Reviews (30)

Not their best, and worse than most...
It's funny what a difference bad luck can make to a record. In Hybrid's case, for their first new album since the widely acclaimed and still much loved brilliance of 1999's 'Wide Angle', the difference is all encompassing. While beginning the recording of this album in 2002, Mike Truman and Chris Healing's (who make up the creative team behind Hybrid) studio was broken into. Although much of what had already been layed down in the studio escaped harm (tracks like 'Gravastar', and the beginnings of 'Higher than a Skyscraper' for example, arguably amongst the best tracks on the new album), the incident caused the producing duo to question their work so far and ultimately, to head off in an entirely new direction with the rest of the album. When they eventually returned to the studio, vocalist Adam Taylor and New Order bassist Peter Hook had come on board (amongst others) and the radical shift in focus was complete. The resulting work unfortunately sounds as disjointed and non-cohesive as you might expect from this broken recording process and absolutely begs, in my opinion, to be two separate albums of songs.

The record starts off promisingly enough. 'True To Form' resonates with Peter Hook's absolutely unmistakable bass tones, resonating notes that have underpinned so many now classic (in the truest sense of the word) New Order songs. Over the top, the trademark lush, Hybrid orchestrated strings have been added to the mix and they still sound as great as they ever did (this time recorded in St.Petersburg with a real orchestra). But then, layered over this is the very strained vocal of new singer Taylor and frankly, it immediately spoils a perfectly good song. His disjointed take on the lyrics is off-key and entirely wrong for this track. Later, I'm Still Awake becomes yet another good idea spoiled in the execution. Adam Taylor again warbles out some really banal lyrics over a rather nice backing track, but it all seems too forced, as though the vocal had been recorded in another country altogether and sent back to be carelessly matched up later. Basically the song never even gets close to working as a whole. 'Steal You Away' is much better, a delicate guitar-driven, synth-soaked song with a much better rendition by Taylor. I still can't really come at his voice, but at least this song is complete, effective and doesn't jar as much. 'Out of the Dark' is the final Adam Taylor vocal outing and another I really want to like. Virtually everything about the track is great, except for that damn voice of his again. He absolutely tortures the 'torn to this' line throughout and the entire experience is pretty unpleasant. Still, could this just be personal taste?

On the "it's all good" side, 'Know your Enemy' bristles and crackles with a breakbeat energy and intensity rarely found within the rest of the album. 'Marrakech' too is an interesting diversion, filled as it is with the sounds we all identify easily enough as Middle Eastern and in that regard, it conjures up immediate images of sand dunes and smoking hookah pipes in the first crack of dawn, watched over perhaps by friendly smiling Bedouins? Very much the 'morning sci fi' the title no doubt refers to...'Blackout' is a terrific slower number, full of the syrupy, flowing violins and gorgeous female vocals we are more used to from the Hybrid of old. It's a track absolutely screaming out for a remix though and this is perhaps the most notable lowlight of the album, in that the production fails to make the songs here stand alone as a cohesive record. As with so much of 'Morning Sci Fi', it appears only the remixes will save the end result, the original album featuring perhaps the worst representations of the tracks on it. The pity is, these songs clearly have lots going for them and yet Hybrid has somehow failed to place them in their best light. This is not something one could ever say about any one track on their debut LP and comes as quite a shock.

'Wide Angle' comparisons here are hard, if not impossible to ignore, this being the difficult second album Hybrid had to produce under clearly, even more difficult circumstances. While the former album took breakbeat into the commercial stratosphere, on the back of such lushly orchestrated and beautifully realised tracks as 'If I Survive', 'I Know' and 'Dreaming Your Dreams', to name just a few (for the whole album was a tour-de-force), 'Morning Sci Fi' positively groans under the weight of balancing some great old ideas with the stiffer, much worse ideas of the new. Though the dynamic duo of Truman and Healing are still sonic producers to be reckoned with and their live shows no doubt remain everything they always have been, fans can only be disappointed with an album that, had it stuck to its original guns, could have become 'Wide Angle 2'. Though producing another album identical to their 1st would have perhaps said too little about the creative geniuses behind this name, Hybrid have created an album that has instead left behind the best of their recent history and travelled down an altogether different road. It's a road less travelled, to be sure, but one that is leading their audience to an unsatisfying destination with little real reward for the journey.

Not the album many of us were expecting, nor unfortunately, of the quality that they have already proven they are capable of delivering.

Electro Genius
Hybrid is the best when it comes to composing electronic music - not cheesy in the least bit. And again they didnt fail to deliver thier harmonic, trancy-type feel to the songs on this album. Some of the songs are reminiscent of their last album Wide Angle but overall they have taken a new direction with thier music. The majority of the album is somewhat downtempo and really groovy. Like always they use symphonic istruments like piano and strings but have add in a little more guitar this time. You gotta love electronica mixed with acoustic intruments. Majority are instumental tracks with about 3 or 4 vocal tracks. Very much worth it. Try it

Grows on you steadily...
I purchased Morning Sci-Fi in late 2003 after playing the life out of Wide(r) Angle (gotta love the live tracks), and I wasn't too sure of what to expect, given the sublime perfection of their debut. After many months of listening to it in a variety of different situations, I have to say this album is beyond excellent, if not quite in the same way as Wide Angle. It took a long time for me to enjoy this as much as their previous effort, but I think this one's not nearly as straightforward. Morning Sci-Fi is one of those albums that you need to sit down, give it your full attention, and let it play all the way through a few times. Trust me, these guys did A LOT of work in these songs, you need to hear all of it. There's little melodies and tricks all over the place that stick very easily in your head after only a few listens, but some you'll be discovering many many listens later. The general mood of the album is a dark, intelligent, danceable one, as well as enjoyable whether in the car or a crowded room. Adam Taylor's (male vocalist, featured on four tracks) voice does take a while to grow on you, but once it does, you'll find yourself not being able to imagine the songs without it.

Plus, the album comes with an entertaining (and hillarious, courtesy of Mr. Chris Healings) DVD, which is more than worth the price of the album alone. Also, make sure to check the hidden track, entitled "Lights Go Down Knives Come Out" at the very beginning of the album (hold the back button on your CD player until the time reads -6:05). Great moody track, not to be missed. Just like the rest of the album.

Some science, some fiction, all pleasant.
Hybrid, the electronic sensation from Wales, caught the ears of most with their neo-classical masterpiece Finished Symphony (this reviwer included). Their debut work, Wide Angle, and its expanded edition, Wider Angle, was quite impressive, with tracks like Beachcoma showing their attention to detail in the studio and their live mixes like Burnin' demonstrating their muscular grooves and ability to get a crowd moving.

So how do you follow up such an acclaimed introduction? By completely changing it up, of course. Morning Sci-Fi sounds nothing like Wide Angle. Gone are the epic and sweeping soundscapes and frantic breakbeat scratches. Replacing them are catchy basslines (courtesy of Peter Hook), subtle string strokes, an all new vocalist (Adam Taylor). The end result is a deeper, darker, and much edgier album. You won't hear the "Hybrid beat" that was almost patented (in a good way) in their stellar remix CD, Remix & Additonal Production By... anywhere on this album. This definitely isn't Wide Angle 2 (Widest Angle?). Yet for all it's differences, it's still unmistakenly Hybrid, and unmistakenly superb.

So why only 4 stars? First, one of the more interesting and experimental tracks (Lights Go Down, Knives Come Out) is acually hidden, and extremely hard to get at. One must take the original CD (it won't come out in MP3s), set it to track one, and manually rewind back past 0:00 for some time to listen to the song. While devilishly clever, this is rather annoying, as many CD players simply won't let you do this function. Second, Adam Taylor's vocals, a long with a lot of the stylistic changes, come as something of a shock. It took quite some time for me to warm up to the harshness of Taylor's voice, and the album as a whole. It was only after several listenings that I really began to appreciate the subtleties lurking beneath its surface. Third, Kirsty Hawkshaw's track, Blackout. She has a lovely voice, and the instrumental aspect of Blackout is very strong. However, the lyrics are sub-par and the song itself never tests Hawkshaw's vocal chords enough to show them off.

Morning Sci-Fi proves that Hybrid came back with a vengeance. If this is typical of the Welsh group, then I can't wait to see what they'll produce in their third outing.

A Serrated-Edged Symphony for the 21st Century
When, in the early spring of last year, a virtual-whisper reached my ears about Hybrid's second album, I instantly set about the task of acquiring a copy for my immediate gratification and aesthetic examination. I've been a fan of the Welsh-based breakbeat group from the moment I heard their storming debut 'Symphony' in 1998, and in the years following, I scoured the windswept heights of elitist import-only shops and plumbed the depths of cyberverse filebanks for special releases, lost tracks, secret remixes; when Hybrid's symphonic zeitgeist *Wide Angle* was released overseas, I bought the Japanese import regardless of the cost. Thus: after contacting certain 'sources,' I acquired a promotional copy of *Morning Sci-Fi,* Hybrid's long-delayed sequel/follow-up. Could it meet expectation? Would it shatter the mold and usher in a whole new era for this unbelievably talented group?

Alas! Expectations are ever destined to bring disappointment. To my pleasure, I found that Hybrid had retained many of their core elements: synthesized soundscapes of the highest quality; organic instrumentation including guitars, strings, horns and woodwinds; all underpinned by some of the sickest breakbeat percussion ever committed in the genre. Moreover, there was a newfound darkness to the material - the album sounded like a natural extension of and artistic shift from *Wide Angle*. And yet, to my chagrin, I also heard elements that were initially disruptive to the Hybrid experience, most notably the group's new vocalist, Adam Taylor. "What were they thinking?" I muttered to myself, displeased with how Taylor's tone clashed with the music. The delivery came embarrassingly close to histrionic, and those lyrics. . .! The angst-y, juvenile subject matter induced many a cringe in my first dozen-or-so listening-sessions.

Eventually I adjusted to Taylor's voice and came to enjoy *Morning Sci-Fi* for what it was, consoling myself with the opinion that *Wide Angle* had had its share of horrid guest vocals as well: the bland 'Fatal Beating,' the hilarious-in-a-bad-way "frog-hop" of 'Sinequanon' - truth be told, none of Taylor's tracks could match that French-rap-wannabe atrocity (...I'm an American and culturally biased in this regard). Upon my twentieth listen I decided that this was a great album, vocals notwithstanding; and when *Morning Sci-Fi* finally received a stateside release, I plunked down the cold cash for it, happy to never again have to hear that English voice announce, over the peaks and breakdowns, "HYBRID: PROMO COPY." So imagine my surprise to find that the boys behind the racks had decided to further tinker with their second outing, adding electronic dimension to Taylor's limitations (explicit use of echo and reverb), editing several of the tracks that had overstayed their welcome (Know Your Enemy, Gravastar). Also included was a bonus track of almost pure symphonic form, the exquisite 'Lights Go Down, Knives Come Out,' though its placement in the mix - or rather, lack thereof - is one of the factors that made me lessen my rating by a star.

The music: Morning Sci-Fi begins with an amalgam of reverse-engineered strings and drunken rant courtesy of the notorious DJ John Creamer. After its short duration, a high-hat emerges, chattering insistently; bass-synths churn and growl; and Taylor's electro-tweaked Taoist blather slowly insinuates itself into the mix - a much-improved alteration on the stark vocals of the promo-copy. Hard 4/4 drums and the recognizable bass of New Order's Peter Hook dominate the mix soon after. The song ends on a slow, melancholic note, and flows nicely into the futuristic breakbeat of 'Know Your Enemy.' The Arabic-influenced 'Merrikech,' drenched in reverse-sampling, is another standout, while 'Visible Noise' and 'We Are In Control' serve to kick the album into high gear, the former with its pounding riffs and rippling breakdown, the latter with a funky bass/break combo and vocoder announcements of the Orwellian vein. 'Higher than a Skyscraper/Steal You Away' peaks the album - a smashing combo - and 'Gravastar' levels it with industrial clang and lockstep 4/4 kick-hammer. 'Out of the Dark', Taylor's fourth vocal cut (!) maintains the tension. Finally the mix exhales with 'Blackout', featuring the lovely-piped Kristy Hawkshaw and some truly epic string-work via The Hermitage Orchestra of St. Petersburg.

*Morning Sci-Fi* also comes packaged with a supplement DVD, featuring two documentaries and two live performances. The first documentary concerns Hybrid's 2001 tour with Moby (who comes off as a bit, well, 'egocentric'), while the second chronicles the process of making the album, though for some strange reason one of the key factors - the studio break-in that changed the entire course of *Sci-Fi*'s artistic synthesis - is totally omitted in favor of band members patting each other on the back. The less said about the live performances, the better . . . though it is rather amusing to see Taylor try to occupy himself with rock-star poses while the band slowly saws toward the vocal sections.

My biggest gripe with Morning Sci-Fi (the reduction of a star) is the fact that one of the best tracks on the entire album, 'Lights Go Down, Knives Come Out,' is "cleverly" hidden: one has to spin the album back from the first track to access it. This doesn't work on many CD players, however, including the Gemini CD-2000x I DJ with for my professional occupation. Also, I'm somewhat disturbed by the implied notion that Hybrid plans on continuing to work with Taylor - after hearing him mangle 'If I Survive' during a live performance for One World, I am utterly aghast at this notion.

In conclusion: Hybrid has shown their technical/experimental chops with this album, and for the most part I'm pleased with their artistic decisions, having a healthy respect for ambition, even if it isn't fully realized. Change and experimentation are necessary for continued growth and better craft. I only hope they hire new (and better) vocalists for their future sci-fi symphonies. _Then_ we might hear the masterpiece these boys are more than capable of. ... Read more

Reviews (166)

Mmmm, Underworld, I Love You...
This CD never fails to impress me with the breadth and depth of it's genius.

I've heard a lot of people who don't like this CD compared with the first two, 'Dubnobass...' and 'Second Toughest in the Infants'. Now, I love both of these CD's, but 'Beaucoup Fish' is to me the ultimate statement from Underworld MKII. It just seems to encapsulate quite nicely everything that makes Underworld one of the most essential, unpredictable, and unforgettable bands in any musical genre today.

If you like bands as disparate as the Chemical Brothers, Radiohead and Captain Beefheart, I can't see how this disc can fail to put a smile on your face.

At first listen I was taken aback by the cheesey synth vamp which opens Cups, but it lasts only a moment... a 'false start' if ever there was one, before the song kicks into its escalating 4/4 build. How to pick highlights in an album of highlights? There's King of Snake, Kittens, Moaner... the softer side represented by Wynjer and Skym... hell, even Bruce Lee, (which for the life of me sounds to be a satire of 'Big Beat' stuff like Fatboy Slim) still has more life than 99% of the faceless dance music clogging up the clubs today.

If you're tired of the shallow thrills of trance and two-step, give Underworld a try... truly a dance album for 'grown ups'.

Can I have more "Cups" please?
Underworld are among the best bands around these days. Dubnobasswithmyheadman and Second Toughest In The Infants are both excellent dance albums with some almost lagato ambient sways in the songs. Beaucoup Fish continues the greatness of those two records but they get a bit more staccato and less aquatic and a bit more urban. To put it in another way this is a CD to enjoy when driving through the city in the wee hours of the morning. The album cover is perfect to demonstrate the mood of this CD. Dark!

Cups begins this CD with the sound of a train station and then an ambient intro comes in followed by low-pitched sound effects. Cups is like two songs in one. It then becomes an urban techno song with warped voices. The voices are so funny. The song gets more ambient as it plays along when at eight minutes it morphs into a totally different melody. The second part of the track is a more buzzy, harder techno track. The song speeds up until it ends at 11 minutes and 45 seconds. Push Upstairs is a more staccato floor stomping number similar to the second half of Cups. The grunting voices are funny. Jumbo might as well be my favorite track on the CD. It starts with ambient hum and a tapping cymbol with talking in the background. Jumbo then becomes a heavy duty ambient, floorstomping number that could make you bang your head to. This song is a great one to plkay in the car when driving through the streets of Chicago late at night. I love how the song becomes a bit more airy and ambient but still keeping the heavy beats. Shudder/King Of Snake starts of with the sound of what I guess would be a malfunctioning record player. An ambient intro comes in it becomes a long repetitive techno trance number with echoing voices. Winjer is a more ambient song with more muffled beats and more of a New Agey feel. Skym is quiet, ambient song without any beats or rhythm. This song is actually great to relax to before we hit a hug bump on this disc. Bruce Lee is a herky-perky song that is really annoying and deserves to be scratched from an otherwise marvelous record. Kittens is another fast paced techno song. Kittens has no vocals or lyrics on it. This song is another good one. I do love the video games at the beginning though. Push Upstairs is like the ballad counterpart of Push Upstairs. Basically it has the lyrics of Upstairs sung on a different melody. I actually like this one more than Upstairs. Something Like A Mama is a great song that could fit on the Second Toughest record. It's a fast paced song with an atmosphere of a ballad. Thus this song is like a moody ballad that was sped up into an upbeat song. This is one of my favorites off this CD. Moaner closes out this CD. It's a very fast, harsh techno instrumental. This song is quiet stormy. Karl Hyde sings louder and louder as the song plays along before it stops at about 6:38. Then there is only the triangle instrument playing. At 6:50 the strobe light synthesizer comes back in combined with some ambience. I love the ambient fadeout at the last 30 seconds. It's like a stormy evening. It brings this amazing CD to a close.

With about one or two duds I find this to be Underworlds most incosistent CD to date but it doesn't make this CD less than a five star. All three of their hit records are worthy of having. I do recommend Dubnobasswithmyheadman on top of everything by Underworld. This CD is a must too. It sure beats out almost anything that 1999 had to offer.

Mood Music
This album has been deeply misunderstood...The muted production, the reptitive, cyclical nature of some of the songs and the dry delivery of the vocals might seem irritating at first, but it's all for effect. Beacoup Fish requires patience to appreciate; it's very deliberate and very calculated.

While a lot of electronica is just designed to sound pretty or be danceable, there's a core of substance in Beaucoup which becomes aparent after several listenings. These songs describe real scenes, characters and situations, even if their language is always vague, and the overall effect is cohesive. A song like 'Cups' perfectly describes the sweep and weird beauty of urban life, while the punchier 'Push Upstairs' and 'Bruce Lee' are remarkable because, for all the violence and energy implied in their lyrics, they have the same sterile sound as Cups. The album is human life seen (or heard) through a filter of sterility and detachment.

More objectively, while 'Cups,' 'Jumbo' and 'King of Snake' are great, there are some weak songs on the album, all toward the end; so, four stars.

The bands masterpiece
In my opinion, and that's all reiews are any way...opinions, this is the bands best album. Even though Underworld will be remembered most for the intense "Born Slippy" this CD contains tracks that are better than tat, if you can imagine. Stand out tracks include: "Push Upstairs", "Shudder/King of Snake", "Kittens" and the best Underworld track ever - "Moaner". If you've never heard any of this I can't beleive you're a techno fan, buy it!

Oh and as requested, I want to recommend another instrumental CD, a killer instrumental CD, by Mr.Deviant called "Techno Obsession". It's a killer mix of power rock and hard dance music. Check it out if you don't fear any conspiracies.

Great artists, prefect production, but rather dull
Although I am a huge music fan and I can appreciate most genres, when it comes to electronica I generally tend to like what may be deemed too commercial for hard-core fans. Although the band release its first record in the late 1980s, like many I knew nothing about them until their absolutely sensational hit single "Born Slippy" shook up "Trainspotting," which also happens to be one of the most original movies released in 1996. That song has an energy that is rarely found in commercial electronica and it still sounds amazing after all these years. After liking "8 Ball" from "The Beach," I decided that Underworld deserved to be heard more carefully.

Although I understand that this release may not be among Underworld's best, I have no other point of reference, except that of the two aforementioned singles and some songs that friends have introduced me to. At first listen I actually liked this CD, but although it is rare for me, the more I heard it the less I liked it. It is flawlessly produced, but it lacks passion. "Cups" starts out like a placid "Café Del Mar"-like song, it never reaches goes anywhere. "Push Upstairs" is energetic and I would love it, instead of just liking it, if it did not sound so much like "Born Slippy." "Jumbo" is a good journey. I love the "I Feel Love"-like synth of "Shudder/King Of Snake" and although it's my favorite song of the release, it does not inspire nor energize me. The rest of the songs are not that different, with maybe a little Gregorian chant here and traces of energy (i.e the beginning of "Kittens"), but mostly tired and repetitive sounds that are passable at best.

After listening to this release I guess my biggest problem with it is that it mixes acid-house and trance and does not go for the complex ubber beats that I loved in songs that I have heard from their previous releases. There is nothing wrong with trance or acid-house, but there are "capable" artists in those genres that do it better, In my view Underworld should keep challenging themselves and their audience with the loud passion and quiet power of their best work. This release only gets 2 stars from me, but you may want to check out their earlier work and the "Born Slippy" remixes are a must!!! ... Read more

Amazon.com

You're having a dinner party. The in-laws are going to be there. So are some of your closest "after-hours" friends. You need music, something mellow but not despicably insipid. Welcome to a double-disc set that will cover all the above bases. Featuring Dido's "Home with Me (Chillin' with the Family Mix)," St Germain's wonderful, downtempo "Sure Thing," and Royksopp's jaunty "Eple," it's mainstream enough for the progressive suburbanites in your midst. Meanwhile, Badly Drawn Boy's "The Shining" and "Nights Interlude" from Nightmares on Wax are culled from a deeper well of modern folk and jazz, respectively. The second disc, which contains some absolute gems, works overall as a more fluid mix. After Jakatta and Moby bring us further in, Dusted hit the dubbed-out trip-hop trail with "Childhood." Witchman (a.k.a. John Roome) has the set's best moment with "Leave No Trace (Dub)," a smoky bit of wicked seduction that makes for a marvelous chill-out gem. --Steffan Chirazi ... Read more

Reviews (53)

Oh man. Awesome.
There ARE thousands upon thousands of chillout compilations. It seems like the in thing to do if you're a producer.

But this one is still excellent. I purchased this a couple days after it came out, and I've been in love with chillout music ever since; a good introduction indeed.

The track selection is a great way to get anyone into chillout. It showcases big names in downtempo (Thievery Corporation, Zero 7, Massive Attack), stuff you've probably never heard of (Royksopp, Dusted), and even commercially available stuff (Dido, Moby, Deep Dish, Chemical Brothers).

The first disc is the easier to enjoy of the two, as it's livelier, funkier, and would probably go well with your girlfriend, a couch, and dimmed lights. Standouts on the disc are Zero 7's "Destiny", one of my favourite songs ever, Royksopp's incredibly catchy tune "Eple", and the classic Massive Attack tune "Hymn Of The Big Wheel". The only shortcoming on the disc is I Monster's "Daydream In Blue", which doesn't really fit with the mood of the rest of the CD.

The second disc is slightly more abstract and full of lesser known artists. But it does include two very classic tracks: Moby's "Go", and The Future Sound Of London's "Papua New Guinea". Standouts on this disc are Banda Sonora's "Guitarra G", a slick drum+bass track with flamenco guitars, as well as the warm and fuzzy track "16 Again" by Neon Heights.

All in all, this collection is well worth your money, especially for someone who is new to the realm of chillout music.

another chillout album...
For those of you who haven't an extensive cd collection of chillout beats this cd would make a nice addition to your collection. I recently purchased this cd as it makes a nice compilation including many of the artists I hold in high regard making an appearance. I must say that the track selection is for the most part exceptional with several of my favourites being listed including "Zero 7 - destiny", "Future Sounds of London - Papua new Guinea" an excellent downtempo version which also makes for an excellent dance track via Hybrid's remix, "Massive attack - Hymn of the big wheel" a moving and vocally aesthetic song as only Massive Attack knows how.. and "St Germains - Sure Thing" a popular track regularly played in bars and lounges since its release on "Tourist".
The cd also includes a few more 'commercial' American tracks from Roger Sanchez ,Jakkata, Dido and Gorillaz , each having been mixed to keep in with the deep and downbeat atmosphere created by the rest of the tracks. Personally I don't think these hold up alongside the European masters of chill on the album like Zero 7, K&D, Thievery corporation and St Germain. CD 2 starts to lose its flair after track 10 with a few sterile and rather flat tracks.

The Best CDS Yet
When I first heard the cd, I was like man, this would be awesome to chill too, not knowing it was called Ultra Chill. When i found out i knew i had to have it so i bought volume 1 and 2. I loved Volume 1 with Nigntmares on Wax, Gorillaz, Dido, and many more. But when i put in Volume 2 i have to admit i was a little disappointed. But all in all i love both cds and if had a second chance would DEFINATELY buy agian.

fantastic compilation
I discovered this CD when I walked into a music store in downtown San Francisco and it was being played in the store. I immediately asked which CD it was and after listening to some other tracks on a listening station promptly purchased two copies (one for myself, and one as a gift).

I don't buy many CDs.

Good, but not consistently good
I disagree with some other reviewers. I love Disc 2. It has a hip, mellow but uplifting mood, and flows nicely. Disc 1 is more hit and miss. I'm a bit sick of the Dido track; it's been around a while and used a lot it seems, or maybe it's just that it was the theme song for a TV show that has killed it for me. I've listened to Disc 2 far more than Disc 1. But I'd hesitate about spending full price on this double disc album when only one of the two discs is a keeper. ... Read more

Album Description

Underworld continues to explore the fringes of dub, danceand techno, creating a seamless, eclectic fusion of various dance genres. 'Second Toughest in the Infants' (Wax Trax!)includes the massive 'Pearl's Girls' and 7 other tracks. ... Read more

Reviews (69)

One of the top three 'techno' albums ever
Description of "Second Toughest in the Infants":

"Juanita: Kiteless/To Dream of Love" is a near seventeen minute trip everything that you would ever want to experience from 'techno' music. A perfect opener.

"Banstyle/Sappy's Curry" is a superb piece of drum and bass. The changes in the upbeat, yet subliminal, melody are so subtle, that because of the trance that you're in, you won't notice. 15+ minutes of techno excellence.

Although "Confusion the Waitress" is my least favorite song on the album, it is still very good. There is a nice, steady bassline that follows Hyde's lyrics of "She said..." throughout for six or seven minutes. It isn't all that bad, but I lose interest after about four minutes and I change it. Worth a listen, though.

"Rowla" is one of my favorite songs on the album. It begins as a simple series of electronic noises that sound "eighties-ish." From this beat, it builds like crazy into a trance-like song that will get you moving... you can't hold back. Hands down, this is one of Underworld's all-time best songs.

"Pearls Girl" is my other favorite. Many people have already heard. It starts as a nice blend of atmospheric sounds and after about a minute, a heart-pounding beat emerges and soon after Hyde will sing beautiful nonsense about 'water' and 'Morocco'. It totals about ten minutes and through that amount of time - you never get bored. It's great, really great.

"Air Towel" is really cool as well. A nice catchy electronic melody resonates throughout for eight minutes. Hyde sings again about beautiful nothingness. Another excellent piece of music.

"Blueski" isn't even three minutes long and it basically consists of layering guitar loops and some people might get bored with it - but I really like it. It's short and sweet. I couldn't listen to it for six minutes or more in a row - but it's pretty good.

"Stagger" is excellent. It's slower and you can't really dance to it - but Hyde sings about mothingness and you can't turn it off. Eventually, the drums will kick in and these beautiful noises will come into the picture and you will be blown away. A nearly perfect closing to a nearly perfect album.

I hope that this review has helped you to decide whether this sounds like the album for you. Even if it isn't - it IS Underworld's best album and it will satisfy you.

Grade: A

Underworld Create One of the Best Electronic Albums Ever...
For me, when reviewing Underworld is extremely hard to stay objective. They're music has struck a cord with me, and it always will. But I think you all will agree with me that Underworld has transformed the way we see "dance" music. So let's start. Here I am listening to the last Underworld full-length album to be released on TVT/Wax Trax records 2nd Toughest in the Infants. A brilliant and blissful album that has you entangled from the first touch of sound. "Juanita: Kiteless / To Dream Of Love" opens the album, plunging us into the dark, soothing sea that is Underworld. For 17 + minutes we are subjected to raw syncopated rhythms, cool 303 & Juno lines, and Karl's soft melodic voice and guitar. 13 minutes into it, the whole experience breaks down into a full vocal and piano section which sends us deeper into the sea and lets us up for air a little while later. At the end of the experience, the vibe goes more ambient as we listen to Karl recite different colors.

"Banstyle/Sappys Curry" mixes jungle and techno, Underworld style. Quirky synth effects and ambient pads fill the air with a calm, mild feeling. And to top it off, at about 2 minutes Karl comes in with his vocals. Things pretty much stay the same, until 6 minuets into it when Karl's guitar kicks in and changes everything around into a track that could have been off the "dubnobass..." album. Near the end of this 15-minute classic, things get real interesting. It all seems to come together almost, The synth kicks back in with a wild appregato and restores the track to what it was 15 minutes earlier. "Confusion the Waitress" Is ambient and almost trip hop (if it just didn't have that hard bass drum count). Karl's vocals dominate the track with a 6 minute "she said" lyric. There is not too much more to say, really. This is a track that you really have to listen close to understand. "Rowla" or as some of you might call it, "Cherry Pie" (from the Pearls Girl EP. Slightly different, but basically the same song). This track is one of the better of the high energy techno songs such as "Tin There" and "Moaner". This one eats away at your brain with its acidy synth lines and simple drums. Destined to make you groove, there is not point resisting this track. "Pearls Girl" is a track that took me awhile to get into. The ambient build is killer, but when it breaks I wasn't expecting that beat. It kinda threw me a little. But, after a few minutes or so I really got into its weird jungle sounds and almost industrial technique. Again, Karl's lyrics are the perfect touch, blending smoothly between the raw energy and mystical spirit. A great track, but not my favorite of the Underworld singles. "Air Towel" is next on the list, a more up beat melodic piece. Karl opens his mouth once again and lets his sweet nothings escape over different syncopated noises and sounds. This track has a mild minimalist sound to it, reminiscent of Westbam or Uberzone. "Blueski" is one of my favorite Underworld tracks. Mostly its an interlude, consisting of different guitar riffs layered over and over each other, some samples are two beats off time and they add a real dimension to the barely 3 minute track. If Underworld were to expand this track, add a little more to it, maybe a lyric I think it would make a great full length tune. But it is still wonderful "as is". "Stagger" raps up the album, with 7 minutes of pure Karl Hyde. Ambient piano, Karl's voice, and a mild drum make for a truly mellow and intoxicating voyage. Everything comes together when the drums pick up around 3 and a half minutes. This track would be on my best of Underworld compilation, and it makes a great ending to this album. After everything is said and done, Underworld has pioneered a new style of techno that no one will ever be able to duplicate. Its pure musicianship alone sets it apart from the others, along with its incorporation of acoustic guitars and stream-of-conciseness lyrics. Karl once said that he wants the lyrics to be more of an instrument in the music, not the main part of it like in classic rock or club music. I believe he's done a great job, and so have Darren and Rick. Some people will debate over which Underworld album is the best, and the answer to it is that none of them are better than the others. They are all a part of what is underworld. Enough Said.

The advantageof buying the import is...
...that it contains a bonus disc, with 2 songs on it, which are: 1) born slippy (nuxx), and 2) rez. So now you know. I don't think amazon has the "extra track" names posted on their site.I think both of these songs are available elsewhere, but it's all up to you. I enjoy both discs, but the first is of course the most substantial. Enjoy.

Hear Underworld FLOW in this album ^^
After hearing "Juanita/Kiteless" on "Everything, Everything; LIVE", I have always wanted to get this album to hear what the version of the song sounds like. I thought the version of Juanita on this album was a more 'ambient, mystic, and simple' version. The vocals sound a lot more different in it and it's 15 minutes long (wow!). Aside from that, "Banstyle/Sappys Curry" became my next favorite song for it's pretty melodies in the background mixed in with the drum-beats and well-put together vocals. I think of this one as a clone to Dubnobasswithmyheadman cause they are still keeping it in the same 'style' as they did in Dubnobass...even "Pearls Girl" I appreciated a lot for being a more 'easier' version from Everything, Everything; LIVE. I've written lots of reviews today and it's tiring me and so this is the best way I'll tell you about "Second Toughest in the Infants". I hope my review has helped.

Without doubt an often overlooked Underworld classic.....
Possibly the closest thing Underworld have produced to an "Ambient/Chill out" album, with the majority of tracks have a longer running time than most of their subsequent songs on later albums..(possibly in a effort to build mood & momentum), and its still has the trademark detached spoken word from all their albums, but here...its less consistent through the album, instead preferring delicate electronic's & seamless flow, to be the order of the day with less of the pulsating Techno of something like "Moaner". There's an almost Dubby-Electro feel to this album with first track "Juanita/Kiteless/To Dream of Love", circling on the fringes of traditional Dance, but never quite committing itself, with a sublime flow, that (until now) has eluded Underworld. Understandably some listeners will find that this album requires more investment to get the desired effect, partly due to the length of some tracks (17 minutes??), and because of the layering evident in the tracks, to make 'A Quick Lesson' difficult to attain at best. Undoubtedly this is a bonus for Underworld fans, with a continuing excellence maintained throughout their albums, and refreshing to hear Underworld showing a diversity in music, and admirably turning their hands to something (slightly) different, and therefore as essential as any of their other albums ... Read more

Amazon.com

Timo Maas's remix of Azzido Da Bass's Doom's Night brought him fame and 2000's Music for the Maases brought him acclaim, but Loud establishes the Dusseldorf DJ as the Teutonic master of the dance floor. Matching the ferociousness and accessibility of Thriller with the warped sonics of Dig Your Own Hole, Maas creates a doom-laced, freak-beat ultraworld. While 4/4 is still the message, Maas matches surreal sounds with alienated dialogues, sultry vocals, and a song-oriented approach, giving Loud its irresistible, codeine-like buzz. "Help Me" begins with the sound of grinding gears followed by campy effects and Kelis's breathy vocal. Bits of downtempo and electro in the form of "Hash Driven" and "Shifter" ratchet up a sense of gleeful foreboding; "That's How I've Been Dancing" recalls KC and the Sunshine Band entertaining a Nuremberg rally. "We Are Nothing" could be a Trainspotting outtake, smarmy dialogue adorning a bubbling dance track. Loud closes with "Bad Days," a gentle way to end a weirdly wonderful album. --Ken Micallef ... Read more

Reviews (28)

The Emergence of a New Force in Dance Music Artistry
Take everything you know about Timo Maas and dump it in the trash right now. He separates us from everything we currently know about him to a whole new level with his latest artist-driven album, "Loud." Let me explain in a bit, because first I must talk about who Timo really is.

Timo Maas is a German DJ/producer already permanently inscribed on the list of best international DJs in the world. His brilliant remix of Azzido da Bass's "Dooms Night" not only brought him immediate fame but also marked the beginning of a very successful career. Around the same time Timo released his own assault of hit singles, namely "Der Schieber" and "Ubik (Dance Mix)." His two DJ-mix albums called "Music for the Maases" and "Connected" hit well in the United States and continued to spread his name across the globe.

Still unsatisfied and always trying to be the best he can be, Timo released his first artist album, spanning his many influences and taste in music. My immediate reaction when first hearing "Loud" was shock. What I expected to hear was Timo's unique brand of Hard Techno, Trance, and House. Instead, he surprised his fans by taking a completely different route. "Loud" sounds reminiscent of the new Chemical Brothers' album "Come With Us," catching its same Big Beat Techno sound and energy. On certain tracks there are some influences from Trance music, but not many and generally only because those songs use a 4/4 beat. It wasn't quite as dominant as everyone thought it was going to be upon hearing Timo was releasing something new. In fact, it's only in the songs "Old School Vibes" and "Like Love" that actually sound like Trance.

I'd have to say my favorite songs on the album are "Help Me (feat. Kelis)" and "Shifter (feat. MC Chickaboo)." "Help Me" is a strong and upbeat start to the album. In the background you can hear samples from the old sci-fi movie "The Day The Earth Stood Still," while your main focus is drawn towards Kelis' mysterious vocals. "Shifter," on the other hand, is some GREAT Electro-Breakbeat music and for a moment makes me wish we were back in the days when breakdancing was all the rage.

One other very noteworthy track is "We Are Nothing," which is not music but actually two minutes of thought-provoking dialogue. Kinda makes you go hmm... "We Are Nothing" is in the middle of the CD and marks the breaking point between the beginning-half and the end-half. I also enjoyed the hidden track on "Loud," the Fatboy Slim remix of "To Get Down." This song and "O.C.B." both have really cool guitar licks. The original version of "To Get Down," which is track 10, is still good but lacks Fatboy Slim's vision and therefore falls short of becoming the big hit that Slim's version is right now in Europe. This song is headed straight for a GAP commercial near you, it's THAT catchy.

Well, if you were to ask me how I liked the album, I'd have to say it was solid and a very impressive artist debut from Timo Maas... with a few minor imperfections. Some of the songs on "Loud" lack gravity and none of them are really THAT loud. Some of the buildups and breakdowns that Timo attempts are not dynamic enough and therefore don't have the impact that they should on the listener. Timo's songwriting skills are not quite as creative and innovative as similar artists like the Chemical Brothers and Groove Armada, but he sure has potential.

Give this album some time, and it'll become a staple in your CD collection, especially if you enjoy Big Beat Techno, Breakbeat, or Funky House. I give "Loud" 3.5 (rounded to 4) stars for being able to get me off my chair at moments and just dance!!

- the enlightened one

So what's Timo's next move...?

Timo's a new force to be reckoned with...
If you haven't heard of him already, Timo Maas is a German DJ/producer already permanently inscribed on the A-list of international DJs. His biggest breakthrough was the massive remix of Azzido da Bass's 'Dooms Night'. It not only brought him immediate fame but also marked the beginning of a very successful career. Other hit Timo singles that helped establish his foothold on the world were 'Der Schieber' and 'Ubik (the Dance Mix)'. His two DJ-mix albums, 'Music for the Maases' and 'Connected' (the former being released off Hope Recordings and the latter coming off of Paul Oakenfold's mighty Perfecto Records) are staples in nearly every dance fan's collection.

Still unsatisfied and always trying to be the best he can be, Timo has finally released his first full-length album of originally written material. Being the veteran DJ he is, with well over fifteen years of experience, you can imagine how monumental a moment this is for the dance music community.

My immediate reaction when hearing 'Loud' was plain and simple shock. What I expected to hear was Timo's unique brand of Hard Techno, Trance, and House. Instead, he surprised me by taking a completely different route. The album sounds reminiscent of the style already championed by artists like Fatboy Slim and the Chemical Brothers, that being Big Beat Techno. There are, however, many different types of music on display here, only to prove the fact that Timo is a talented musician with wide musical influences. On just one CD you can hear not just Big Beat, but also Trance, Progressive House, Techno, and Ambient all rolled into one.

I'd have to say my favorite songs on the album are 'Help Me (feat. Kelis)' and 'Shifter (feat. MC Chickaboo)'. 'Help Me' is a strong and upbeat start to the album. In the background you can hear samples from the old sci-fi movie 'The Day The Earth Stood Still', while your main focus is drawn towards Kelis' mysterious vocals. 'Shifter', on the other hand, is some GREAT breakbeat music and for a moment makes me wish we were back in the days when breakdancing was all the rage.

One other very noteworthy track is 'We Are Nothing', which is not really music at all but is actually two minutes dialogue, which Timo sampled and looped in order to make a coherent and thought-provoking mini-speech. Basically it's just an intermission to the second half of the album. I also enjoyed the hidden track on 'Loud', which was the Fatboy Slim remix of 'To Get Down'. The original version of 'To Get Down', which is track 10, is still good but lacks that distinct Fatboy Slim spark. This song is headed straight for a GAP commercial near you... it's just THAT catchy.

Give this album some time, and it'll become a staple in your CD collection, especially if you enjoy Big Beat Techno, Breakbeat, or Funky House. I give 'Loud' 3.5 (rounded to 4) stars for being able to get me off my chair at moments and just dance!!

- the enlightened one

So what's Timo's next move...?

Sample source
I love that first track Help Me and found where the sample came from.

Its in the film The Day The Earth Stood Still.

(...)

Classic film with a classic soundtrack.

Love this Timo Mass rendition. I have listened to it on repeat for hours.

You'll Either Love It or Hate It
This is definitely an album that you'll either love or totally hate. For me, it was the later. I find the never-ending repetitious beats obnoxious and incessantly uncreative. The only thing I found interesting in the least was "To Get Down" from which the words "What Goes Around" were changed to "Here Comes the Ram" for a series of Dodge truck TV commercials. It was interesting for a few seconds. I marvel at how one reviewer of this album remarked, nearly as soon as this album came out, "You can just see this one being used for various television soundtracks..." Obviously, he hit it on the money with a commercial at least. Personally, I think the techno riffs are at best decent for a low-budget Sci-Fi flick. There is much better music out there to blow your money on.

To the punks with one star
Especially to the one who said Oaky's cd was better, here's a little heads up, Oaky doesn't write his own tracks and if you had two bits of knowledge about electronica, (rather than what you gathered from somewhere) you'd know that.

Incidentally, I heard Timo Maas for the first time on an Oakenfold live mix set of Radio One in 1998, he was playing Ubik (The Dance) of which you'll find the breaks remix out (sadly no Techno remix :( like there was on the vinyl). Help Me, and To Get Down were out long before the album release, and had everyone in the world playing them. Funny enough, I've just gotten around to hearing the rest of the cd and it's definetly worth a listen just b/c it does NOT follow the normal 4/4 beat pattern (maybe time scale but definetly not a constant, consistent drum kick).

And also, my last attack is on the person who said Timo's drums needed help. My friend, he does not write trance; your saying that does no credit to your knowledge of the electronic genre. You might as well go back to calling all electronic techno. Everyone knows the greatest thing about "The Dance when it hit in 98' was the DRUM. I agree his remix of Azzida blew him up out the water in terms of popularity (catchy little bugger), but Ubik is in fact and in my opinion the hallmark of Timo. He's still keeping it real. ... Read more

Album Description

Prodigy's debut album, Experience, is now reissued in aspecial 2 CD edition. Disc 1 is the Experience albumdigitally remastered; disc 2 is the expanded bonus albumcompiled of remixes and single b-sides, including the raveclassic Charly Alley Cat remix. This 2 CD set, in a doubleslimline jewelbox, now includes all the original mixes ofthe band's first five U.K. top 10 hits. 2001 XL release. ... Read more

Reviews (34)

You should already have this one!!
After entering the electro. music scene in mid 97" one of my first musical endevors was Prodigy. I remember going to my local music store to buy "Fat of the land", as luck would have it they were sold out. The cute little Kandy raver chic behind the counter was kind enough to inform me that "The Experience" was a much better album, two hours later I was able to take her word for it. Liam is one of the most underated producers in the elctronic music scene. His use of keyboards has a way of giving each track a more human touch, giving the music much more soul then unwavering machine loops can create. "Out of space" IMHO is one of the best Techno tracks in existance, Its a classic and reason enough to get this CD. The synth bass and drum loops sound a bit dated and the whole CD seems a bit more low fidelity the most of todays studio albums. Prodigy bass is harsh and always distorted to some degree. The gain on the amp. driving the two 10" subs in my car requires a lot of attention. Constant adjustment is needed to keep the already clipped bass signals from ripping my speakers apart. Small SQ. gripes aside this is a esential CD for anyone into all different genres of Electronic Music.

A must by if you don't have Experience yet
Experience is a great album, even more so considering it was done in 1991 (listen to Weather Experience - track 10 and you will understand how ahead of his time Liam was at that point). It's kinda funny though how Liam pretty much hates every thing on this album and won't even play any of it live anymore (to my knowledge at least).

If you do not have a copy of Experience yet, it is a no-brainer to get this version since it has the extra disc full of cool remixes. If you already have Experience, well . . . the remixes are good, but I'm sure that if you already have Experience you already know what most of them sound like and therefore know whether or not the extra money spent is justified.

In short, an excellent album recommeded to all fans of electronic music.

Also, it is incredibly amusing to read (as other reviews have similarly pointed out) the reviews from people thinking that this is the "next" prodigy album and then going on to wax philosophic on how it is such a departure from fat of the land and how they stayed up all night trying to determine whether or not it would be a good "first buy" for people that want to get into the prodigy.

Good, but different!
I hate to admit it, but I have to somewhat agree with staticwithabeat, who reviewed this album as a one star album. After many 6 hour car trips, I've decided it seems as though there's less work put into the music in this album, it almost feels raw in some ways. The album is not as dark as their other two. If this sounds like what you're looking for, more power to you. Just don't expect to get another album like Music for the Jilted Generation or The Fat of the Land. The album is a very different style for Prodigy. Personally, I tend to listen to the other two albums more often.

The Best
I haven't actually got this particular album yet (the expanded version) but I regard the original album as the best album in music history. Back in 1991 when I was still in high school discovering what it was like to be a youn man a mate of mine took me ti an underage nightclub called "The Factory" in Perth - Western Australia. This was my introdustion to true dance music and rave culture. I was immediately caught up in this scene as I used to listen to "Oxygene" & "Equinox" by Jean Michelle Jarre as a kid (My mother had the albums). I heard this song at the club that had a sample of a cat "mee-owing" and immediately fell in love with it and spent several months looking in record stores for this mystreios song. I found it eventually on an album called "The Prodigy Experience", I then discovered that all the other songs on the album were also familiar and my favorites. I have since then followed the Prodigy and Liam Howlett (The God Of Electronic Music and My Idol) throughout their whole career so far. Have seen them perform six times in Perth and am eagerly awaiting the new album "Always Outnumbered - Never Outgunned" although I am hearing rumours that this album does not exist. I will definately purchase this album for it's B-sides etc, I have found most Prodigy B-sides absolute GOLD.
If you also love the Prodigy please feel free to email me at.....

Fun fun fun
I got into Prodigy at the time the "Firestarter" single came out, and only got this album much later than "The Fat Of The Land" and "Music For The Jilted Generation".

The First time I listened to "The Experience", I instantly liked it. It is a like a big hypervitamined energy pill which makes you want to dance until you drop dead. It is also a much more "fun" album than their later work, on which there are more "rough" songs.

This album consists of very rythmic drum sections, synthesizer melodies and loops and crisp vocals on top of it. There are also funny sounds thrown in (for example video game-like sounds, ...).

You can listen to the album in one row and see the music on it as a whole, as the songs nicely blend one into the other...

Get it ;-) ... Read more

Reviews (11)

Wow... VERY impressive work
Wow

I'm having a hard time believing the copyright of this CD. This came out a looong time ahead of it's time. I have it and even now look at the copyright... 1995. Towa Tei was eerily correct because look at the style today - Glucklich compilations, Brazilectro, Ian Pooley, Kyoto Jazz Massive, Jazzanova...

I love this CD. It's very creative, very soothing, and has a touch of everything in it. I can understand what the reviewer meant by the CD seeming a bit "all over the place", but I think that was sort of the idea - a broad sense of musical styles which is just, good music.

Bebel Gilberto was featured quite often here. If you've seen her live, she has a strong connection with the Japanese side of the "new" bossa nova movement, and you can tell that even further in her album Tanto Tempo. What's interesting in this cd is Towa Tei's interpretation of "Batucada". Upbeat, higher pitch and neat - especially if you compare it to the way Bebel Gilberto sang it on the Soundtrack to "Next Stop Wonderland". That version was highly acoustic, and a little lower keyed.

I definitely recommend this cd. It's perfect in my collection, and I listen to it all the time. It's very cool. If you're a fan of Kyoto Jazz Massive, Wei Chi or any of the sounds coming out of Japan (I'm not exactly sure if Wei Chi comes hails Japan) you'll probably enjoy this. Actually, if you're a fan of the "Bossa Tres Jazz" series, you'll REALLY enjoy this. I first heard Technova on the "Boss-A-Troniq" compilation a little over a year ago. I'd recommend that compilation to anyone interested in finding similar sounds - that track has Nicola Conte, Stereo Action Unlimited, EBTG and even Groove Armada on it.

Ecclectic, fun, creative, funky
I'm not a musician or connaisseur, but I liked the collection of music, which ranges from contemporary and funk to retro Brazilian. The Brazilian is especially delightful and competent. What the music has to do with "Future Listening" I don't know. Nothing futuristic about it except the age-old cliches so heavily used from time to time to make it seem so. There's no unity or direction in the music that wanders from style to style. Wretched packaging, a real insult to listeners who want to know more. One of the worst jewel box packages of all time: boring, unimaginative, uninformative...just plain lazy and insulting. Who wants four full-panel pictures of Towa Tei, two of which are the same? The gaphics are simplistic, ugly throw-aways. The type is at best 6 point, too small to read--but there's not much info anyway. It's as if the producers slapped it together without regard to the consumer listeners just to get whatever music on hand out. Another c! ase of bad design by bad designers who design for their purposes alone. But I still like the music nonetheless--fun, diverse, driving, and quite competent.

Not alot of thought put into execution of this CD.
I'd describe this CD as having a loungy/Brazilian samba sound overall. While Bebel Gilberto is featured quite a bit on this CD, I think she's better showcased on a pure samba CD. I found this CD to be a bit all-over the place, which is fine, IF it's well-thought out and somehow cohesive. But that was not the case with this CD. In addition to the lounge and samba tracks, two of the songs are very "pop" (which doesn't appeal to me), and one song was a horribly failed attempt at a "global" sound (track 7). I feel that the artist didn't put enough effort into this CD, and just threw some tracks together without sitting back and reviewing them from a technical/artistic standpoint.

BUY THIS.
If you already have LAST CENTURY MODERN and SOUND MUSEUM, you will also enjoy FUTURE LISTENING. The second track alone, Technova, is worth your while. I couldn't get it out of my head. Best of all, it's happy. Great for daydreaming, or getting through an afternoon of writing papers for a class you don't especially like. If you're still not sure, buy it used--it's cheaper.

Great Japanese Talent
This is a very funky collection of nice eclectic tunes brought together by Towa Tei. A talented DJ who has built a very brilliant career in his native country. This album shows a very interesting mix of funky disco with soulful bossanova. Several of Towa's friends show up in this album (Babel Gilberto, Ryuichi Sakamoto and Maki Nomiya of Pizzicato Five) and make it a very remarkable collage of music. There's no doubt that this is one of Towa's finest. ... Read more

Amazon.com

For his debut album on Talkin' Loud/Polygram, Bristol, England's Roni Size keeps with the label's tradition of releasing grandiose, song-oriented dance albums. Size teams up with DJs Krust, Die, and Suv; MC Dynamite; and vocalist Onalee to weld the rough-and-ready sounds of British drum & bass to the soul vibes of their hometown. On New Forms, the jazz concepts laid out on his earlier singles are expanded into song form, with live instrumentation and full vocals. The album never fails to be interesting; there's serious musical credibility underlying every track, but New Forms, with its straightforward pop sensibilities, is clearly aimed at the listener. Fans of the Bristol sound will appreciate the "Watching Windows" and "Share the Fall" singles, whose subtle melancholy blends seamlessly with Size's trademark drum assaults. Despite its length (23 tracks spanning 140 minutes), New Forms remains perfectly balanced and eminently listenable. --Matthew Corwine ... Read more

Reviews (65)

Truly "New", and Inspiring!
From the breakneck pace of the opener 'Railing' this is a true musical adventure. This young innovator from Bristol has created what is quite possibly the most ambitious album in the history of drum'n'bass. A lot of that ambition is, of course, due to the sheer size and breadth of this release, a double album with 23 tracks spread out over 2+ hours, but amazingly, there is not a dull moment to be found here. Picking favorites or highlights is nearly impossible, but I must make mention of my 3 favorites: "Brown Paper Bag" with it's pummeling drum track, acoustic guitar and the best use of an upright bass ever recorded in modern music, "New Forms", a flawless title track featuring perfectly integrated vocals from Onalee (feelin' so highhhh.....), rapping by the underappreciated Bahamadia and a stop/start arrangement that gives the piece a relaxed vibe. It's nice and mellow, but doesn't dull the impact of the harder hitting material, and finally the closer, "Electriks" that simply pounds it's way into your subconcious with the most relentless drum programming and hypnotic bass line on the album, a fitting coda to a sprawling masterwork. As ambitious as this is, it serves as a perfect introduction to drum'n'bass for the uninitiated, give it a spin and your ears will never be the same.

Will I ever stop listening to Roni Size?
This album is beautiful, and, as most people would agree, that's a very difficult thing to say about any electronic music. The first time I heard "New Forms" I fell in love with it, and I have not yet grown bored with a single track. To many people, the first listen may make it seem repetitive. It is, that's what jungle's all about, but during the repetition of one idea it is constantly evolving. The only way I can think of describing how this works is "a texture of sound" . Okay then, it's a bit like a mantra. This is more than ordinary bounce-up-and-down dance music, it's genius. Every second of this record is filled with subtelty: from the fast rap of Railing, the addictive bass line of Brown Paper Bag, the beautiful vocals of Heroes and Share the fall, to the perfect samples of Destination. If you have heard other jungle and hated it, don't be put off. It is seriously difficult not to like this record. I think this album sets the mould for the music of the 21st century, and I am proud to have listened to it. Buy this, or forever hold your peace.

Wow, what a disappointment.
Ok, I've only heard a few songs from this Dj, so I finally decided to check out one of his CDs and see if he's as good as his hype. This CD does nothing but reminds of why I should of kept my $20. Railing is the only thing worth listening to. Other than that, just walk past this album and look for something better.

Challenges Goldie for the Crown
Roni Size stakes a claim for being the top name in drum&bass with this Mercury Music Prize winning effort, also by chance a double CD set like the aforementioned's "Timeless". The sound is a different end of the genre though, utilising live instrumentation more, particularly the live bass, with the seminal "Brown Paper Bag" a good example.

Does it get any better than this?
One day in 1996 i was coming home from school and a buddy of mine put in this tape and told me to listen. My life was changed from that moment on. It turned out to be "New Forms," one of the greatest things that has ever happened to me. This album is absolutely amazing and can turn anybody into a D'n'B fan. If you don't have it, you must buy it. It was recently awarded with No. 5 of the top 50 albums of all time in URB Magazine. Considering the vote was done strictly by Readers of the ever so amazing magazine, it must say something! ... Read more

Album Description

Don Tiki captures exotic sounds, party spirit...this isMartin Denny for the millennium. 13 tracks. Taboo. 1997. ` ... Read more

Reviews (8)

good stuff
If you like music by Les Baxter and Martin Denny, then you will enjoy this CD also.

the real deal
ive been a fan of denny and baxter for years, and thought i would never see the day when a combo would capture the vibe of these archtypes. So i put off buying this record with the fear of being let down, what a mistake!!! this record is brilliant!!!
all the elements are there including the production,and it can be safely said that don tiki is of the caliber of his influences.
if a hammock in the sun or the smell of the sea are your ideas of pleasure, this record will transport you where you want to go.

Pure lounge
How i love this album! Listening to it is like sliding into a luscious dream where beautifull people sip martini's by the pool, skies are blue and all worries seem distant. It has this great cinematic feel to it, taking you back to the late
fifties/early sixties. It reminded me allot of the early Bond movies. Apart from the beautifull atmosphere this music airs, it's also brilliantly composed and produced.
My advise: Book your flight to Don Tiki island now!

Lounge Exotica done right!
Put this CD in. Get out the Rum, fruit juices and tiki mugs. Mix up a batch of Myrtle Bank Punch. Leave your cares behind.

The Forbidden Sounds of Don Tiki is filled with gongs, flutes, marimbas, organs, drums, birdcalls, jungle ambience and island crooners. As if that wasn't enough, the legendary Martin Denny even sits in on a few tracks.

If you need a soundtrack for your backyard hipster BBQ or you just want to drift away on your own island fantasy, this CD is essential!

Way out, and yet so in.
I just recently began to listen to lounge and exotica music. I've primarily been collecting the works of Les Baxter and Martin Denny. When I found out that Martin Denny was on this CD playing the Les Baxter tune "Quiet Village" I figured I'd give it a shot. Boy am I glad I did. This CD has quite a few gems on it. The music is definitely Exotica, but has a modern twist. Very good vocal work, and beautiful percussion arrangements make this CD a must have for any collector. ... Read more

Reviews (17)

The beginning
My first exposure to drum n' bass came in 1995 and 96 by way of Goldie, 4hero, and LTJ Bukem. I was immediately into the sound, something about the complexity of the breaks, the dubby basslines, and the otherworldly atmosphere...it was to me...the revolution. The music was great, however, I was unaware of it's capabilities until a friend in college who I traded music with stumbled across the Cujo album and introduced it to me in 1997. My world had changed. I had never heard anything this intricate, I thought Miles and Hancock were the last to know how deep music could go. It gave me a new hope for my generation. A few months later I brought Bricolage and the love affair grew into an obsession. I remember riding the subway playing it so loud in my headphones that a guy stopped me and asked me what I was listening to, it sounded so interesting to him. After the release of Permutation, other people seemed to become aware of Amon Tobin and his greatness, even more so after Supermodified. All of a sudden I knew several people who were dedicated fans. I started to become jealous, halfway happy that Amon Tobin was gaining the respect he deserved, but jealous that his music was being molested by untrained ears. I wished for the days when I would play it and feel like I was one of the few in New York who had it, it was just me and Amon Tobin...and the most incredible music I'd ever heard.

a jungle playground
I just recently bought my copy of Adventures in Foam after finding out Cujo is actually Amon Tobin. I've been a longtime fan of the three albums AT put out under his own name and was reeling when I find out about this little beauty. I must say that I am glad to have cut my teeth on Amon's releases before listening to Cujo. I appreciate the stylistic growth from Bricolage to Supermodified. Adventures In Foam is Tobin's more playful electronic persona (evidenced by the silly album cover art.) From the free form opening to the slinky 'Cat People' through a dissonant closing following 'Cruzer,' this album is all about desterilizing D'n'B. I think this release has a slightly more forboding feel than Permutation and Supermodified, and perhaps even Bricolage. Favorite moment of the album is the first 20-odd seconds of 'Cruzer,' a stunning piano trill sample (that reminds me of strolling melancholy through NYC city streets at 4am) that falls into a bumping drum and bass break with odd samples dispersed throughout. I think Amon Tobin can do no wrong and as it turns out, his earliest effort is on both feet, skipping to a sound all his own.

crazy crazy good
I usually skip to track three to start this album off. "The Light" is just a beautiful song. Tobin mixes together jazz and drum&bass like no one else can and was on the very top of his game here. This was THE record for me to get high to until I quit smoking. And it still holds up. Like Boards of Canada say, the music should be the drug. This was released in the US in a screwed-up form; look for the Ninja Tune rerelease and everything should be okay, okay? Now run along to school...

"FAT @$$ JOINT" FROM CUJO!!!
I swear Amon Tobin...Cujo...or whatever his name is, is not of this world! After getting "Adventures in Foam" and listening to the whole thing non-stop (I usually skip through a CD if it's garbage!), I realized that these songs couldn't've be produced by any human being. I say that in jest, of course, but Cujo-Tobin has taken a dying genre (that being D&B, jungle or whatever it's called) and turned it into something a helluva lot more interesting and tolerable to the ear. Cujo still utilizes his trademark jazz samples, sporadic drum tracks and other foreign oddities from God knows where, only on "Adventures in Foam" his beats are more steady and less jittery than those heard on his other releases. Definitely a good thing being that he's performing under a nom de guerre for the Shadow record label. "Adventures in Foam" displays a more playful side of Tobin, than the dark, eerie, ominous tones of his other brilliant works. It truly shows that even as Cujo he has what it takes to deliver some damn good music. If you aren't impressed with Tobin's other stuff (shame on you!!), you'll definitely love "Adventures in Foam", if only for the extraordinary production value.

Audiotourist by Freeform is also super good.
It's no huge secret that Cujo is a pseudonym of Brazilian avant-jazz electronic salsa kind Amon Tobin, who usually releases utterly fantastic albums on the Ninja Tune label. Normally Ninja Tune puts out fairly substandard albums, but Amon Tobin is fricken awesome. Permutations is one of the best records ever composed.

This album isn't too different from anything he's released under Amon Tobin, it's just on a different label. I think if you like Tobin then you might as well buy this album.

But, for argument's sake, Is it as good an album as Squarepusher's Go Plastic? No, it is not. Is it as good as Freeform's newest Audiotourist? Almost!

But, as a friend of mine said, hope for one good moment per dollar (Two good moments if you're a Canadian, 2000 if you're Mexican). And does Cujo supply these moments. You betcha, you nutty shopper! ... Read more

Album Description

This is quality dub with a generous topping of bass andlashings of pure melody. 'Smokers Delight' captures theessence of chilling out. A TVT Records release. ... Read more

Reviews (16)

Top Trip Hop
Out of all of Nightmares on the Wax CDs this has to be the best!!! It screams trip hop with the trippy sounds effects and awesome mixes. It totally surpases DJ Kicks and Caboot Soul. Even compared to other trip hop groups like Kruder and Dorfmiester or Massive Attack, Smokers' Delight ranks top in its category. Ever since I have heard this CD, I have bought it and shown it to my friends- after that everyone ran out to buy their own copy.

Sick of the radio?
Here's your album. Shut off that blasted FM and their inane lyrics and get down low with Nightmares on Wax. Everyone from your mom to friends will like this CD - at least, that's what happened in my case.

The smooth rhythms and beats will hit someone who hasn't heard trip-hop (sorry G. Evelyn) /acid jazzy stuff before with a big fist to the ear. Listening to the samples here on amazon may be okay, but to really get the experience you have to get the album and listen to it completely uninterrupted - once you do, you'll want to do it again, and again, and one more time. It's anytime music, good for doing homework to, washing dishes, or just relaxin'. Absolutely wonderful, I hope more people discover this sort of music.

excellent
Unboubtedly one of my favorite albums of all time. This album is
the most influential in my collection.

A Delight for Smokers and Non-Smokers Alike
I am a goddess...at least I was proclaimed to be one by the sales clerk at the record store where i bought this CD--without listening to it first!!(Actually it was my third copy...my backup was "borrowed" by a friend who neglected to return it)

I absolutely love this Disc...its one of the few on which i skip no tracks at all, even though track 3 makes me wish i were a pothead so i could enjoy it even more. standout work by G.Evelyn, Firth and collaborators. Standout Tracks include: Nights Interlude (check out the revamp on Carboot Soul as "les nuits"), Dredd Overboard, Pipes Honour, Stars, Cruise, Mission Venice, Rise (and its subsequent reprise) and Gambia via Vagator Beach (excellent percussion).

If you love music, and I don't mean mainstream pop/rock, but contemplative, intellingent, and mind-bending music, you will adore this cd. I have two copies. One for whatever happens to be my cd player at the time, and one stored in my handbag for emergencies. You will not regret buying this CD.

christmas ooze
Listening to earstroking records like this one helps me put things in perspective again afer a hard days work. Dealing headshots on UT while bouncing my head to Nights Interlude is what I think the best way to get ready for five hours of massive sleep. Also Id like to thank Toshinori Kondo for bringing Ki Oku to live. ... Read more

Reviews (10)

Euro at it's best
Scooter offers what only a few have been able to synthicate. There is no that a person can compare Scooter with anything else. With such tracks as Nessaja, Posse..., I shot the dj, and many more, this cd delivers Scooter at its best. All of the songs on this cd are backed up with many requests on radio stations and hundreds of requests to Scooter. Possibly the best music ever.

Golden
First of all I would like to thank Scooter for their great pure hard core sound. It's something that I have been looking for a long time. It's filled with unmeaningful lyrics that just seem to make the songs all better. I love it!! Ramp, nessaja, i shot the dj, how much is the fish, and the others are a must have in your music collection!! I highly reccomend it to everyone that enjoys to be the one with the cool beats comin' out of their speakers.

They started in 1994 and they're still on the case!
When you think dance, you should think Scooter. No exceptions. From 1994 till the present, they've been a constant powerhouse in the techno scene. And this CD does a great job of showing off their greatest hits.

"Pushing the Beat" is the US Edit for the CD "Push The Beat For This Jam" which was released in Europe. The CD features hits from the "second chapter". The second chapter is the time-period where Scooter was with their second keyboardist, Axel Coon, along with all-time members H.P. Baxxter and Rick J. Jordan. However, this chapter ended with the song "Nessaja" which is actually not made with Axel but with Scooter's 3rd keyboardist Jay Frog.

Fom "Nessaja" to "How Much is the Fish?", Scooter's most popular beats keep coming harder than ever. Classics like "Posse! I Need You on the Floor!" make this CD an absolute masterpiece. After "How Much is the Floor" comes some brand news tracks from the Scooter crew. "Greatest Beats" and "New Years Day" come from the tracks "We Are The Greatest" and "F*ck the Millenium".

One of the tracks entitled "Sunrise (Ratty's Inferno)" has a story behind it. In Europe, many DJs see Scooter as a joke unforunately. Scooter saw this and made up another artist called Ratty. Under this artist name, they released the track "Sunrise (Here I Am)", one of the greatest songs ever. Seriously. The song became instantly popular and people wondered who this group was. When the music video was shown for the song, three rats were shown. Three Rats = Three Members of Scooter. There is no doubt this is Scooter, but few still refuse to believe it. Many still own the song with no idea it's Scooter. This song is the Instrumental Edit for the song and is still as great as the original.

The hits continue with great songs like "Habanera" and "Loud and Clear". The hidden track turns out to be one of the best songs Scooter ever made. The track is "Ramp! The Logical Song", a cover of Supertramp's classic. Listen. You'll love it. Guaranteed.

This CD is a masterpiece. And since this is the only Scooter album you can find here in the States, go and experience the greatness that is Scooter.

SCOOTER!!!
this is an American version of 'Push The beat for this Jam (2nd chapter)' it's an amazing cd, includes all the great single tracks and the club mixes ALSO INCLUDES BONUS TRACK :)

Missing some of the best
I really would like to give this CD five stars but unfortunately it is missing some of the older songs that were good songs such as Hyper Hyper. All around a good CD though. ... Read more

Amazon.com

Vancouver techno-pop enterprise Delerium may be most widely known for getting Sarah McLachlan played in dance clubs; the famed songstress lent her vocals to their 1997 hit "Silence." DJ Tiesto's familiar dance-floor overhaul of the tune sets the pace for the double-disc compilation Odyssey, on which a procession of remix artists chop tracks from Delerium albums Semantic Spaces (1994), Karma (1997), and Poem (2000) into lengthy workouts. The selections favor straight-up disco and house over the sort of ambient experimentation that might have been culled from the original material. But the dub-styled "Flowers Become Screens (Return Mix)" and--on the spacier second disc--a goth-tinged take on "Silence (Fade's Sanctuary Mix)" offer a breather from the collection's rather athletic nature. Besides a clutch of previously released tracks, Odyssey also includes rare mixes of "Underwater," "Euphoria (Rabbit in the Moon's Divine Gothic Disco Mix)," and "Heaven's Earth (Matt Darey Remix)." And Delerium's trademark ethereal guest vocal tracks remain largely intact, so you can float and dance at the same time. --Kieran Grant ... Read more

Reviews (28)

All Delerium, All Remixed
Delerium is one of those rare bands that succeed in getting me hipped for a new release. Ever since I bought KARMA two years ago, followed by their 2000 release, POEM, I have become an official fan of their synthy pop fusion with gregorian chantings and world infections. So once I found out about a forthcoming remixed album I nearly sky-rocketed through the roof of my house. I love Delerium yet I also thrive on the pulsating beats of techno and electronica so the exploration of this ODYSSEY was highly anticipated, and nay was I once disappointed or left feeling empty upon questing. It wasn't until a couple weeks after I purchased this, though, that I began to worry if it had really been worth my money. I searched everywhere for a playlist yet it was nowhere to be found. And then when it did appear it only had songs from their more recent albums SEMNATIC SPACES, KARMA, and POEM, which was sort of a letdown. I'd been expecting remixes dating all the way back to their darker more industrial days as well as their newer more lighter material. Instead they've chosen 8 different songs to be remix by professionals such as DJ Tiesto and Matt Darey, including Silence (3xs), Underwater (2xs), Heaven's Earth (2xs), Innocente (2xs), Euphoria Firefly (1x), Duende (2xs), Flowers Become Screens (2xs), and Incantation (1x).

In the beggining I completely agreed with many other reviewers that thought it ridiculous having remixed two, sometimes three versions of the same song but after hearing this CD several times through I couldn't disagree anymore. No one song sounds alike to another for (whether it be techno, disco, electronica, or heavy dubbing) they're all in their own varied styles; nor do any of the rhythms linger on one continous vibe. It's everchanging so you don't have to worry about it being dull or redundant, despite the constant "re"mixing... I actually prefer some of the remixes over the originals, such as Innocente which tends to get annoying. My absolute favorite song on here is probably a tie between Incantation and Flowers Become Screens (the frequency modulation mix), which both come from their SEMNATIC SPACES cd. So I suppose the overall feel of this Odyssey would have to be overwhelming, which in this case is a positive thing.

NOTE: The development of ex-delerium Rhys Fulber is a very ethereal mixing of Sarah Brightman's A Whiter Shade Of Pale. He (as well as Kristy Thirsk) are also working with a group called Balligomingo - which is similar to Delerium - so look out for it. ...

Read the cover
The cover says Delerium: Odyssey, the Remix Collection. It does not say Delerium: Odyssey, the Album. Most Delerium fans will not like this double CD set as evidenced by the other reviews listed.

However, if you enjoy electronica and dance as I do, then this is just what you're looking for. One of the most popular tracks, DJ Tiesto's version of Silence, starts it off. Both Heaven's Earth remixes are noteworthy, as are the two Innocentes. Not every song is perfect, mind you, but considering there are two discs here, there is more than enough to make it a must buy. I wish they had released this sooner instead than forcing me to scavenge for their past singles which only had one or two good songs on each.

Be sure to pick this up if you like Tiesto, bt, Chicane, or Ferry Corsten.

Take a Beautiful Adrenaline Journey
I admit that I'm no authority on Trance music. I do know what I like and don't like. This CD I LOVE, but let me tell you why. OK first off, listening to CD1 I wasn't all too impressed, but still entertained. I then popped in CD2 with lowered expectations and WOW was I IMPRESSED!!! To me, this is Trance music at it's best... a beautiful adrenaline journey of high energy mixed with layers of gorgeous, dreamy vocals. I'm no Sarah McLachlan fan and am actually sick of her over-played songs but these mixes work with her vocals wonderfully. If you are a big fan of Sarah M then you will for sure want this CD set. This set is an audible journey I will gladly take over and over.

Get Your Favorite Remixes from Singles
There are several problems with this album. First of all, most remixes are too long and too repetative. Some tracks are simply the original voices of the performers poorly married to a boring techno beat. The second problem is the overlapping tracks: each song begins on a previous track and ends before the track ends transforming into the next song. Admittedly, some Silence remixes are very good and I wanted to make my own compillation (even edit the songs to begin and end in the right place). However, the disk seems to have some kind of protection against copying, so I could not do even that. My advise: don't buy this, but try to get all Silence remixes on other disks.

a mixed blessing
I agree with many of the reviewers who have pointed out the somewhat repetitive nature of this work. The work could have included more diversity in the songs and my preference would have been for some slow versions. Why does "re-mix" always seem to translate to dj's showing off their dance track skills with the heavy backbeats. For such an extraordinarily adventurous band (who, by the way have already proven themselves masters at electronic/dance ala Front Line Assembly) to venture into an arguably formulaic mold is slightly disappointing.

Negative aside, this work - for what is - is strong, with flavorful, interestingly arranged grooves and pushing-the-envelope sounds that infinitely please. The choice of female vocalists is expert, as is the interplay of human touch with machine throttled energy.

If you want a revved up version of these deleriously delicious dance demons, then this is the one. ... Read more

Album Description

After strong international success with the first four releases of his six record series, the Red Hot Chili Peppers' guitarist now reveals his fifth album with longtime musical partner Josh Klinghoffer. Frusciante has been recording an album a month, spanning pop, experimental, electronic, and acoustic genres. Already released are "The Will To Death", Ataxia's "Automatic Writing", "DC EP", and "Inside Of Emptiness". ... Read more

Reviews (4)

expanded horizons
Having approached this one after exploring one of their more recent re-mixed albums, I was somewhat surprised at the lack of vocals and more laid back vibe. This one's much more reminiscent of early Dead Can Dance or David Sylvian than the more upbeat sounds of today...which can be very good at times, and somewhat monotonous at other times. All-in-all it is a very relaxing and moody work that does reveal the inherent genius of these musicians and demonstrates once again their versatility and great vision.

The evolution begins...
Before hell evolved into heaven with the future dreamy pop melodies of 'Poem' and 'Chimera', something unsettling must have been stirring in the creative minds of Leeb, Fulber and Peterson, manifesting into their earlier more ambient works. Because they've been around since the late 80s, they decided to release two albums filled with several songs from each of their hard-to-find 'Archives' and this is v.1 containing two discs. There's 5 tracks taken from 'Faces, Forms and Illusions' (1988), 7 tracks from 'Morpheus' (1989), 5 tracks from 'Syrophenikan' (1991), and 4 tracks from 'Stone Tower' (1992). Although I do not find their most recent endeavors to be conventional in the typical radio sense, their older sound is far less cohesive with no real hook lines or ethereal vocals. The atmosphere is mostly dark and melancholic with dragging rhythms, haunting Gregorian chants, creepy chimes among other noise effects that will often make you feel somnolent (drowsy), as one of the songs is called, but I find this great to fall asleep or simply relax to as it is soothing if you enjoy this type of music. I catch myself listening to 'Semantic Spaces' along with the rest of their later material more than their dusty archives retrieved from the past but I appreciate everything these guys put out and am fascinated with their vast differences and how they've so drastically progressed as the wheels of time moved forward...

A Solid Album, but missing the appeal of later works
With the Archives 2-volume set, Delerium traces its roots as a goth-rock instrumental experiment, and shows us not only how solid a foundation its sound was built on, way-back-when, but also how far it has come. The album is an excellent addition to a collector's collection, but may disappoint fans new to the Delerium sound.

Archives is a "best of" of Delerium's old works: Vol.1 encapsulates four albums from 1988-1992. The album delivers haunting, slightly exotic gothic melodies that consist mostly of samples and beats strung together for maximum effect. The result is an enjoyable (if slightly repetative at times) trip through a different set of moods and emotions, carefully crafted and well executed.

But for fans of newer Delerium material, (Semantic Spaces, Karma, Poem) this album may fall short of the mark. Now known for its pop vocalists like Sarah Mclaughlin and Kristy Hawkshaw, and its fully developed sound that challenges the line between goth and pop, Delerium has progressed considerably since its 1988 debut. The songs on Archives precede a 1994 rebirth that added vocals and a level of complexity; as a result, they lack some of the luster (and the vocals) associated with newer Delerium.

Which isn't to say that the Archives are bad - thy're not. But they are different. Fans of dark gothic music will enjoy the albums, and Delerium fans who appreciate all three post-1994 albums will hear the underlying sound they love forming in each of the tracks. The Archives are a practical solution to wanting more of the Delerium experience, and they deliver an enjoyable set of melodies. But those looking for more songs like "Silence," "Innocente," or "Euphoria" had best look elsewhere. Archives Vol. 1 & 2, while well-crafted albums in their own right, are not as accessible or as well-developed as Karma, Poem, or Semantic Spaces.

A great introduction to Delerium's beginnings
I am a massive Delerium fan and have been for a few years now. I'm in the process of checking out the group's older material which doesn't have the angelic female vocals found on "Karma", "Poem" and even "Semantic Spaces". Unfortunately finding the group's early albums such as "Faces, Forms, and Illusions", "Morpheus", and "Stone Tower" is like looking for the proverbial needle in the haystack. Most major record stores do not carry the group's albums when they were on Hypnotic/Cleopatra records. I don't have a problem finding their albums prior to "Karma" because a local record store where I live carries the albums I just listed however for a lot of Delerium fans I am sure they have trouble because there aren't many copies readily available. Both volumes of "Spiritual Archives" that were just recently released contains music from the group's days when they were putting out strictly ambient music minus the female vocals. I already own "Syrophenikan" but that didn't stop me from buying the first volume of "Spiritual Archives". I was intrigued to hear if there was any difference in "Faces, Forms and Illusions", "Morpheus", and "Stone Tower". There isn't but I don't mean that in a negative way. The music is extremely moody and enchanting. The songs collected from "Faces, Forms, and Illusions", "Morpheus", "Syrophenikan", and "Stone Tower" is definitely far darker than the music found on "Karma" and "Poem". The layers of various ambient sounds adds a richness to the music not heard on "Karma" and "Poem". I particularly enjoyed the songs off "Faces, Forms and Illusions" as we as "Syrophenikan". Now while most of my favorite Delerium songs are off "Karma" and "Poem", I dug the tribal, orchestral ambient sounds of Delerium's earliest material. It is such a contrast to the music that they have been releasing in recent years. ... Read more

Album Description

Prefuse 73, also known as musical wiz kid Scott Herren,drops the highly anticipated follow up to 2001s seminalVocal Studies and Uprock Narratives. The CD features aneclectic mix of futuristic, next-level productions. 21tracks packaged in a Digipak. Warp Records. 2003. ... Read more

Reviews (22)

A Slight Change in Trajectory, but Amazing Nevertheless
I got home just about an hour ago after seeing Prefuse 73 (along w/ Beans, ex-member of the disbanded A.P.C.) at a live CD release party, and I am reeling from the experience. The music is perhaps more 'glitchy' sounding than "Studies," but that is not a problem for me. Exciting and invigorating. If you enjoy sampled and highly-processed hip-hop, then you will probably greatly enjoy this album. As an aside, it was so nice to finally see some Warp artists in my home town: perhaps one of these days I'll be able to see Aphex Twin or Squarepusher without having to go overseas or across the country. Anyway, I had a blast at the release party, and the music was so amazing that I just have to tell somebody about it.

Abstract Desktop Click-Hop
In the notes it sez: "Love to the open minds and those who still get excited about music and the progression thereof." With One Word Extinguisher, Prefuse 73 progresses, evolves, and innovates with his own style of beat symmetry. I'm going to avoid comparisons. Within the first few minutes it draws you into a world of hip-hop abstraction. By track 4, a collaboration with Dabrye, you've come to the wizards tower of fat beats. You can feel the full on dedication to the amazingly groovin rhythms and flows from the masters of the Akai MPC drum machine. Samples cut and flowed within the interweavings make it an experience not to be missed by those beat heds out there. Throughout the upbeat and sometimes chilled narrative, Prefuse 73 takes you on an evolving journey of incredibly fresh soundz from the heartsoul vibe. Easily my favorite album of the year.

IDM Hip Hop
If there is something that proves hip hop can be a limitless, utterly compelling thing, this is it. Every bit as nuanced and produced as IDM electronic music, this takes pure hip hop elements, and filters them down through relentless breakbeats, and lovely electo textures. Attacking staight out of the box with the jazzed out turntablism of "The End of Biters- International" then segwaying into the contemporary hip hop of "Plastic", this more than any thing out there shows the heights this music can be taken to, and that's further than the eye can see. The utter attention to detail, and beauty can not only be admired, but enjoyed thoroughly. The entire record stays well within the lines of excellence, and is a real treat for anyone who loves the feel of either music (ie: hip hop, electronic). Prefuse 73 has an utterly precious musical proposal that will probally keep him away from mainstream acceptance, but virtually guarantees his ascension to greatness in both the hip hop, and electronic undergrounds, if he isn't there already.

Definitely Overrated.
Frankly, I just got bored of this CD too quickly. After the first five tracks I felt like I was listening to the score from an early 90's video game. Given Vocal Studies + Uprock Narratives, I am genuinely unimpressed.

Oh my goodness!
must confess I made a bit of a leap into the unknown with this album. I am a serious fan of their label buddies Aphex Twin, but I knew before purchase that it would be vastly different. I was not disappointed. In this album this listener is presented with a mix of electronica, hip-hop, chilled synth, some really ecclectic sounds that I just can't categorize, and wierd vocal interludes. I think the best way to describe this would be some sort of thinking-man's DJ Shadow. When you have moved on in your taste, and listened to that genre to the extent you have had enough, then this would be a great advance. Its pretty chilled out, but provides some really interesting listening, rather than simply melting into the background. The album is hugely varied, with some dub-fuelled human beat-boxing going on, though its not as dark as something like Deadly Avenger.

I would thoroughly advise what is simply a very good album and a pleasure to listen to, plus the cover is nice! ... Read more

Album Description

2002 compilation featuring 22 groovy tracks in theiroriginal, full length & twelve-inch mix glory, Snooze'Dorefima Girl', Soldiers Of Twilight 'Believe', JuliusPapp 'A Thousand Years', Solu Music 'Fade', Lazy Grace 'How Deep Is Your Love', Fac15 feat. Cathi Ogden 'Shine Inside', Kaskade 'You & Me & Love', Nick Holder 'Summer Daze', BethOrton 'Central Reservation', X-Press 2 feat. David Byrne'Lazy', Bent 'Always', Los Ladrones 'Mi Amour Es', MiguelMigs 'Brand New Day', Con Migo 'Malena', Richard F 'It'sAlright', Rawsoul 'Everyday', Mambana 'No Reason', Jetlag'It's So Right', DJ Chuus, Jon Cutler 'U Groove Me', CraigJensen 'Club Lonely' & Octave One 'Blackwater'. ... Read more

Reviews (5)

Best Beach House Compilation Yet
I am by no means a house music connosieur. However, it doesn't take a genius to figure out that this a great compilation. Sexy, soulful house ranging from latin-influenced to disco-influenced and everything in between. The first CD is more mellow... advertised as music to listen to by the poolside. The second CD is more upbeat and danceable, perfect for getting ready for a big night out.

Standout tracks include "How Deep Is Your Love", "Lazy", "Con Migo", "So Right" and "Black Water". I hadn't heard any of the songs from this album until I picked it up (I come from Calgary- the land of rival hip-hop soundcrews battling for club space with rednecks after all!) but there are none that I skip through when listening to the CDs. This is the perfect soundtrack for a long drive, a long day, or a long night!

3.5 stars for sugary-sweet vocal house and disco
What is it?
Deep, sugary-sweet vocal house on one disc, disco on the other, all in unmixed form for this, the third installment of increasingly-prolific label Hed Kandi's most popular series Beach House.

And?
Good concept and all, but where's the sand? Most of the material locks the Latin percussion away for romantic nighttime tunes (Miguel Migs "Brand new Day," Julius Papp "A Thousand Years") certainly not aimed for friendly loafing on an afternoon. That leaves Malena, DJ Chus, an aptly named Holder classic "Summer Daze," and the vibrant Ibadan mix of rain-on-my-parade queen Beth Orton's "Central Reservation" to carry the concept - tunes that have traveled everywhere for three years now.

But?
There's still some delectable cuts here. Ashley Beedle of X-press 2 fame irons out the jilting tempo of Bent's original "Always" for a piano-led anthem floating a beguiling old-record vocal. Which makes up for his cack "Lazy." Meanwhile Lazy Grace cover a song correctly, as the Bee Gees' "How Deep is Your Love" receives the dancing queen treatment to wondrous effect. Jon Cutler's relaxed "You Groove Me" has the hook you'll remember most when it's all done, while Octave One's "Blackwater" is indeed, the strings-techno uplifting jewel worthy of the 2002 buzz.

Like all the rest of Hed Kandi's releases, there's a handful of must-haves, some duds, and a large middle range of pleasant-enough goodies. Beach House may not meet its intended concept, but the music carries this through for a worthy release.

Awesome...
This is yet another must have Hed Kandi compilation! You can't find good soulful house on any other comp cd. A couple tracks that I guarantee you will have at deafening levels, are Kaskade's "It's You, It's Me," Solu's "Fade", Octave One's "Black Water," and Malena's "Con Migo." Other notable tracks are, "Summer Daze" by Nick Holder, "Brand New Day" by Miguel Migs and "How Deep is Your Love" by Lazy Grace. (Remake of Bee Gees song). If you're a house head, this album won't disappoint!

Return to the Beach, Hed Kandi Style.
"Beach House" is simply too good a compilation to be played only during the summer months at the beach. This collection of laid-back house is an excellent collection that can be played after dark, indoors, or to spice things up at a dinner party. We get warm grooves, soulful vocals, Latin and African influences, and mellowed-out beats. In other words, this ain't no "Totally Dance." Tracks of note on Disc 1 are "Believe" by Soldiers of Twilight, an impressive cover of the Bee Gees' "How Deep is Your Love" by Lazy Grace, and the favorite club staple "Lazy" by the David Byrne side project X-press 2. On Disc 2, Miguel Migs (known for his contribution to a couple of the Naked Music collections) shines in "Brand New Day" and the great closer "Black Water" by Octave One works pretty well. Note: this is NOT a mix CD. I thought the tracks would be blended in together like a DJ mix CD, but this is not the case. Still, it matters none to me. "Beach House" is a classy compilation that won't look out of place in your collection of dance music.

Hed Kandi does it again...
I have to admit that I've been a bit disappointed with Hed Kandi releases this year. However, when I picked up this CD, I couldn't help, but be pleased once again. Hed Kandi has put together one of the best summer/Ibiza inspired compilations I've heard in a while.

CD 1 is very laid-back. Perfect for lounging around the pool. Stand out tracks were Kaskade's "It's You, It's Me." This track makes its first appearance ever on this CD, and there's Lacy Grace's remake of the Bee-Gees "How Deep is your Love". However, my absolute favorite track on CD 1 and possibly on the entire CD has to be Solu Music feat. Kimblee's "Fade". "Fade" is deep, mellow house at its most sublime. Things start to speed up a bit on towards the end of CD 1 with Nick Holder's "Summer Daze" (another fave track) and X-Press 2's hilarious track "Lazy". What better way to spend time on the beach than to be "Lazy". However, Hed Kandi could have done without the last track by Bent, "Always". "Always" is a good example of overkill in electronic dance music. This track has been overplayed to exhaustion. I just yawned and skipped back to the beginning of CD 1 when I heard this track yet again.

On the mostly uptempo CD 2, Miguel Migs with "Brand New Day" and Malena's "Con Migo" grab my attention, but the real jewel of CD 2 is "Black Water" by Octave One. This is a real dancefloor mover with an infectuous Afro-groove and heavenly vocals and chorus.

Hed Kandi is still one of the best house labels out there. I love the stylish artwork of their CDs, but the music lives up to the packaging. It's really nice that Hed Kandi makes unmixed and full-length versions of house tracks more accessible to the club-music listening public. Getting these track individually in a DJ music shop is difficult and expensive. No longer am I losing my mind because I'm trying to find the full version of a track I heard only a snippet of on a mixed compilation CD or in a club. This is why I'm not lowering my rating of this CD due to the track "Always". As much as that track now bores me, it's good that others who like it can get the full version with more ease. Whatever your taste in electronic dance music, you can't go wrong with Hed Kandi. ... Read more

Reviews (8)

Alright
This is album is ok,I love the title,but it is missing some of the bass queens original funk ,dontcha think?...It's very loud and bassy,and I cant say I enjoy every single song on this album.

Jeff
I picked up this CD 4 months ago on an impulse buy. Its decent and I would say its her best work to date. I am a huge breaks fan, but Florida Breaks are my least favorite. She definitely keeps the bass heavy and chooses some good tracks. But overall this disc, as well as a lot of Florida Breaks, is missing one key element..."funk".
Its not a bad CD to have in your collection if you really want to push the bass on your stereo. But I would reccommend that you pick up some Canadian Breaks DJs or UK Breaks. I think the best breaks DJs in the world are coming out of Canada.
If you want to hear some good, funky, dirty breaks pick up Slammin the Breaks 2 by Krafty Kuts (UK) or anything from Czech (Vancouver) before you get this.

DJ BABY ANNE
DJ Baby Anne is by far, the best DJ I have ever heard. If you like DJ Baby Anne, listen to Infected Mushroom. They have an awesome album too. My favorite on that album is, "Mushi Mush". Baby Anne, don't stop the beat girl!!

baby anne beats
i love this cd! i recently saw dj baby anne perform at motor in hamtramck and i was hypnotized the whole time. she is amazing to watch. i got her autograph as well as dj icey's autograph, i'm still on cloud nine! this cd is the perfect mix, and my favorite track is #3 "that congo track". i love how the congo drums are laid down! i picked up her latest "i'm about to break" but haven't finished listening to it yet. from what i have heard i love it. dj baby anne is a great dj and i think one of the best female dj's out there.

DJ Baby Anne Does it For Real.
I recently saw Baby at a club in Cocoa Beach Fla. it was about 1;00 am. the place was boomin` and baby kept on mixin. afterwards i went out and bought this cd, it was everything i had experienced when seeing her live.. she will be and is, an upcoming trance master. ... Read more

Reviews (6)

where's techno on here???
If I could give this cd 0 stars, I would. Just by looking at the artists on this compilation and then looking at the title of the CD tells you how much "The Happy Boys" (whoever they are) know about electronic music. Most of the tracks on here are House, Trance, and little elements of Progressive House. If you wanna listen to techno, listen to WestBam. Now they are writing music that really is techno. And trust me, there are other compilations out there that are way better and are mixed properly. DON'T SUPPORT "THE HAPPY BOYS".

this is TRUE techno!
A music fan from Brooklyn, NY you don't know what you are talking about this is true techno, and that cd you recomended Jeff Mills' Exhibitionist Mix? that ain't techno thats just music people use when they are about to do a magic trick, thats just background music.

Rock Your World
Well, it may move it a little...
This one is better than Vol. 1 but still contains some filler. Hardcore techno fans will enjoy it, but it's no classic. If you dig hard and powerful techno, then I have to recommend Mr.Deviant's "Techno Obsession". Now that, will Rock Your World

The best damn CD ever
Techno party 2 is a really cool cd. I would recommend this cd for everbody who ever listened to techno. This is gonna' rock your world!!

Lots of trance and dance, not much techno...
I think calling this disc "techno party" is pretty misleading. None of the tracks on this compilation is anywhere near the genre of techno.

These are all trance, hard house and dance cuts, but for some reason these "marketed for America" releases all have to be called "techno" as if anything with a fast dance beat is techno.

If you are looking for techno you should look at Jeff Mills' Exhibitionist mix. Now that is real techno, plus it's made by a nice chap from Michigan.

Engage. ... Read more

Album Description

Johnny Vicious presents 2CDs of the hottest dance musicfeaturing such artists as Deborah Cox, Cassius, Dirty Vegas & Jessy. After a string of hits and a #1 album in hernative Belgium, Jessy is ready to take the US by storm with her latest smash single, 'Look @ Me Now'. The extendedvocal mix is made to burn up the airwaves, while the harder DJ Philip remix will destroy any dancefloor. 24 tracks oftoday's hottest dance music in a slipcase. Ultra Records.2003. ... Read more

Reviews (17)

Ultra Dance is Ultra Good.
DJ Johnny Vicious takes the helm one more time and mixes the two CDs that make up "Ultra Dance 03," a tasty selection of the latest club hits. Easily the best of the three volumes, these 2 discs are surprisingly good, thanks to its impressive tracklisting. Hex Hector gives an energetic disco twirl to the infectious "Mr. Lonely" by Deborah Cox," while the French act Cassius get remixed in "The Sound of Violence." Those who couldn't get enough of DJ Sammy's remake of Bryan Adams' "Heaven" will dig his dance cover of Don Henley's "Boys of Summer." But, for me, the disc's twin peaks are the throbbing sinister beats of Oscar G and Ralph Falcon's "Dark Beat," and the high energy anthem "Head" by Thunderpuss (Chris Cox and Barry Harris). The second disc is enhanced and features a video of the cover model dancing to Armin Van Buuren's "Yet Another Day." This video, which runs for only a few minutes, is a bit cheesy, but it's kinda cute. Unlike the last two volumes, "Ultra Dance 03" is surprisingly consistent with minimal filler and really hot tunes. If you liked 1 and 2, then you won't be disappointed with this one.

Good Cd
As one reviewer said The Undergroud Series is way better. For one the dance track on the Underground Series is far better than the Dance tracks on this album, but don't think this Cd has nothing going for it... For one this 1st Cd is mainly dance music, while the 2nd is mainly trance with a little dance vide thrown in, so I enjoyed the CD 2 more(I happen to be a trance lover), but first Cd could do without these tracks numbers: 7, 9 and 12... Those maybe good to others but they don't cut it for me and who knows probably Ultra Dance 4 will be mixed by DJ Encore & Johnny Vicious since each has mixed one version already(Johnny Vicious also mixed Ultra Dance 1)and maybe that time this series will be able to match up to the Underground Party series...
All in all is a great album to have...

Very good, well-rounded album
This CD totally rocks. While the second disk focuses mostly on beat, the first is all about strong vocals, and no one can match the talent of Deborah Cox in the Hex Hector/Mac Quayle mix of "Mr. Lonely", or the power of the chorus in Katrina Ruiz's "You're Gonna Miss Me". Several songs exhibit periods with excellent synth lines, like in Tomcraft's "Loneliness", and the trancelike rhythms of DJ Sammy's take on "The Boys Of Summer" will get your blood pumping. Drunkenmunky's "E" has its own charm and unlikely instruments. The second disk wasn't quite as entertaining or danceable, but it wasn't mediocre enough to hurt this album. My suggestion: Buy. Now.

One of my favorites
Something about this album got me hooked. At first I was disappointed because it did not have the initial appeal of "Ultra.Dance 02." The more I listened the more I liked it. I thought initially that the first disc had better songs because it was more mainstream but the more I listened the more I liked the discs equally.

There are good and bad songs on this CD and is seems that when they mess up, it's seriously bad. I really liked the first three songs on disc one. I liked Johnny Vicious's remix of iio's "At The End," Kreo's "Burn For You" and Humate's Remix of DJ Sammy's "The Boys of Summer" was my favorite section of the disc.Tracks 4 through 7 were in my opnion the worst act of the album. The vocals of Jessy, Deborah Cox, Paulina Rubio, and Katrina Ruiz got redundant after a while. Narcotic Thrust's "Two Minute Warning Mix" of Cassius's "The Sound of Violence" was a highlight track. ATFC's remix of Moby's "In This World" was SO ANNOYING! Listen to it once and your ears will cringe. I dont want to think about it. Anyway, I enjoyed Tomcraft and 4 Strings and I like Dirty Vegas's "I Should Know" but it sounds like it is sped up to more than 5% which makes it sound bad. Drunkenmunky's "E" was in my opnion annoying.

Disc two starts out with Armin van Buuren's "Yet Another Day" followed by "The Way" and Energy 52's "Café Del Mar." I liked these three songs and how well they fit together. The transition to "Head" was a bit iffy but I did like "Dark Beat." "Sweat" was disappointing consitdering it came from C + C Music Factory's smash "Gonna Make You Sweat." The vocals on this song were not sung by Freedom Williams as the album says, but were performed by the powerful voice of Martha Wash who also sung the title lyrics for SNAP!'s 1996 song "The Power." I did not like Scanners's song "What God Has Given You." It got repititive, but I did like Velocity's "Inside" and Veronica's "Love In Bombay." I loved Johnny Vicious's own "I'm Waiting" but was disappointed with the sensuous conclusion of "Sweet Dreams."

If you like club music, this CD is a good one. I loved the transitions by Johnny Vicious. This makes you feel like you are really there. My friend (who was into rock) kept thinking that it was the same song when the next song would start. That's how good the mixing is. There are some bad songs, but the good outweighs the bad by far. I am satisfied.

It grows on you
I bought Ultra.Dance 02 and enjoyed it greatly and thus bought Ultra.Dance 03. At first, I did not like this CD as much as the first but the more I listened to it the more it grew on me. There are still some tracks I don't listen to, for instance the annoying remix of Moby (Disc 1 track 9) and Drunkenmunky (Disc 1 Track 13). I also did not like "What God Has Given You" (Disc 2 track 7). My favorite tracks include the Humate Remix of "The Boys of Summer" (Disc 1 track 3), "Yet Another Day" (Disc 2 track 1), "The Sound of Violence" (Disc 1 track 8) and Johnny Vicious's own "I'm Waiting" (Disc 2 track 10) (Which I discovered is EDITED for this CD: "...stop gnikcuf with my mind..."). Despite inconsistencies, this is a good CD. ... Read more