out there are 2 versions of this album. One is a version they released as a promo, this starts with 'Elysian Feels'. Before the official release they decided to release a different version, with a different running order, different mixes and a couple of different tracks, this starts with 'The Lovers'.
So can subsequent reviewers please specify which version they're reviewing because the promo version starting with 'Elysian Feels' is infinitely better than the 'official' version and is a masterpiece.
I hope this sorts out some of the confusion.
Obviously when you buy it make sure the first track is 'Elysian Feels'.

No, it's not Return to Dead Cities. Get used to it.
Everyone seems to like this album of hate it. As a longtime FSOL fan, I definitely didn't see it coming, but having bought the thing just out of habit (I was initially skeptical), I can firmly plant myself in the former camp. This disc is TIGHT.

By now, of course, you should be fully aware that it's not traditional FSOL (if there is such a thing), but is rather a tripped-out psychedelia homage that sounds like outtakes from Sgt. Pepper's Lonely Hearts Club Band, or maybe early Pink Floyd. But although the 30-second clips on this site are relentlessly unflattering, this is not an obnoxious 63-minute dip into mediocre sitar samples and boring ambient washes to burn incense by, but rather an energetic, cohesive update on a genre that supposedly tired itself out three decades ago. ... Read more

Reviews (20)

I bought this single by chance, and.... I liked it!
I owned Moby's CD "Play" and that shows how often I listened to it since I didn't even know this song was on it, but this song is incredible. Gwen Stefani's voice make's the song 100% better than what it was before and they even put the solo Moby version on there so that you could compare the differences. So far everyone that I've encountered liked this song because Gwen Stefani's voice improved it. So people don't hate appreciate. This sigle is goign to make Moby big, it getting a lot of air-play and everything. Now don't listen to that person who couldn't aford to pay 4 dollars for this single because he doesn't release that 4 dollars wouldn't be much saved for a live performance anyway. The clip is not to useful in this case because you will need to hear the whole song to understand it's significance.

The song is excellent, but..........
Don't get me wrong, the song South Side is great but..........

I just thought that there could've been some more versions/remixes of it included...this single has only two tracks and is not really worth getting to me. A few more versions of South Side along with some B-Side tracks would've made this single more worth it in the end. I bought this single used at a music store for .95 cents...at least i only wasted a $1.10 total *shrug*. Gwen Stefani and Moby actually blend quite well together as they sing the chorus in the whole song. That's my review, thanks.

Strangely...
Not as good as the Moby-only vocal mix. A surprise given the video.

here we go now to the southside
I love this song. I've always liked both Gwen Stefani in No Doubt and Moby and finally, a duet with the two of them. It's great and Gwen's clear vocals add to the already great song.

Pure Bliss
When I heard this version of South side on MTV in the run up to the 2001 VMAs (Moby was nominated for best Male), I instantly fell in love with it and wondered why I hadn't heard it before. Imagine my horror when I found out that it was only to be released in America.

I immediately set about trying to get a copy. Thank you Amazon.com for making it possible for me, in lil'ole England to own a copy of the best song I've heard all year.

I own PLAY and loved the album version of South side, but with the voice of Gwen Stefani, the new single is far superior.

I'm proof that this single is the greatest Moby single ever, if I've gone to all this trouble to own a copy.

Moby well deserves his VMA especially as he earnt it with this song. ... Read more

Reviews (16)

The Future Sound of London's Best Album
If you didn't already know, Amorphous Androgynous is actually the Future Sound of London. Tales of Ephidrina was crafted from the sounds "leftover" from Lifeforms. Tales of Ephidrina is a kinda of experimental mix of atmospheric ambient and techno, creating a sound that will appeal to fans of electronic music with a fat bassline yet retain the armchair listening of ambient. The soundscape Tales of Ephidrina creates is like a surreal alien world, shifting from soft textures to hard hitting beats. Probably the least recognized album by FSOL, but my favorite, it blows all their other work out of the water. The only dissapointing thing is that the album is under 50 minutes. Don't expect it to sound like anything FSOL has ever done before though, it's much much better.

Between Lifeforms and ISDN
On a break between their Lifeforms and ISDN albums, The Future Sound Of London released this album under the pseudonym Amorphous Androgynous. While ISDN is a transition album between Lifeforms and Dead Cities, and tends to pull both ways, Tales of Ephidrina is more together. The tracks blend together in a similar way to Lifeforms, and the overall feeling is very similar. The ambiance of the tracks is somewhere between melodic Ambient and easy Techno with minor World Music touches. this is music for the mind. You put your headphones, and flout away, possibly into a virtual world created by their regular artist, Buggy G. Riphead.

Good, but...
This is a good album, and those familiar with FSOL won't need a lengthy explanation of what to expect. That said, the only thing that keeps me from being more enthusiastic is that I got it after I heard the 1993 Kiss FM mix that contains most of its tracks, and I was kind of let down by the album. That radio mix has, for instance, a killer version of "Fat Cat" that's about 13 minutes long; the album's 4 minute version was more of a buzzkill than anything else.

If you can find the mix, get that instead. It's way better. If you can't, this is still pretty good stuff.

The Machinery of Night
While this could easily be the soundtrack to a modern sci-fi
thriller, you realize after listening to the whole disc that
it is a visualization engine for itself.

Like another reviewer here said, this music goes well
with black lights and dry ice. Every time I've heard
it since I purchased it in '94, it's sounded different.

I haven't tried this, but I imagine this would go well
with a William Burroughs or Philip K. Dick novel.

Also, like Future Sound of London (it's the same guys), this
is definitely headphone music. You won't really get a sense
of the presence in the sound when it has to image into
open space. That's kinda freaky all by itself, when you
think about it.

This is good 'personal' listening music, but it won't retain
guests at parties, so don't even bother bringing it out for
that. It will provide interesting company when you're alone.

ok ok
So so. I can't say much though because i am not a very big fan of F.S.O.L. But for 1993 its good. ... Read more

Reviews (20)

"IT'S ONLY" HERBERT MAKING A FANTASTIC CD!!!
What goes on in the mind of a man as outstandingly creative and innovative as Herbert? Does he play around on the sampler/mixer/keyboard to create sounds that one would never think of placing in a song? Or does he get some sort of divine inspiration from the Music Gods? Whatever sparks Herberts creativity and brilliance will probably remain a mystery, but after hearing "Bodily Functions", a music lover like me can't help but respect this man for what he does and how he does it. After hearing "Bodily Functions" a few of my friends were like: "What is this mess? Sounds like somebody doing something obscene!!!" Then my other more open-minded cronies took to the songs and "sounds" right away, admiring the mix of jazz, rich vocals, minimal house beats and the "obscenities"--actually these are supposed to be sounds the body makes, hence, the title of the CD. This is definitely a classic in my book, and if you're a fan of DJ Shadow, Amon Tobin, or any other genre-crossing artists who give "dying" music that "UMMMF", then check out this man! You have to!!!

Artful, creative eclecticism
Finely crafted tunes spanning deep house, lounge piano ballad, acid jazz, and more. Highlights include 'You saw it all' which starts off with a funky dance groove reminiscent of vintage Stevie Wonder, and the totally unique 'Foreign Bodies'. Evident everywhere is a well honed sense of composition. Lyrically, the songs are connected, and the story they tell provides the glue that bonds this album's eclectic mix of musical styles into a creative whole. Stylistically, Herbert is not on the bleeding edge anywhere here, his artfulness lies in his sense of composition and attention to detail. I would hesitate to call this album a work of genius, but it's far better than most.

Sounds of the future
Even if you're hip enough to love the "Verve Remixed" projects, nothing can quite prepare you for the experience that is Herbert. Never before has such an organic blend been achieved; it's damn near impossible to determine where jazz ends and electronica begins.

Tracks like "Suddenly" and "Leave Me Now" percolate at tempos fast enough for dancing, even though their musical backdrops are dreamily mesmerizing, perfect for chilling on a sofa. "On Reflection" takes it one step further and puts its toes right on the edge of the dancefloor; the tempo and percussion make you think the bass drum will kick in at any minute, but the song stays content as a supper club ballad with a beatnik crashing the party with his own bongo drum groove.

"Addiction" and "I Miss You" are intoxicating ballads with similar percussion flourishes, but other cuts like "I Know" and "About This Time Each Day" prove that ringleader Matthew Herbert could hold his own with straight-ahead jazz cats. Vocalist Dani Sicilliano casts a hazy spell throughout the album, managing to chart that rare territory of vocals that sound dreamy, lazy and still passionate. Herbert goes out with a bang, however, as "The Audience" challenges one and all to sit still while Dani's "move with me" chorus floats over a bubbly and irresistible club groove.

The credits are shaped like a human eye and are hard as hell to read, but finding out certain percussion sounds came from laser eye surgery or a mouse who fell into a wastebasket make it well worth the trip. In a way, it all proves "Bodily Functions" is the epitome of jazz: its creative spirit is influenced only by itself and becomes more profound when it feeds off its own origination. Music fans who take the time to sit and absorb "Bodily Functions" before they let it be background fare may well find themselves immobile from the disc's hazy, alluring start to its rousing, celebratory finish. You are hereby challenged to find anything else that sounds like this.

Buy this album - now!
This album was recommended to me... I had seen Matthew Herbert rape a cereal box on german TV once before (he was being his 'Radio Boy' charater) which made me decide to stay far far away from him.

However, after downloading the first half of the album, I immediately decided this was definitely one (of many) to own! It's something you'd play after coming home from going out, after coming home from work whilst taking a bath, while smooching on the couch with someone special and even while sitting on your balcony on a mid-summer night.

If you wanted to compare this album to something else; think Everything But The Girl's most recent studio album, Temperamental. It's dancey, but not too loud... Very jazzy, melodic. VERY soothing.

I honestly don't think you'll be disappointed.

odes to failure
herbert himself describes each one of these tracks as an ode to the failures of human intimacy and connection. the whole cd is like a soundtrack to a night wandering through your favorite big city, preferably new york, at the end of your stay there, and going over in your memories all of the betrayals, breakups, losses, and failures that you went through. but theres also the feeling of those amazing, beautiful, ephemeral moments also. the music makes you want to dance while conjuring melancholy and images of rain, dark streets, clubs, someone beautiful whose eye you catch for a second, bathrooms at the back of bars, and half remembered taxi rides home. when you wander into some bar alone at 5 am, hoping to find something there after all your friends have gone home, this is the music you want to hear. ... Read more

Album Description

Reknowned as one of the most respected producers in the genre of dance music, Ian Pooley has been working heavily over recent years to complete a new full-length album that fully reflects his artistic development.

From his first steps into house music and his first real artist album Meridian (1998, V2) as well as the highly acclaimed follow-up Since Then (2000, V2), Ian Pooley has made his way to the very top of international producers and DJ's. Many have asked for his skillful production and remixes, among them renowned artists like Deee-Lite, The Cardigans, Yello and Modjo – to name a few.

While the trademark sound of Ian Pooley has never changed, the sounds and melodies of his tracks and his songs today embrace an incredible broad range of music…. Brazilian and Latin rhythms can be found in Pooley’s productions as well as tasteful hints to soul, Jazz and Blues or nostalgic quotes of Detroit Techno or New Jersey House. Souvenirs shows a new kind of maturity in Ian's work.

The album also includes appearances by some of Ian’s most admired artists, including Marcos Valle, the Brazilian Bossa Nova mastermind and one of today’s most gifted blues and soul singer, Terry Callier. Both adds perfectly to the soulful, driving compositions, making it more than obvious that Pooley's unique ability to blend deep feelings with moving grooves has reached a completely new level! ... Read more

Reviews (1)

A Bit Disappointed
To be fair, German DJ Ian Pooley had quite a challenge before him."Since Then", his last album, was very good.It came out in 2000 and was a vital source for some Nu-Brasil cuts in that time period with "Coracao Tambor" and "Balmes" and even "Since Then" making rotation for a local (Emerson College) radio station.Back in 2004 was Ian's third release, "Souvenirs", and I picked it up straight away but struggled to review it.

What drove me to this was, honestly, Marcos Valle.I heard "Sentimento" off of Brazilution 5.2 and liked the song - albeit felt it seemed for some reason, cliched.Still I picked it up to check the other cuts and I wasn't wowed by this.The intro is cool and there's some good house with loops like "Heaven" and "All About You".But the highlights to this cd were easily the track with Marcos Valle, the cool beats on "Bony Batudada" and "Me Leve" featuring "Since Then" vocalists Rosanna & Zelia.But after "Distant Love", there just wasn't much that hooked me to the album.

Hard to recommend since there just weren't a great deal of tracks that I didn't hit "FF"."Hotel Boogie" was an ear sore and I admittedly missed some of the quirkiness of "Since Then" with "Venasque" intro or the Joyce inspired samples on one of the other cuts.I would say wait on this and check out the highlight cuts on superior compilations like Brazilution and others that will feature the songs remixed (hopefully).Released on MOS Germany, it's not a bad release, just not particularly original. ... Read more

Album Description

CD 1 - A Sweet Electro & Jazz Selection by F. Lamy features tracks from Kinobe, St. Germain, Herbie Hancock,Telepopmusik, Llorca, Sex With Birds, Bebel Gilberto andmore. CD 2 - A Deep & Electro House Selection by DJ Chloefeatures tracks by Glenn Underground, Herbert, The Notwist, Abstract Soul, Phoenix and more. Trifold digipak in aslipcase. 2002. ... Read more

Reviews (1)

The best recordings I've ever listened to.
This CD showcases some of Europe's finest musicians put together by people who know music. It captures the essence of everything I have ever wanted to listen to. This music will blow your mind if you have the time to relax and listen. It is superb. ... Read more

Amazon.com

For Squarepusher's Tom Jenkinson, music is his playground--albeit a very twisted one. One minute you might find the producer carelessly wrecking beats and pieces like a petulant three-year-old boy (see Music Is Rotted One Note); at others, employing the exacting precision of a manic drill sergeant to drum & bass, he produces what could only be called "drill and bass." The unpredictable Jenkinson throws his audience yet another curve ball with Budakhan Mindphone, which turns out to be a softer, kinder, gentler Squarepusher, where tinkling pianos and lush melodies summon a childlike innocence. To be sure, Jenkinson's strange ways are still present (wacky rhythms, check; odd, assorted noises, check). But this time around they're coated with a sugary sweetness never before seen from the mad scientist. --Tricia Romano ... Read more

Reviews (10)

A strange hybrid of old and new squarepusher
Although some previous reviews have claimed that Budakhan Mindphone is really Music is Rotten One Note part II, I really cannot agree. Although B.M. certainly takes a large cue from Music Is Rotted One Note, it also brings back some of the beats of Big Loada and Hard Normal Daddy, although admittedly in a strange new form. Iambic 5 poetry is a very pretty song that is reminiscent of Tortoise; Two Bass Hit is a lopsided bass jam; and Fly Street and Varkatope hearken back to older Squarepusher sounds, while retaining the strange minimalism of more recent Squarepusher efforts. I could do without the tunelessness of The Tide and Gong Acid, but the tuneful-to-tuneless ratio here is much higher than on Music Is Rotted One Note, thus providing a more enjoyable listening experience. This is the sound of Mr. Jenkinson beginning to reconcile the old-school Squarepusher drill 'n' bass sound with the free jazz of his last effort, and it is a worthwhile excursion.

Great Stuff...
Released in the wake of Squarepusher's masterful MUSIC IS ROTTED ONE NOTE, which combined electronica-derived studio wizardy with sturdy jazz-rock musicianship,BUDAKHAN MINDPHONE neither expands upon its predecessor nor returns Tom "Squarepusher" Jenkinson to his drum-and-bass beginnings. Instead, it travels down an entirely different path. While the songs incorporate a bit of MUSIC IS ROTTED ONE NOTE'S jazzy rhythmic feel, elements of dub, ambient and trip-hop are more prominent. BUDAKHAN MINDPHONE features some of the most swinging breakbeats you'll ever hear, with Jenkinson coming off like the Elvin Jones of the sampler. There's a greater amount of space in the arrangement here than on MUSIC IS ROTTED ONE NOTE, and consequently a more luxuriously textured ambience.

A Short Album That Needs Time
"Iambic 5 Poetry" is sheer beauty. It IS the standout track, and at first I thought it was going to be the only one. This mini-album takes several listens to get engrossed and to appreciate all that it offers. At this stage, I can say that I'm thoroughly satisfied with this album. It uses some of the more accoustic jazz style of Music Is Rotted One Note, but this time it's less dark in tone. In fact, it's rather uplifting. There is more electronic sequencing involved here, but it is quite subtle in its execution.

The aforementioned track is the big melody track. Others are more experimental and free-form in nature, but easy to enjoy and complement the overall feel of the mini-album.

emotional classic;;;;
i was in a net DJ radio when i listen a song, that was realy one of the greatest i ever heard,;;; i just wanted to know the name of the artist,,, the suspence remain some months till i visit warp site , whith hope to find something....when from the nothing, in over A look at squarepushers stuffs i decide to hear a sample from BUDDAKAN... EP . The suprise come in the first song ,that song..LABIC 5 POETRY.. its realy great, the atmosfere...a million words in some minuts song, well, a classic.. every one must have this cd.. you will be not regret;;;;;

Good stuff
Quite a good mini-album by Squarepusher on Warp. Splask and Two Bass Hit (dub) are nice. I will probably also get one of Tom Jenkinson's albums. ... Read more

Reviews (9)

Weak
This album is filled with pretense. I spin the first record constantly but this one is a piece of junk. One can only hope they abandon the cheesy vocals and equally cheesy beats and melodies (my week beats your year). I feel like these guys are just trying to be funny and make fun of music. I can say there are about 2 minutes of this disc that I like, but by in large this is a HUGE letdown from the debut record and I'll be selling mine for cheap. I also saw them at SXSW this year and the live band stunk. There was no enthusiasm and it seemed like they would have done better to do a DJ type set and lose the lame drumming.

A product.
This album would have been much better as another instrumental work. The vocals drag the band down into a sub-interesting level of commerciality where Gorillaz and Thievery Corporation rule a soulless corridor of repetitive chillout music.

There are many electronic bands out there employing vocals, like Guitar, Lali Puna, Prefuse 73, Styrofoam, Pulseprogramming, etc... most of these bands can't touch Telefon tel Aviv in the programming skills department, yet I could never see any of them trying to pull off the milquetoast ballads and cheesy club mantras on this album.

The whole thing is a real disappointment.

So, So
In the thanks list on their new album telefon tel aviv thank the two vocalists who sang on the album by saying "it's just Fahrenheit without you". It a pretty accurate statement. With the exception of the vocals & some soaring but unimaginative strings, the music is pretty much the same mix of utterly humourless, surgically executed I.D.M & live instrumentation as found on Fahrenheit fair enough. But that's what TTA do; it's just that they've done it all before. Only better.

The album starts well enough with "when it happens it moves all by itself" some Rhodes piano, lots of glitchy noises & a real orchestra, nice. But what lets the album down for me are the vocal tracks & six out of the nine tracks have vocals on 'em. Having said that, I do like the songs featuring Lindsay Anderson. Track 3 "My week beats your year" is excellent. But the tracks featuring Damon Aaron, apart from some nice programming touches are just dull. They seem to be trying too hard to be deep & meaningful. But the melodies are boring & the lyrics have a pseudo-spiritual, over earnestness to them which kind of gets on my nerves....sorry Damon.

Probably my favourite track on Map of.... is track 7 "what it is without the hand that wields it" (...serious dudes TTA). It's a little slow in the build up, but it develops into a really hypnotic, dreamy piece of music. In a nutshell I really like tracks 1, 3, 4 & 7....8's okay as well. The rest.....If you're new to TTA I'd definitely recommend their immediate action # 8 e.p. over this (one of my favourite electronic records ever) either that or Fahrenheit fair enough.

Bid for mainstream acceptance?
I admit i should not review this album. I consider Telefon Tel Aviv's first album to be one of IDM's finest moments and one of the true great albums of the new millenium. It's safe to say my expectations were high. So how do you top the perfect album? Apparently TTA believe to accomplish such a feat they have to make giant creative leaps.

The first album suceeded because it did sound so "effortless". THe music was never over dramatic or too glitchy; it was just a perfect balance of natural acoustics and experimental beat programming combined with some of the most love filled melodies ever commited to disk. Even the Immediate Action single was outstanding. This single was important in not only showing how superior TTA was from the rest of the electronic cognescenti (the over-hyped Prefuse 73 exposed his pretentiousness by trying to remix/improve an already perfect song) but the track was also important in showing the promise of the marriage of vocals with the beats. On this track the vocals were used more like a tool to enhance the melodic layers in the instrumentals.

on "Map" the songs come across as full blown pop ballads. On the vocal tracks the music is just a bed for the vocals which take dominance in the mix. Are the vocals bad? No. Damon Aaron's voice (which bears a resemblance to Craig David's) is a welcome addition. he appears on the second song, which i feel is the cornerstone of the album. So what's wrong with the album? another reviewer used a phrase which i feel sums it up perfectly; "self-aware". It's evident in the Miss Kitten style vocals of the ego centric "my week is better than your year" (sung by Lindsay of chicago Lindsay and Sombionix fame). it's evident in the overwrought tunes full of dynamic changes from tranquil melodies to crashing electronics and strings. it's evident in the attitude of the hipster crowd that attended the record release party(which actually may have been a bad first introduction to this album because intimate music does not work in a club setting). it just sounds like TTA was trying to make the most important album ever and fell short. There are still sublime moments on this album but "moments" seems like an insult for a group who raised the bar so high; every "moment" of every track on their first releases capitivated me. it hardly sounds "effortless" anymore.

Giant Step Forward
Already outstanding, this new release from TTA takes them forward into a realm that is more lush, more vibrant. The addition of Damon Aaron's soulful songs and vocals adds a new twist plus add Lindsay Anderson and then the Loyola University Chamber Orchestra on other cuts--Wow, this is one CD you can spend hours listening to over and over again. ... Read more