Reviews (17)

STOKED!
I grew up in Hawaii in the '70s, and first saw "Five Summer Stories" in the old Haleiwa surf theatre on the North Shore of Oahu. I bought this CD a few years ago, and I was astonished and delighted to re-discover how good Honk actually was. Too bad Honk will remain unheard by most people. They were an excellent band, exquisitely capturing the essence of laid-back, California-Hawaii surf culture of the '70s. It's one of those mysterires how such an excellent, original band could remain so obscure to this day. Their arrangements and harmonies, as well as musicianship, on cuts like "Blue of Your Backdrop" and "Don't Let Your Goodbye Stand" are timeless. The instrumentals "Lopez" and "Pipeline Sequence" are masterful-- as good as anything else produced in that era. "Pipeline Sequence" received a lot of airplay in Hawaii in those days, and is still THE surf instrumental for us Hawaii surfers who came of age back then. Honk's music is light-years better than the frenetic, punked-out surf video music of today. So get this CD, relax, and remember (or imagine) what it was like to paddle out to Sunset Beach on a huge west swell, with no leash and a single fin, and Barry Kanaiaupuni, Jeff Hakman, and Gerry Lopez calling the shots out there!

Good but you'll love this one
Honk is a fairly good album and would certainly appeal to those with inclinations towards the surf sounds/vibes from the early 70s. I won't add anymore to what has been said already but I will say if you like this sort of stuff, genre, vibe etc you MUST check out the Morning Of The Earth soundtrack - an Australian surf movie from the early 70s. It is the essential album (and if you can get the video even better - a FANTASTIC movie with incredible tubular footage and psychedelic camera work) combining a love of surfing, hippy sentiments, mind expansion and feelings of freedom. It literally chnaged my life causing me to hit the road up the east Australian coast. Enough said - Honk is good but nice and tame, this is beautiful...

HONK ON CD!!!!!!!!
For those of you who haven't had the privelage of toting around this Honk record album (you know, vinyl?) for the past 25 years, you are very lucky to have the opportunity to purchase it in CD. I grew up on Maui and was a "surfer gal", playing my Honk album after long days at the beach, re-visualizing the beauty of the waves, sun and sand while listening to the articulate instrumentals and vocals on this album. In this day of the regeneration of historical american folk tunes, I truly believe Honk-Five Summer Stories deserves a place in our musical history for the melodic songs, and calming instumentals which represent a brief, yet heartfelt era. Anyone who enjoys music as a "getaway", this one will take you where you want to go....

A treat for the ears
I first heard this album as a 13 year old in 1972. It was playing over the speakers in a record store and I pretended to look at record covers on the racks so I could hear the whole thing. It was captivating music. Before the last track finished I had bought the album and then played it over and over at home. When I visited my cousins on the north coast they told me about the movie (which to this day I have never seen). This album still sounds as fresh and vibrant today as it did back in the 1970s. It may be a movie soundtrack but it stands alone as a master work with or without the movie. Picking out the best track is difficult but High In the Middle probably wins by a nose. Some of the best steel guitar playing ever committed to record can be heard on Bears Country, a stunning instrumental track which evokes lazy summer days at the beach. The Blue Of Your Backdrop, Don't Let Your Goodbye Stand, Pipeline Sequence the list goes on. It is truly an aural treat and a fine example of the west coast sound in its earliest and purest form. Do yourself a favor and buy this album. It is one of rock music's last undiscovered gems.

A reminder of all the great things about Southern California
This CD is a great reminder of all that was great about Southern California in the 1970s. Casual, laid-back living, the surf scene, people helping people and genuinely caring about them--the kinds of things that still exist in Southern California but mostly outside of its major cities. Listen to this CD while driving along the coast. Listen to it on a Sunday afternoon. Listen to it any time you just want to relax and put a smile on your face. I do. ... Read more

Amazon.com

"You want bowel-churning mega-bass that shakes the room, demolishes the ceiling, and freaks out the cat?" ask the compilers of this grade-A U.K. techno disc. The curious should answer with an unequivocal, "Hell, yes." Sonic slabs from Orbital, the Chemical Brothers, Underworld, Prodigy, Leftfield and the Future Sound of London, among others, add up to a definitive appetizer tray of drum & bass flavors. --Jeff Bateman ... Read more

Reviews (24)

Overall, it's worth buying
ACTUALLY, it's a 3.5 on a 5 Scale (but I felt generous, and gave it 4 stars).

This CD has several 'straight' (not remixed) techno/dance/electronica singles which are just great listening, and a few other cuts that simply grate on your ears. This was recorded a few years back, when techno/big beat was more daring and experimental (before it started to sound stupid: like old-ladies "jazz" with a beat added)

The 2 versions of "We Have Explosive" by The Future Sound Of London might seem excessive, but the two versions are different enough that they enhance, rather than detract from the overall musical quality. Besides, that song is so good here, you WANT to hear it 2 or 3 times.

"Atom Bomb", by Fluke and a better-than-the original version of Chemical Brothers' "Loops of Fury" are good enough to make you want to play them each again, and again. "Firestarter" by Prodigy, also sounds better here.

Buried surprises (good ones), include tracks from Orbital, and Leftfield.

What's really mind-blowing is: this is a soundtrack from a video game! Just a bit of warning may be in order: don't listen to this and drive at the same time if there are any traffic police in the area.

BTW: This sounded terrific through my new Klipschorns! Thanks to Paul W. Klipsch for his pioneering work in audio engineering over teh past 6 decades.

Not as good as the REAL soundtrack
This soundtrack is a good disc, but it might surprise you to find out that it is very different from the actual PlayStation CD. If you like this disc at all, or if you think the songs are a little grating, I would suggest getting your hands on the real PSX WOXL, which you can play like any other CD if you skip past the first data track.

Let me point out the differences. The above soundtrack has 14 tracks, the following of which are not on the actual PlayStation game:

02 Fluke - Atom Bomb
06 Chemical Brothers - Leave Home (Underworld MX1)
07 FSOL - We Have Explosive (Herd Killing)
10 Daft Punk - Musique
11 Source Direct - 2097
12 Photek - Titan
13 Orbital - Petrol
14 Leftfield - Afro Ride

Besides that, FSOL's We Have Explosive lasts 6:14, while the PlayStation version stops a little abruptly at 5:53, and Underworld's Tin There stops at 5:00, while the PlayStation version is 6:08.

The PlayStation disc has 11 audio tracks, the following of which are missing from the above soundtrack CD:

03 FSOL - Landmass
04 Fluke - Atom Bomb (instrumental, shorter/faster than CD)
06 Chemical Brothers - Dust Up Beats
11 Cold Storage - Canada
12 Cold Storage - Body In Motion

The PlayStation selection is much less harsh than the soundtrack CD. The soundtrack-only "herd killing" version of We Have Explosive is a pretty good track, but other than that, the PlayStation CD is much better. The PlayStation-only tracks are all good, especially Dust Up Beats and Canada. Dust Up Beats is something Chemical Brothers have played live, but I haven't seen it on any CD besides the PlayStation WOXL.

Another odd thing about the WOXL soundtrack is that the version of Petrol it has is the same as the version on Orbital's In-Sides CD, except the WOXL version fades out at 5:49, while the real one is 6:20.

1999's Wipeout 3 also has 13 songs, but it's only available for PlayStation. It has six great original Sasha tracks, a 4:03 version of Paul Van Dyk's Avenue (showed up later on his Out There And Back CD), a 3:06 version of Underworld's Kittens (from Beaucoup Fish), the album version of Chem Bros' Under the Influence (from Surrender), two MKL tracks, and Orbital - Know Where to Run & Propellerheads - Lethal Cut, which I don't think are on any other CD's.

Not as good as the original
Basicaly the only decent stuff I see here are tracks 1,4,7 and 8. Seven is the coolest theme ever - the one from the WipeoutXL game intro video(the whole reason I got this CD) and the first track is also mixed in there somewhere. Number 4 is just a more or less decent techno track, while 8 is Prodigy's "Firestarter" without the vocals. Track 2 was a dissapointing dulled-down version of Fluke's "Atom Bomb"(I'd give the CD 4 stars if they just put the excellent original one). So there you have it, unless you desperatly want the WipeoutXL intro flick music which wasn't included on the game CD - don't bother. Better get the WipeoutXL game itself - it's out for PSX and PC and has the great game and music all in one(skip the first data track). You can also play the PSX version with an emulator and get the same resolution. But the PC version is the best.

State-of-the-art electronica
To call this a "techno" CD is misleading. Sure there's some of that, but this is really a genuine electronica CD with the likes of Photek, Source Direct, et al making an appearance with some, shall we say, unique tracks.

Electronica today (2003) isn't quite what it used to be back when it was new and clearly still experimental and at the top of its form. This 78:18 CD offers up some classic tracks that will last forever. I have a lot of CDs from various electronica artists that have songs on this compilation (Fluke, FSOL, Orbital, Chemical Brothers, Prodigy) and others that don't (namely Crystal Method) and they're all great but none quite capture the diverse essence of what electronica can encompass. This is that CD!

The version of Atom Bomb on here is a cleaned-up AND remixed version of the original on Fluke's own Risotto CD. None of the other reviews really pointed that out.

Ha ha ha ha... WIPEOUT!
When I bought this however many years ago, nobody bothered to point out to me that it was the soundtrack to a game. But perhaps that's the greatest compliment anybody could give it--that the music stands on its own without any hard-sell.

Maybe you bought 'Exit Planet Dust' but if you missed out on the Chemical Brothers' (in my opinion) best single "Loops of Fury", you could atone buy picking up this disc. The instrumental version of "Firestarter" is better than the original, and "PETROL" is not representative of the Orbital album ('In Sides') it comes from, but still kicks.

The whole 'Electronica' wave was over-done and rightfully put in its proper place on the musical scheme of things, but in retrospect, there were some singles you had to own, and this is a superb compilation of them.

Made to be booming out of your convertible, even if it's a k-car. ... Read more

Reviews (29)

Crazy, sexy, cool?
Being a music head with a passion for film soundtracks and cool crime movies I was overjoyed when I discovered that Belfast DJ David Holmes would be working on the music for this effortlessly cool and smouldering adaptation of an Elmore Leonard novel. I loved Mr. Holmes last offering, "Let's Get Killed", a sample-stuffed, bigbeat and groovy album with a smokey and gritty New York feel to it. David Holmes has a passion for funk, soul and jazz from the 60's and 70's and this marvellous soundtrack is the funking, swaggering and cool manifestation of this passion. Funky, energetic sounds from the Isley Brothers,lounge classics like Dean Martin and the spicy Latin rhythms of Mongo Santamaria all complement the diverse musical styles that are evident in Holmes' score. As for the dialogue excerpts? How can you complain with coolness oozing from the every pore of this movie and soundtrack! I play this in my car all the time because it has the jazzy attitude of Lalo Schifrin's excellent "Bulitt" score and the gutsy, funky feel of some of the 1970's Blaxploitation movies. Smooth sounds to ease your driving.

Lay back and enjoy
I just can't get over what a cool album this is. I know that sounds kind of corny, but that's the only way I can think of describe the sounds of this album. From the out-there Mexicali swing of "Watermelon Man" to the punchy horns of Dean Martin's "Ain't That a Kick in the Head," the album is straight cool the whole way through.

But the standouts here are the original instrumentals composed by avant-garde composer David Holmes. His marriage of hip-hop breakbeats and jazz organ are unparalleled in the realm of coolness. You can just lay back and listen, or you can get up and bob your head and dance.

This soundtrack is laid out similar to the "Pulp Fiction" soundtrack: bits of dialogues intercut and join the songs. In fact, "Trunk Scene" is actually interrupted by a police siren just like in the movie, then the slinky beat creeps back in for the duration of the song. It's just nice and mellow.

Overall, this is a great album. If you liked the music from this movie, or you liked the "Get Shorty" soundtrack (composed by John Lurie, but the same type of music), pick this one up.

Lines from the film don't match music, distract.
Look no further than the Tub Scene track. This hot, sexy scene has great music. Why would you buy this CD if you didn't like this track? At the end of this piece, the last thirty seconds are overlaid with dialogue from another scene entirely. Remember when J.Lo has to listen to that creep talk about Toughie the dog and how he would tussle with her, and give her a bone? Those sick lines are the last thirty seconds of the Tub Scene track.

The other tracks are also affected. Hopefully David Holmes will one day offer a pure version of this album for download from online-only music stores, since producing a second CD would cost too much.

Excellent!
The soundtrack combines David Holmes smooth grooves with audio surprises from the movie. Listening to the music during the movie makes a great script, good acting and cool editing complete. However, when unaccompanied by the visuals, you can concentrate just on the terrific music. In particular, I had never noticed the flamenco guitar featured throughout the soundtrack. For David Holmes fans, or just fans of the movie, you will not be disappointed!

Wonderful, brilliant, frustrating, annoying
I've already seen the movie, big guy.

I always end up with mixed feelings about David Holmes' stuff. He creates wonderful music, and then screws it up by making it second fiddle to whatever droll dialogue he feels like throwing in. It was annoying on Let's Get Killed, where his collection of "New York's Most Neurotic" undermines the whole thing. The Ocean's 11 soundtrack was totally obscured by the movie's dialogue.

Critics need to stand up and call Holmes on this for the silly immaturity that it is. Soundtracks to Tarantino albums used to frustrate me because of all the chattering, but at least they were distinct tracks you could skip if you weren't in the mood. With Holmes, up to two minutes of a groove will be taken up by dialogue from a movie you've already seen. It's not clever, it doesn't enhance the music, it's distracting, and luckily the thing was on sale when I bought it, because I think it is WAY overpriced for only 45 minutes of music.

Holme's, it's cool to use movie dialogue as a punctuation mark; Rhames' "Let's go to Detroit" line is a great intro to the Isley Bros', Fight the Power (especially since they were with Motown for a while). But ENOUGH already! Your brilliance is being undermined by this George Clooney fetish. We want your music to shape OUR reality, not to help us relive a movie.

Enough complaining. Apart from that, the vamps on this album are superb. His selection of a couple of Isley Bros best tunes are perfect and the Dean's "Kick in the Head" is a great complement. Holme's simply has talent and creativity to burn, which makes me want to keep buying his stuff, despite all the frustrating stuff he does with movie dialogue. The "Tub Scene" tune is perfect - absolutely perfect. ... Read more

Reviews (6)

One of the very few drum and bass CDs I like.
I generally don't like drum and bass. In fact this is one of the few CD's of the few dozen or so I 've tried that I like. MW generally doesn't program his drums too fast or dark, and unlike what I've heard (as a d'n'b newbie) the beats blend into the tracks well. It doesn't sound like programmed beats with melodies or instruments added afterwards. What I find especially compelling is his use of jazz, blues, piano, and old samples as the basis to his music. It contrasts well without fighting the percussion. Considering that, it gets a 4 star recommendation.

It starts well with the dark, melancholy "Rene M," and then goes to "Detonator," the cut he made a music video for. "Detonator" starts off as typical d'n'b (distorted drums and snaky baseline,), then kicks into this 60's chase scene horn-frenzy about two minutes in to cool effect. Track 3 "Jello Dart" is pretty good,. "Counts, Dukes & Strays" follows and is excellent, using concise, sparse jazz samples to a laid back hipster beat. "Mycroft," track 5, is the first track I don't like- that squiggly, deep baseline sound of d'n'b is grating, and this has it. "Heaven" is blues to a beat that made Beastie Boys' Check Your Head come to mind. "Motion Booty" despite its title is really a companion piece to "Rene M," and "Times of Danger" brings back the same car chase vibe s "Detonator." The last track is pretty bad, but at least this is the place to put it.

There you have it, 8 of 10 are good, it's got 4-5 strong hits, and it's one of the drum and bass CDs I like enough to keep. One last note, the packaging is first rate and classy; it's nice to see an artist who takes pride in these little details.

could this be my new theme music.. ?
For months now, I've regarded Adam F's "Colours" as the best blend of D&B, Jungle, R&B, Jazz, and Trance. Finally, there's another contender. Buy this disc - and if you've never heard Adam F, get that too. Mocean Worker ranks even (and sometimes over) anything by Metalheadz. I'm a fan.. and can't wait to see what comes next from this brilliant artist.

Yeah, its good
Its a little over the top in parts for me, but there's no denying that Dorn knows what he's about. It is not as experimental as the likes of Autechre, Richard James/Aphex, and it isn't as slyly funky as Amon Tobin's stuff or the recent Funki Porcini, but Dorn gets quite a psychedelic groove going. Dorn also is pretty imaginative in his rythmic use and placement of samples. He hasn't quite ascended Mt. Olympus yet, but he's getting real close. Recommended.

Brilliant
I'm not sure how many people are actualy going to see this review, but for the few of you that do purchase this album.

in a word...dreamy
Talk about inspired (or inspiring). This man is definitely in touch with the stuff dreams are made of, and continues to improve on his masterful skills following his first release "Home Movies from the Brainforest." This latest stuff will take you out of your hum-drum here and now, to a bass-and-drum realm of deeeelicious grooves. My sincerest thanks go out to Mocean Worker for a very moving new work of art. ... Read more

Amazon.com

An unusual album by Front 242,the band's two singers were not directly involved in its construction. It is, however, first-rate electronic music with remarkably creative programming and flawless production. It features a female singer (Christine Kowalski), another surprise for longtime Front 242 fans. Her voice is wrathful and distorted on "GenEcide" and "Modern Angel," longing and resentful on "Crushed"--a touching song about loss and isolation. Menacing drum sounds and an enigmatic chant propel the portentous "Serial Killers." Intricate percussion patterns and sweeping synthesizers make for some of Daniel Bressanutti and Patrick Codenys' most memorable programming, particularly on "Animal," and the remixes "Junkdrome" and "Skin (Fur Coat)." --Mark McCleerey ... Read more

Reviews (15)

Headphone Trippy Front
Enough about Dark Side of the Moon already, here's the 20 years later-headphone trip waiting to happen. In an explosion of creativity, 242 released this phenomenal set of 'twin' LP's in 1993. 'Up Evil' and 'Off' are outstanding productions that deserve about 9 stars total in my book. Though released in the same year, these albums each have distinct styles and complement eachother quite well. 'Off' is the band's foremost techno-industrial venture, while 'Up Evil' sticks with more of a purist industrial sound. If you're looking to buy only one, fans who liked 1991's 'Tyranny' seem to prefer 'Up Evil,' while 'Front by Front' fans will probably groove to 'Off.' I'd choose 'Off' as the preferred disc, as the Frontmen seem to be at their most ambitious here, going for a more futuristic sound. It's probably their best produced work- coming from a band that championed top-knotch production in the studio. As other reviewers have commented, the female vocalist does add a lot to the album. These albums are the icing on the delicious 242 cake.

A somewhat patchy album
Always rated better than the same year's 'Up Evil' album, I have to disagree. Though a much more ambitious and less commercial sounding album than 'Up Evil', it's journey's into sound exploration and harsh vocals are too unsettling sometimes.

On this album they seem to be getting more and more into KMFDM territory and other industrial bands, who despite their similarites, have a totally different sound to Front 242.

They just seem to be trying to be a band that they are not on this album. I like some of the sound collages. All sweet, sprinkling synths and then drowned out by huge, whailing barrages of industrial sound, but on the whole this album does not do it for me. It's neither EBM nor Front 242 electronics in the truest sense.

Top quality record
As far as the influence over the industrial scene is concerned, few bands can rival Front 242. This album shows the band still at its creative peak. It sounds somewhat different to what we came to expect from these guys, first of all, because there's almost no 242's trademark Jean-Luc de Meyer's singing. Instead, the female singer dominates most of the songs here. She sounds very convincing, with menacing distortion in certain tracks, and soothing melodism in others. There's a lot of techno influence on the record, and the pulsing of synth lines is entrancing. Overall feeling of the record is dark and disturbing, with hard driving rhythms, though the variety of the tracks is impressive. My favorite is perhaps "Happiness" where hard techno rhythm is mixed with operatic female singing. What's peculiar about this work, is that certain melodic themes and rhythmical structures are used throughout the record, mixed into the tracks structure here and there, as a sort of industrial conceptual record.

This album was the last in a series of studio greatness from Front 242 that continued on from their debut in 1982. "05:22:09:12 Off" is a must have for any industrial or EBM fan.

Speed Tribe precursor
Proving that electronic music can move into the most amazing dimensions, providing everything you get with traditional rock and so much more. This work is electrifying and adrenaline producing. Powerful arrangements of diverse sounds and energy send punishing and soothing vibes through your nervous system.

Font 242 invent and stay on the cutting edge. Check out Speed Tribe, one of their latest incarnations!

Absolutely incredible electronic experience...
This album is just beyond words. It really is that good. Everything about it, from the beats to the lyrics just kicks .... It's full of extremely rich soundscapes, captivating vocals and lush, atmospheric sounds. This album isn't what I would call dancey or clubbish, but rather futuristic or visual. Whenever I listen to it, my mind conjures up visions of futuristic cities and vehicles. It makes excellent music to read to or draw/paint if you're an artist.

Front 242 is one of my favorite bands of all time, but I don't really care for their older EBM stuff. This album, Up Evil and Tyranny For You is really all I like. I would definitely recommend this over their older stuff, as it has a very modern sound and easily competes with anything else out there right now.

I can only hope 242 releases some more excellent material in this vein. ... Read more

Reviews (4)

Shiny
With their first record, 2002's Farhenheit Fair Enough, Joshua Eustas and Charles Cooper created a loyal fan base through touring and implementing the most useful instrument to any artist; word of mouth. Telefon Tel Aviv's elegant complexities of brash electronics combined with the duo's guitar and piano ambience came at a perfect time when down tempo was becoming predictable and the popular IDM sounds from the West Coast were slowly fading. Farhenheit's orchestrations allowed the listener to assign their own emotions, making it the foreplay to their second full-length album.

With their second album, Map of What is Effortless, Eustas and Cooper mark their return with a palate that is significantly stronger and more assertive via forceful guitar chords and the addition of voice. If Fahrenheit Fair Enough was their foreplay, than Map of What is Effortless is clearly TTA's attempt to finish what they started. The vocals of Damon Aaron and Lindsay Anderson leave no question that TTA is ready to present a more visible and wider range of emotional highs and lows alongside their instrumental speak. The gentile creativity of Farhenheit still looms, however the duo explores more raw, frontal sounds as with, "What it is Without the Hand that Wields It", a track that is closer to the likes of Aphex Twin than the TTA previously known. The layers of heart wrenching simplistic guitar strokes, computerized crunches and dramatic vocals of 'What it was will never again' perfectly summarizes this album's overall strengths in an audio and characteristic context.

The obvious audience favorite will be Effortless' first single, 'My Week Beats Your Year.' It's clap ridden rhythm back dropped into Anderson's popishly seductive vocals are enough to move hips and turn the heads of the music elite all in one spin. However, the dance fever of the single should not cloud what Eustas and Cooper are doing on the rest of this album. Sequentially laid out, the songs all lead to an emotional destination that is left for the listener to point towards. There is an obvious map of human emotion being drawn here; one that is much more dramatic, blatant accessible than that of Fahrenheit's. As with any achieved successor, Effortless takes the duo in a new and challenging path of keeping the auditory satisfaction interesting. If Effortless is the temperate foreplay's follow through, than Telefon Tel Aviv's love affair with us has just begun.

Flow and Meander
I noticed the previous reviews for this album were short and didn't tell enough. So I shall elaborate. This album is flavored towards IDM. Intelligent Dance Music. The sound is a mix of blibs and smooth atmosphere melded together by welders who are masters of their trade. This is an album that needs to heard as a whole. The sound flows and builds on itself through out the whole album, as if one is traveling a round trip. I've found I can put this album on repeat while working and not get tired or hearing the cd play over. This album is not background noise however, it is very well engineered beats that define a new step in electronic music. For a while I was afraid electronic might stagnate, but this album holds a promise for its continuence due to its evolutionary new concepts. Give this album your ear. You won't be disapointed.

good one
this album is kinda different from the 1st one..it has more vocal..which i think its great..buy this..this a very good album to listen while you laid back smokin stuff

good chill
I love the electronic blips and bleeps masked by the guitar and bass over lays. I also like the electronic/live drum feel. Great night cd. ... Read more

Reviews (29)

Amon Tobin is awesome!
I had first heard of my now favorite artist from a movie that i saw. It was Menikmati, a skateboarding movie from eS, and i had to know about the music tracks. I looked them up, and two of them were "Sultan Drops" (from Permutation) and "Slowly" (from Supermodified). I immediately ran out to the store and bought whatever of his i could find, and was not disappointed! he is absolutely the most talented artist I've ever heard of, mostly because every track is different. On Bricolage, "Stoney Street" and "The New York Editor" are jazz, "Easy Muffin" and "Yasawas" are smooth mellow techno, "Chomp Samba" is drum 'n' bass, and there are many more styles i can't think of.

This Is What Breaking The Rules Sounds Like
First off, while my introduction to Ninja Tune was courtest of "Cold Krush Cuts," this is the first Ninja Tune disc that I picked up. And yes, this is what started my love affair with that label. The first time I heard "Stoney Street," (this CD's first track) I had to own a copy. As on his other albums, Tobin creates a surreal, teeth-grinding headtrip of dicey syncopation, unconventional rhythmic strategies, and creepy-crawly melodies, constructing unpredictable songs from both an eclectic batch of samples (both musical and vocal) and clever programming. Defying the easy pigeon-holing of genre, this CD is at times like jazz ("The New York Editor"), at times like drum-n-bass ("One Small Step"), at times IDM'ish ("Bitter & Twisted"), at times a happy whateveryouwanttocallit ("One Day In My Garden"), and at times refreshingly, comfortingly unfamiliar ("Wires & Snakes") -- and meanwhile, it's none of these things. (And to think, I bought it for "Stoney Street"...) Unpretensiously sophisticated and morbidly comic, this album is a real gem -- a truly lasting find and while you may not listen to it everyday, it'll become difficult to go long without it. In terms of mood, you can certainly dance to it, but you'll feel equally comfortable popping it into your stereo and letting run its own ambient course while you have a drink with friends and discuss the quote by Levi Strauss included in the linder notes.

So, if you're looking for a CD that pulls off a fusion of jazz and/or samba rhythms with EDM *or* already enjoy the sphere of (say...) intelligent DNB (such as Photek), this may very well be the perfect CD for you.

How has this not been reviewed yet?
Buy it. Now. If you don't have this, you're wasting time as we speak.

I'M LATE AS USUAL!!!
But "Bricolage" bares a review from me! I heard Amon Tobin's Bridges on the AstoBar CD from Water Music Records and was like, "HMMM"...but it didn't impress me enough to go out and by any of his stuff. It was not until my utter boredom with today's so-called electronica and my sudden revelation that my compilation CDs really aren't all that great, that forced me to sample other "alternatives" of music. Amon Tobin was the first person to come to mind. After sampling only :30 of his stuff online and at my favorite record store (really not enough time to get a true feel for a CD--Amazon, you guys should extend samples to at least a minute--but, I digress!), I was like "Oh, No! Cheerleader music!" Taking a dare, I went ahead and got "Bricolage" and I haven't stopped listening to it since its purchase. I was shocked to realize that Amon Tobin wasn't a bunch of recycled, mainstream crap that you hear on teen movie soundtracks and video games, but instead a cacophony of utter brilliance from every music genre out there! The man utilizes so many styles of music together that it makes your head spin! Why didn't I get hip to this guy sooner?!?!! I'll go down the list of what I think of each song, bare with me:

1. Stoney Street- an amazing jazz selection!
2. Easy Muffin- takes you on a journey into trip-hop!
3. Yasawas- an ambient groove that Tobin masters very well!
4. Creatures- OK, this song is creepy, but in a good way!
5. Chomp Samba- this song is creepy, too, and full of octane!
6. The New York Editor- cute lil' stroll along number! Love it!
7. Defocus- inspired weirdness!
8. The Nasty- is just that..."nasty!"
9. Bitter & Twisted- OMIGOD!!! THE BEST SONG ON HERE!!!! Dig the bass line!
10. Wires & Snakes- OMIGOD!!! THE 2ND BEST SONG ON HERE!!
11. One Day In My Garden- Is that Bossa Nova I hear, mixed with D&B?
12. Dream Sequence- They're baaaaaaaaaaack!!!!!!!!!!!!!

13. One Small Step- experimental genius!
14. Mission- High Voltage finale!!!

I don't think there's a song on "Bricolage" that I skip, because I usually can "feel" them all! Amon Tobin is a genius, right up there with the likes of Matthew Herbert, Boards of Canada and Mr. Scruff as far as mastering styles of music as if he was the originator. I also bought "Supermodified", and heard "Permutation" and his most recent release is pretty good--both of which I shall get, no doubt! I'm glad I got hip to Tobin--the guy is really the SHHHHHHHHHHHH!!!!!!!!!!!!!!

Godly
that's all I have to say, this is my favourite CD ever, after Endtroducing. Best mix of Jazz and D 'n' B. ... Read more

Album Details

Mixed Live in Brazil. ... Read more

Reviews (33)

An aural soundscape for the ages....
The first disc of this set I found to be a bit repetitive and boring.

The second disc, however - I don't think I've ever heard a CD as good as this one. Warren takes us on a journey from the first beat of the first track right up until the end, and along the way we hear everything from eastern sounding instruments on Madagascar's "Your Beautiful" to exotic chanting on Voices of Khawan's "Ya Yea Yo Yo Ma" to hard sounding synths in Forth's "Reality Detached" and gorgeous vocals in Tekara's "Breath In You". This disc has it all, the perfect build up and peaks that can make listening to this disc while driving a near hazardous experience :)

Bottom line here is that your paying for a 2CD set even though there's only one disc here that's really worth bothering with - but its sooooo unbelievably good that it makes the price very well worth it. The only thing I've heard that even comes close is Sasha's Global Underground Ibiza album.

Somewhat of a disparity in the CDs but....
CD2 is Outstanding. CD1 is mediocre at best. This said, I really appreciate Nick Warren's style. Ive been on the Oakenfold bandwagon for a while and I decided to try out Warren and I immediately noticed some differences. His mixing is somewhat more aggresive than Oakie and somewhat quicker. You dont hear the beginning of the next song like 2 minutes from the end of the prior song. I have no idea why Cafe Del Mar (or why its ALSO ON live in pargue) is on this album but the rest of the songs on CD2 are great: exciting music but not overdone. This is certainly one of my favorites in the Global Underground Set: Warren is an accessible DJ, he stays away from the really dark trance that has made, in my opinion, Sasha and Digweed somewhat unpalatable anymore. 5 stars for CD2 (Random Comment: Your Beautiful is a really fun fun song) 3for CD1. A decent album. Get it!

A Classic Trancer With Balls...
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This album is dripping with high energy, funk, bass and near flawless mixing. It is by no means for the faint of heart, and not for those who are looking for clubby, cheese-filled tracks. This is pure, unadulterated house trance devoid of anthems and cheese vocals.

CD1 immediately grabs you by the throat and doesn't let go. Each track is packed with energy and has a degree of raw grit to it. Those worth noting are "Marching Powder", "Lose It" (my favourite), "India", "Tequila Flange", and "New Sunset".

CD2 lets the listener breathe a little easier, as it isn't as intense as disc one. "Psychout (Thing)" rocks. "Your Beautiful" and "Kill City" are relatively mellow. "Reality Detached" is a favourite with its quick, heavy drum beats and gritty synths. "Ya Yae Ya Yo Yo Yo", is, as one can draw from its title, weird. O.K., who pulled Café del Mar off the shelf?! Tekara's "Breathe In You" makes up for it, though. Pink Bomb's "Indica" and POB's "Boiler" are two remaining tracks worth noting on this disc.

This Global Underground compilation is a great starter for those who want to become acquainted with Nick Warren. Sure, it's over four years old, but it still manages to sound as fresh and as different from everything else that's out there these days. Classic trance at its best.
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Energy, Style, Quality.
Global Underground has been a label known for its quality releases, and GU008 is one of the releases that helped build that reputation.

Nick Warren spins house, trance and some early progressive house tracks into a wonderful mix. CD1 starts out with a harder edge, and picks up the melodies around track 6 and never lets you down again. CD2 starts off beautifully and never stops, with the most energy featured on a GU release (IMO). There are a few tiny flaws in the mixing between a few songs, but its nothing noticeable if you're completely lost in the mix as I typically am when I have this set going.

To sum up this mix in a few words: This is a timeless mix. It still sounds good today, several years after its release. Great tracks, no cheese, no filler; Its Nick Warren. What else would you expect?

Quit my job because of Nick Warren
I was working in the visual effects industry and paid well blah blah .... Somewhere in between purchasing the Budapest & Amsterdam GU CD's (which I had to compulsively buy after hearing new Way Out West CD), I decided to leave the industry and pursue making music. Nick Warrens music fills me with inspiration and desire to want to surpass his standard which will take more than a hefty amound of work i'll tell you that no matter who you are as a muso. I purschased this CD with expectations of the standards I usually expect from Mr Warren. CD1, I havent gotten into that yet, but Im sure I will. However, CD2 is going to keep me up for the next week.

Do yourself a favor and buy this CD. ... Read more

Reviews (17)

Ok, But It's Been Done Better Elsewhere.
Johnny VIcious is capable of far better than this CD suggests. Too bad, because this is probably going to be the first time many people have heard "Johnny Vicious" material, and we all know how long first impressions last. After caareful evaluation and thought, this 2CD set seems designed to appeal to older women who attend aerobics classes, and maybe to older gay men who remember the 1970's/1980's as a great time. But it sounds like a major case of underachievement compared to what else is available.

Disk #2 is great techno with a trance-feel. But Disk #1 is a couple of nice contemporary dance hits with a bunch of really queeny disco filler thrown in. If this had been a one-disc [DISK #2] set, it would easily have rated 4 stars.

Fans of Disk #2 material will find far more rewarding song and mix selections on ALTERED STATES VOL 2 (mixed by Jon Cowan & Mike Hiratzka) or POLITICS OF DANCING (mixed by Paul Van Dyk).

Fans of Disk #1 material are a different crowd, and perhaps for them this IS a great selection. But it seems to be such a throwback to the 1970's or early 1980's.

Worth getting
In my opinion, this cd offers a pretty good mix. I like how Johnny Vicious seperated the cds into Main Floor and Underground. While I get the feeling that not too many people like the Underground cd b/c it doesn't really have many words, it's still a pretty decent cd..it's more like something to unwind to after dancing up a storm. Main floor offers more of the popular songs you hear playing in the clubs, although Jerz-E clubs take a while to play songs like these (i.e. Forever by Dee-Dee). :( Many of these songs are repeated on other popular dance cds (like Louie DeVito's DanceFactory), but still its a good choice for a dance cd.

Awesome Compilation!!!!!!!!!
This compilation is incredible i bought it almost 2 years ago and i still listen to it. cd 1 is great untill about half way through it but cd 2 is so amazing that it makes up for the 2nd half of disc 1. If you love hard trance than buy this cd.

SAVE YOUR MONEY!
There's maybe one decent track on this cd. Its so not worth it. I wouldn't call it dance music either. Its more like top 40s remixed whatever. uht!

Perfect Fo Clubbin'!!!
This CD is so awesome! Songs like Amber's "Yes", Aubrey's "Stand Still", Iio's "Rapture", To be Able To Love, Resurrection, Forever, and Light A Rainbow: ROCK MY WORLD! This is one of the best techno CD's of the century. The songs I don't really like are Trippin, and La La Land. They are a discrace to music maker's everywhere! Anyway, all together, this is an awesome CD. If you like it, you have to check out DJ Encore and Engelina's award winning album "Intuition." Now that is quality listening! ... Read more

Amazon.com

Having outgrown the happy house of the green and brown albums and exploited narrative too complex for merely ambient techno, the Hartnoll brothers--Phil the elder and Paul the younger--really do find themselves in some vaguely Far Eastern adventure in The Middle of Nowhere. Thus they prove again that they are the most reliable innovators in danceable electronic composition. The inchoate political rage of 1994's Snivilisation is here, but it has found purely instrumental claws that are unafraid to dig for new melodies. "Know Where to Run" gathers itself from some beastly buzzing weather to become a dance-floor creature lurching through the village at night like some urban nightmare and "I Don't Know You People" turns the dance floor into an escapist fantasyland once more with its grousing refrain, "nothing changes--goddamn you!"The highly evolved vocal softness of "Autumn" and the weirdly Tangerine Dream-gone-hip-hop "Style" keep a trip-hop story line seamlessly borne out on jungle and electro beats. Nowhere comprises a portrait of boom-boom techno that carjacks beats once lost in space to whole new worlds where breakthrough songwriting is an aesthetic ideal. The U.K. act who forced the sales charts fully into the postrock '90s is now realizing the participatory promise of rock & roll liberation in the dance clubs, where music lives now. --Dean Kuipers ... Read more

Reviews (112)

Another excellent effort by Orbital
The "MoN" was intended to be a "happy" album, more "light" than "In Sides" (if you listened to it than you know what i'm talking about). However, it didn't turn out that way. It kind of continues the feel of the last album. And that's a good thing, 'cause this is a great album.

It starts with "Way Out", one of the best things Orbital have ever done, very refreshing with very cool trumpet solos and spaced out synthesizers, along with those familiar female vocals. It works fantastically, 8 minutes of electronic bliss. A very promising track and you just hope that the whole album will be like that.

And it is! It's even better on some places. Like the mind - twisting dark & "crazy" 10 minute "Know Where To Run" - perfect for releasing out all that negative energy and a great dance track. And "Otono", the shortest of all songs captures a glimpse of that wonderful "Halcyon + On + On".

"I Don't Know You People" is a track i don't really like. It's very annoying and in my opinion it's the only weak spot on the whole album.

"Nothing Left 1 & 2" are full 16 minutes of a continuing great hypnotic adventure in the "middle of nowhere" using hard beats and space rhythms. "Style" only enhances the end result, adding the finishing touches on another great Orbital album. A great way to finish it.

Some people don't like it, maybe 'cause they expected too much after "In Sides". I mean, did anyone thought that they could top "In Sides"?
And whether you're just starting with Orbital or you're a long time fan it'll take a while to get used to it. But you'll like the end result.

Orbital is without a doubt the premiere electronic band.
"Sad But True" was the first song I heard from Orbital. "Sad" is a sweeping moodpiece with a strong synth,a throbbing beat, and an incredible female vocal. The song establishedthem as more than just another techno band. Since then, the brothers Orbitalhave taken us into deeper, more intense, more complex territory... minus the female vocal. This latest album finds the band in familiar territory, combining beautifulsynth-strings, spacey sound effects, and driving beats with the return of many haunting female vocals. From the classical feel of "Way Out" to the twittering video game beats on "Style,"this CD captures the embodiment of realelectronica -- a nice beat (although the snares here are collapseable) intertwined with layers of synth and sound unlike any other. Orbital even tamper with a guitar riff on one track.It is the first album in a long time that I find truly mesmerizing; every track has such depth and emotion. Who cares if the instruments are real or not when you've got these layered synths, these powerhouse basses, these remarkable soundscapes that can only emerge from the heart?

Good One!
This is a really nice Orbital work. It's a lot of processed sound changing through time with the beat. That's what makes this genre of music so excellent. The synth motifs evolve and transform, pushing the groove from one space to another. This CD is less choppy than other Orbital works and the tracks seem to blend into one another nicely. Just a good techno beatbox party out in the...

A very good techno album
For the longest time, I didn't own any orbital albums. I was only familiar with a few of their songs, the most notable being Halycon + on + on ( one of the greatest techno songs ever, it will always stick with me). Finally in 200 I got the guts to buy this album. At first I hated it. it wasn't anything I was used to listening to, and none of the songs interested me, or they soudned too wierd. I thought about hopping online and reviewing it and giving it a D. But, i decided to put it away for a while and listen to it later. Gradually, I listened to it more and more, until eventually I finally discovered what a great album it truly is. The flow of this song is incredible and can only be matched by other greats such as Juno Reactor and Orb. I realize now why I didn't like this album before... it wasn't what i was used to, and it was wierd...but thats what makes orbital GOOD. They take great sound and blend it all into a storytelling album in unique and wonderfully musical ways. The first two songs are similar and use a variety of musical melodies, but again flow together. The 3rd is one of my favorites, as the cool sound effects at the beginning make a good contrast to the feel of the first 2 songs. As some people have mentioned, 4 is a weak spot on the album, but it is still good in its own right, just different from the rest of the album. The intro to 5 is one of the best intros I can remember, a great song. Then we have 6 and 7, the two Nothing Left's. I have a hard time picking which one is better, I just like to listen to the consecutively! Finally, track 8 (style) is a perfect way to end the album, with a symphony of synth that keeps developing. Overall this is a great album for techno fans and music fans alike. Orbital is one of the few Real Deals out there today, and I look forward to hearing more of their albums. This gets a good 92 percent!
oh and halycon + on + on is still one of the greatest songs ever!!!!

Yet another masterpiece
The first time I heard this album was when I saw them play it live in Glasgow before it was realeased. Of course I was wanting to hear tracks that I knew and loved, but the moment they kicked things off with Way Out, I was starting to have the most powerful musical experience of my life. The album in the live arena sounded so intense and engaging that I couldn't wait to get a hold of the CD when it came out. I bought it and it made me realise how fantnastic Orbital really are. Utterly original and exciting as always, this band will always have a special place in my heart. ... Read more

Amazon.com

Three years elapsed between the U.K. release of Lamb's highly acclaimed debut and this CD, making fans of their moody trip-hop impatient. Does Fear of Fours deliver? Yes, but like many sophomore efforts, this one can't help but fall short of expectations. There is more of Lamb's full, emotional sound here, but while songs off the debut such as "Gorecki" and "Cottonwool" were beyond epic, most of the tracks on Fear of Fours merely get the job done. Where Louise Rhodes's vocals were near operatic, they are now more spoken wordish. And rather than complementing the lush orchestral instrumentation of partner Andy Barlow, the two more often collide. But there is beauty in chaos and nobody knows that better than Lamb. When Fear of Fours shines, it really shines. Take the drum & bass-influenced beat frenzy on "Ear Parcel" and the uplifting aria, "Fly." These alone are a testament to why so many fell for this Manchester duo in the first place. --Courtney Reimer ... Read more

Reviews (58)

Excellent Music, disappointing vocals
I was fortunate enough to see Lamb in concert in Seattle a few years ago during one of their tours. I was truely amazed at the quality of the singing and the incredible sound of their music. I immediately purchased their CD and became an instant fan.

I purchased fear of fours hoping for the same type of sound. The music is really incredible... it has the same incredible beats, the same modern sound... but something was missing. Some songs sound as through the vocal have been distorted. Rather than the beautiful soft voice that was in the debut album, the lead vocalists voice sounds shrill and harsh. It's too bad, because her voice was so absolutely beautiful and pure in the first album.

So... if you want a Lamb album, I recommend their first. This one just doesn't have the same musical quality.

An impressive follow-up
'Lamb' burst onto the scene in 1996 when their self-titled album was released. Not only was it a brilliant album, but it establised Lamb (love the name!) as one of the best drum and bass/ trip-hop outfits around today. Their second album 'Fear of Fours' takes a slight departure from the first, with the songs sounding edgier in some instances and the beats more creative. There is a strong jazz-type influence on the album with numerous songs containing old jazz samples, as well as featuring a killer double bass. Vocally, the lead singer Lou sounds more distorted and eerie this time round, which contrasts to the melancholic sound of the first album. Nevertheless, her voice features brilliantly on tracks such as 'B Line', 'Lullaby' and 'Fly'. Argubly the best track on the album is 'B Line', as it incorporates numerous 'sounds' and 'noises' which totally enraptures you into the music. The double bass adds a real sense of sophistication and progression, and the pulsating chorus is simply brilliant.

Moreover, this is a most satisifactory second album, and it gets all the more better every time you listen to it.

Masterpiece
All Lamb's albums are awesome, but this one sums them up best. This was the first time I'd heard Lamb (besides the K&D remix of Trans-Fatty Acid), and it was totally unlike anything else I had experienced. It was so intense and different. Every listen opened up new tracks that I hadn't noticed before, and Fear Of Fours has the most cohesive album structure that I have ever come across. Lamb wakes you up with Soft Mistake and Little Things, takes you on a wild journey with Ear Parcel and Five, and finally says good night with Lullaby, with killer tracks like B-line, All In Your Hands, Softly and Fly thrown in along the way. Fear of Fours is an absolute masterpiece, and is definately the place to start your love affair with Lamb. Happy listening

Great record, probably their best yet
Andy Barlow and Louise Rhodes continue exploring interesting soundscapes after their intriguing self-titled debut. While not as risky and adventurous as that album, "Fear of Fours" still brings something new and provides a rich listening experience. In fact, it`s probably the duo`s best record to date, offering a strong and creative mix of trip-hop, drum n`bass, downtempo and electronica. Louise`s voice sounds a little weird at first, but after a couple of songs it doesn`t matter much since these compositions are always absorving and engaging, setting an unique and futuristic mood. There's a lot of good stuff to find here, like the heartfelt-but-not-corny ballad "Softly", the strange and addictive "Fly", the smooth instrumental "Five" or the epic "Bonfire". It expertly mixes light and darkness, the emotional and the mechanical, providing a fresh and original record that deserves more recognition. This gives "pop" a good name.

Great CD
I first heard about this group on a local radio station, the group's name was not mentioned since I was listening to the station's "Extended Trip" show: they play 3 hours of chill-out or Acid Jazz music with no commercials. When I heard the Filla Brazilla mix of Cottonwool, I was hooked from that point (on Lamb and Filla Brazilla) after a week of research led me to the groups name.

I like this CD alot more than their previous one (where Cottonwool comes from). This is a mixed bag of different styled tunes to suit a wide variety of tastes. My favorite is the one that does not feature the lead singer's vocals, the one that starts off slow, featuring the trumpet. One of the greatest tunes ever.

By the way, I like her voice, she could be ALOT worse = Britney (the devil) Spears anyone? ... Read more

Amazon.com

At the end of 1999, Underworld returned from their international Beaucoup Fish tour utterly exhausted. They had spent almost two years on the road, and that was enough for deck wizard Darren Emerson, who picked up his record box, jetted off to Uruguay, claimed his mantle as a globe-trotting international DJ, and turned his back on Underworld forever. Rick Smith, however, reacted to the experience of coming off the tour in a very different way. Locking himself in the studio for eight months, he watched and listened to tape after tape of the Underworld live experience, examining it, dissecting it, evaluating it. The result is Everything, Everything, a 75-minute compilation of the band's greatest onstage moments, from a rampant, super-fast "Shudder/King of Snake" to a breathtaking closing hybrid of techno milestones on "Rez/Cowgirl"--and not forgetting, of course, a frenetic thunder through the band's ultimate crowd-pleaser, the heavenly prototrance anthem "Born Slippy." To the Underworld disciple, this offering will surely come as manna from heaven. --Louis Pattison ... Read more

Reviews (59)

The definitive Underworld album
"Everything Everything" is simply a greatest hits album for one of Britain's top Live Techno acts. This really is an amazing album with some classy and unpredictable remixes and live dubs, that will expand your appreciation of Underworld's unique brand of dance. I am yet to see an Underworld gig, but this surely is the next best thing. The entire 75 minute run is a wicked revelation for the band with all thier best sounds like Jumbo, Born Slippy, Juanita and the superb tune Pearl's Girl. "Everything Everything" is alot more entertaining than other Underworld albums because all the songs on it are brilliant and there are no unenjoyable songs, like a few of the tracks on "Beaucoup Fish" or "Second toughest". I give this album a full five because it is the best collection of Underworld's mastery, and with the unique live sound recordings you can't go wrong. If you are interested in buying an Underworld album then I reccomend this over all the studio albums, however "Beaucoup Fish" is certainly worth a spin.

It really does give an idea of what it's like to be there.
Underworld, the only techno band that treats concerts the way a rock band does, are known for improvising and taking new approaches to their songs live. Everything, Everything is supposed to be a document of what Underworld concerts are like, but isn't quite definitive. First, there are only eight songs here (though Underworld haven't gone light on the content - the CD is 75 minutes long!), and of these, four are from Beaucoup Fish and only one from their first and best album Dubnobasswithmyheadman. I'd have preferred "Dark & Long" (or even better, "Dark Train"), "Dirty Epic," "M.E." or even "Stagger" to "Pearls Girl" or "King of Snake," especially since those two songs don't sound that different from their album versions, excepting rougher production and one pretty cool part in "King of Snake" where the music stops and Hyde sings to a beat clapped out by the crowd for a while. Despite that, though, my appreciation of Beaucoup Fish has increased thanks to this album - "Push Upstairs" sounds a lot more menacing live, the fuzzed-up ending of "Cups" that sounded sterile on the album is now fast and commanding, and "Jumbo" is as soothing as ever.

"Juanita" is one of my favourite Underworld tracks, and it's the one to get the most radical makeover here. The drums are still there, but no longer lead; instead, keyboards do, and the bass is replaced by a sample of vocoded babble. The first part is rushed through fairly quickly, and Hyde's voice is distorted much more than on the album. Despite this cavalier treatment of what, on the album, was my favourite part of the song, it's a great take on it, since after that part, they skip "Kiteless" altogether and go right into "To Dream Of Love," _with the "Juanita" music_, except Hyde sings it in a much more assertive and strong way, such that the images in that part come alive in ways they never did on the album. The awesome guitar line from the album version is here in its full two-note glory. Then there's a couple of now tolerable minutes of "Kiteless," and then it goes immediately into the last part of "Cups." That's how they should have done it on the album, forsooth.

"Cowgirl" also gets a makeover; it's joined with "Rez," one of Underworld's earliest tracks, and the instantly recognizable bass line emerges from the carefree keyboards of that track. Unfortunately, it's probably impossible to replicate the vocal style of the studio version live, and Hyde sounds really goofy when he tries. But apparently, he realized that, and switched in mid-song to a different singing style, and it's actually really great; easily the best part of the song. It's also quite a bit faster than the album version. As for "Born Slippy," Underworld's famous anti-single, it is not that much different from the studio version, but if you don't own the single or the Trainspotting soundtrack yet, this is the version to get. It actually sounds less harsh live, oddly, and it's more energetic. And Hyde yells "Merci!" at the end, thus doing one of two examples of crowd-artist interaction on the whole CD! Wow!

As you might imagine, Everything, Everything is not what its title claims. I would have picked other songs and relied less on the Beaucoup Fish material; this particular CD doesn't really capture the band's blissful anxiety all that well. I would also have added a lot more liner notes - the ones here don't contain anything remotely interesting. But I can't deny that the album is still pretty great despite that. Even in the lesser moments, there's still an infectious elation to the CD; the feeling of being there is at least partially conveyed. So it could have been better, but it's still quite worthwhile.

Almost perfect
This will be difficult to explain. If you've studied chemistry, you know that elements like lithium and sodium are actually metals, even though you don't usually see them in large chunks like gold or iron. Well, this album is like a huge, solid block of Art. Not just good techno, not even neccesarily good _music_, but Art. It's like all music tries to produce a certain sensation, while this is the solid, condensed and packaged version of that sensation. All of the songs are amazing, particularly the 'Juanita' part of Juanita/Kiteless, and the climax of Cups, the best part of the original song. Listening to King of Snake is like participating in some violent pagan ritual. Push Upstairs, a song I always thought was sort of weak, is vastly improved from the album version, and sounds downright unsettling with a section of synthetic heavy breathing sounds. There are freestyle lyrical additions to a lot of songs, to best effect in Push Upstairs and King of Snake, while some of the songs (Jumbo, Born Slippy) are almost completley orthodox. In fact, Jumbo is the only song which I don't think is superior to the studio version; it's about the same, but the original was great. The other weak link is Pearl's Girl, which, although it sounds extremely cool with the looped 'crazycrazycrazycrazy,' never quite reaches the transcendence of the other songs.

'Pre-hit CD' next to "Anthology 1992-2002"
I thought of their LIVE CD as their 'pre-hits CD' next to their "1992-2002" Anthology CD. Everything, Everything; LIVE puts their best hits onto a nice and short 8-track CD. The versions of these songs were remixed they are LIVE <--obviouslly. I mainly bought this for "Born Slippy Nuxx" cause let's face it Born Slippy Nuxx was the HIT song on the Trainspotting Soundtrack. "Rez/Cowgirl" was another one I fell in love with after listening to the ORIGINAL version and then listening to it again combined with "Rez". "Jumbo" and "Shudder/King Of Snake" I thought they could've done a more of a better job with it just because I thought it all sounded the same except for them shouting the lyrics into their mics. "Cups" and "Juanita/Kiteless" became the two favorites of mine when I first got the CD (everyday after school I would come home and listen to them non-stop). "Pearls Girl" sounds like something you'd hear in an 'packed' action/adventure movie. Everything, Everything; LIVE is labeled, to me, as their 'Greatest Hits' CD and a great introduction to "1992-2002" (which it is now in stores) so go get it!

Underworld is goody
I love this cd's king of snake. It is a very good concert album. Aquire it and you wont repent. ... Read more

Album Description

After a slew of top selling 12 inches on the City Of Angels label, Uberzone has delivered him much-anticipatedfull-length debut 'Faith In The Future'. This albumfeatures collaborations with The Crystal Method, RenniePilgrem, and vocals from Afrika Bambaata and SoulsonicForce, Beenie Man, Lida Husik and even Paige Hamilton fromHelmet. 2001 Astralwerks release. On tour this summer &fall with The Crystal Method. ... Read more

Reviews (15)

ÿberzone Delivers What He Started Many Years Ago...
The elusive full-length album by electro funk madman Q has finally hit the stores. With singles such as "The Freaks", "Botz" and "2 Kool 4 Skool" floating around for some years now, its about damn time that Q got this record out. "Faith in the Future" is a tour de force of electro funk rhythms, zany samples and out-of-the-ordinary sequencing. And Q doesn't go at it alone, production credits on this album include Rennie Pilgrem, Ken Jordan (Crystal Method), and the voices of Beenie Man, Page Hamilton, and Afrika Bambaataa. Q's style of pure electronic sound-scapes is done perfectly on this album. He manages to deliver the sounds of pure electronic craftsmanship with a natural, funky style. The opening track "Beat Bionic" is a great electro funk track featuring the masterful scratching of Davey Dave and Sure 2 B on the wild vocoded lyrics. Other highlights on this album include "Dreamtime" where Linda Husik's vocals are clipped and laced into a beautiful sequence that bridges Q's electro breaks with ambient styling for a purely euphoric result. "Bounce" is another great track with Q's signature programming styles. "2 Kool 4 Skool" is a great collaboration with Bambaataa, bridging the old skool sounds with today's breakbeat styles. The only track that I found disappointing was "Keep Go-In" with Ken Jordan (1/2 of the Crystal Method). The talent that they both have, I was expecting something that slams, instead of something that only brushes the surface of their talent. This track is just fluff, only a small step up from an old arcade game soundtrack. The rest of the tracks grow on you; this is one of those albums you can't jump to conclusions after one listen. This is one to listen to over the course of a few days, giving each track its chance to show you its real face.

Great Album - Great Music
Although many people have seemed to be disappointed by Uberzone's newest release, "Faith in the Future," I can't seem to understand why. His singles have always been great - creative and compelling. On the album, Q has revamped some of his old favorites and added a broad spectrum of new songs as well. Each track stands out on its own, and has something to offer. Frankly, much of this album is some of the best breakbeat I have ever heard. Also, the track, "Dreamtime" is perhaps one of the most beautiful and energetic songs I have heard in a long time. Wonderfully mellow yet pulsing with energy. At Uberzone's live performance here in San Francisco, the crowd went wild... Even more so than they did for Crystal Method who played after them! With a bit more time to develop his style further, I think Uberzone will become a powerful force on the electronic/breakbeat scene. Do yourself a favor and support a great up and coming artist! BTW - To address another reviewer's praise of Uberzone's scratching - Uberzone doesn't scratch. The awesome scratching on the album and live performances is Davey Dave, who has also been heard on BT's latest album (Not sure if he is credited, though... There is a a bit of bad blood over this one...) and here and there on Crystal Method's new release.

Guest appearances galore...nu skool breaks is here
After releasing many EP's on Astralwerks, we finally see a domestic release of a full-length album by Uberzone. Uberzone first made a name for themselves with the success of their single "The Freaks" back in 1998. The success of the track led to anticipation of an album, that has finally now arrived. Surprisingly, there are many guest appearances on this record by Beenie Man, Rennie Pilgrem, Afrika Bambaataa, Ken Jordan of The Crystal Method, and more. Most of the tracks on this album follow the same format as their older work; breaks with big beat and tribal house influence. Black Widow, the track that features Rennie Pilgrem was the most impressive in my mind (I played it 5 times before I went on to the next track). The amazing thing about Uberzone is that many of their tracks they released back in the late 90's still get played by breakbeat DJ's today. Their vision of how the music was going to sound in the future was brilliant (hence the title of the album, hint hint). Each track on this album delivers great intensity, and brilliant production....

Good thing I bought it on sale
I bought this CD b/c of "Bounce" and nothing's changed.
I was really disappointed with FITF b/c it's not my type.
Other than boring beats and climaxes that are waiting to happen,
but dont; FITF just isn't fit for me.
I'll take Euro-house anyday.

A little disappointed, but still quality work
If you have seen Uberzone live then you know that he is purely sensational. And if you know Uberzone, you know that all his previous singles have been dope. I guess that's why I was a little disappointed. This album is very good, but I expected it to be classic material, which it is not. If you are considering buying this album, and you are not familiar with Uberzone, you should understand that he specializes in ultra crisp, clean, science fiction like breaks. He is probably a bit of a science fiction nut or something....I don't know for sure but that's how his music sounds. But Uberzone always represents super quality production. He has skills for sure. The quality of the tracks is up to the brim......quality noises, sounds, samples, composure. See, I believe that when he created this album he created it EXACTLY the way he wanted it to sound. You just have to step off in his mind to appreciate where he is coming from............. ... Read more

Amazon.com

After a couple of average albums, Carl Cox has come up with Global, a mix that finally steps out of the long shadow cast by 1997's influential F.A.C.T. release. The British techno god has always enjoyed giving eardrums and cardiovascular systems the world over a good workout, and Global is no exception, as Cox weaves trance-drenched source material over his deliciously sadistic, hard techno beat. Simple and classic when it needs to be (Bryan Zentz's "Watch the Sun"), shamelessly minimalist when it wants to be (Ant's "Magnetic Field"), and assaultive when necessary (Cox and Christian Smith's "Dirty Bass"), Global is an adrenalized reminder that when he's on form, few produce quality, ready-made house party records like Carl Cox. --Steffan Chirazi ... Read more

Reviews (9)

Good, But Not a Masterpiece (worth purchasing)
This disk is one of Cox's Best. Disclaimer to none tech and house lovers: that is what this album is, so if you don't dig it, forget it. For the rest of us, I would say there is nothing bad about this mix, however it is lacking in characteristic vinyl selection for the first several tracks, but the album does redeem itself late in the mix with awesome tracks like "Simulation." Due to the CD's late track comeback, and the fact that this is the best Cox I have heard on CD, which has not been marred by crowd noise, I'll give it 5 stars, and save the slander. The mix has grown on me after some time, and I do find myself returning to the up-beat energy offered by its' beats. This disk is good, but Not a masterpiece. Yet, still a good buy, check it out. It is worth it.

-------------Fist Pumping Tech-House!---------------
This mix is very heavy in the tech. lots of ringing cymbols and the dirty bass that Cox is famous for from his THREE turntables. This Disc is his best release by far. it is void of the ugly repetetive tracks that seem to devalue his other stuff. Global is a little more musical. A good mix starts with good track selection. this set definately has that. i am NOT a fan of F.A.C.T,Phuture,Live vol.1, or ultimateB.A.S.E...but i do like where Cox is going Now! Get Global. The best Tech-House CD in 03.

Just a matter of time
If you're like me, you *know* Carl Cox is an outstanding DJ. However, you've also been disappointed by many of his "studio" albums. In general, I've found certain tracks and certain mixes off of his earlier stuff that I've really liked, but overall I've just figured that Cox is one of those DJs who really need a packed dance floor to do their best work.
Well, I guess it was just a matter of time. This disc is a really great mix. In my opinion, this is somewhat of a new (maybe, "different") direction for CC. The sound has a housier feel to it than any of his other work that I have, and the tempo matches that feel as well. I'm big into house, so this suits me just fine ~ though I do miss the harder, acid-dipped sound that I'm used to from some of CC's other stuff that I have (F.A.C.T. 2, for example). I don't think I'd agree that this disc has a "dirty" feel to it, though it is pretty deep. Anyway, keeps my head nodding non-stop. If you've shyed away from buying new works by this man due to disappointment in the past, I'd suggest giving him another chance. My guess is you'll like what you hear.

Great mix
This is a great Carl Cox disc, the most consistent I've heard in a while (from him). Some of his other somewhat recent releases have also been great with one exception (IMHO)--the inclusion of the noise from the crowd. For me, I've always felt that this takes away from the music. It's kind of cool to hear the crowds reaction and energy, but I don't want to hear this everytime I listen to the disc--it gets old.
Carl Cox has skills and style, both present here (as expected). He remains one of the elite American DJs. This mix does a really good job of building tension and will make you want to dance. The second half of the CD is pretty intense, almost too much so.

Four stars only cuz I haven't heard much House
But...Let me say this album hits. Bangs, clangs, slurs, slips, slits, and and never lets up. No breaks between songs, but many during. Non-stop party. Fresh. This guy at best buy recommended it to me, some promoter guy. I dont know much about House music, I am new to it. But let me say, this has been a very nice intro, listening to this. So if you want that "bump, bump, bump, bump, bump" with sick breaks and changes. I highly recommend Carl Cox, Global. ... Read more

Album Description

SNAP! have become a true ‘hit machine’ and amassed countless awards in the process. After The Power, Anzilotti and Muenzing released further mega-sellers such as Ooops Up, Cult of SNAP! and Mary Had a Little Boy on their label Logic Records, all of which soared to the top places in the European charts. Music for the dancefloor is normally regarded as an ephemeral, transient commodity: here today, gone tomorrow. Something that the Frankfurt-based producer team Matthias Muenzing and Luca Anzilotti, better known as Snap!, have now been disproving for over 13 years.

The debut album World Power (originally released in 1990) counts as one of the most successful dance albums worldwide with well over seven million LPs sold. The mega hit, The Power, has long become one of the most played music tracks in the world and has made musical history. ... Read more

Reviews (1)

A Blueprint of Dance Music
Snap brought a new sound on the dancefloors at the end of the 80's. "The Power" introduced Turbo B. as a rapper and a frontman of this project, the music was made by Anzilotti & Muenzing - the producers that signed their work as Benito Benites and John "Virgo" Garrett III and mostly stood in the background, out of the public's attention, producing in their studio. "The Power" was build around the tiny drum-loop taken from Mantronix's "King Of The Beats" and then Turbo B and Penny Ford's vocals were added. Turbo B with his ferocious style and powerful voice established himself as a dominant force in Snap's albums and live acts. "The Power" track had everything to become a dancefloor hit: a funky beat, Turbo B's raps, Penny Ford's strong voice and a great melody. Their next single "Ooops Up" is also a very interesting track formed on a vocal hook "Say Ooops Upside Your Head" taken from the funky-disco classic by The GAP Band, but what really got me into it is the beat - hard kick drums and the hi-hats taken from Eric B. & Rakim's "Paid In Full" - as well as Turbo B's story based on the mistakes. "Cult Of Snap" has 4-to-the-floor beat and dominating brass adding the oriental touch while "Mary Has A Little Boy" is a more subtle piano-(Hip)-house track. "Believe The Hype" refers to "Don't Believe The Hype" by Public Enemy and has a dark bassline which fits perfectly to the chunky beat and cowbells similar to the ones in "The Power". "I'm Gonna Get You (To Whom It May Concern)" is a nice pop-ballad, while "Witness The Strength" and "Blase Blase" step into the Old Skool Rap arena, the latter even containing famous James Brown "Funky President" break, then very much used in the Rap music, combined with 808 sound. "Only Human" means Only Human BeatBox, Turbo B's making beats and the "Planet Rock"/"Trans Europe Express" melody eventually breaks in - this is the stuff that Turbo B become known by in the 80's, he was doing beatbox performances for the Fat Boys. "The Power (Jungle Fever Mix)" is a nice eerie remix, where Turbo B's busting the additional verse that's not included in the original.
The style Snap presented on this album, a style that is very similar to C+C Music Factory, was very much accepted by the artists like BG The Prince Of Rap and Black Man's Wagon - it was Euro-Dance but based on hip-hop beats (breakbeats), had longer rap verses and strong female vocals in hooks, and powerful melodies. The style became massive in early 90's with Hip-House and Piano-House until around 1992 when it all became Euro-Dance, with influences from Trance and Techno/rave music. ... Read more

Album Description

Warp U.S. reissue at a midline price of this Autechreclassic. ... Read more

Reviews (16)

Possibly Autechre's less interesting work...
I had gotten this album a little bit after buying Tri Repetae++, Draft 7.30 and Confield (which made me an Autechre fan, I just couldn't get enough of the weird noises of that album) and after having taken a quite large amount of listens at it, I just am not impressed. I really tryed liking this record, but I just can't embrace it like almost every other Autechre album I currently own. There's something clearly missing in the execution of the tracks here.

The album's beginning shows great premise; Cipater is an angry up-beat industrial number that morphs halfway through into an incredibly dislocated and interesting drum pattern with a sparse melody mixed in whilst Rettic AC is a short, yet immensly enjoyable static grunge that features incredibly scary synth pads. Tewe has a nice percussion track that keeps clicking at various time intervals through the song's 6 minutes. Cichli is an actually catchy tune, featuring a 5/4 drum track over which various melodies start overlapping each other and forms an haunting finale.

Things go downhill from here though. Hub is an attempt to simulate an abandonned warehouse setting and the melody do fit the bill, but the drum track is unnerving and never changes through the whole's song length. Most other tracks suffer a similar fate and are way too repetitive or abrasive to be actually ambient. Recury kicks off with a drum loop and a 3-note melody which never changes through the song (and it lasts close to 10 minutes!) whilst Nuane is harsh-sounding and not really interesting neither. For a 13-minute long track, it just has not enough ideas to stay interesting.

In the end, if you are a Autechre fan I'd say you should still listen to that album. The first half of the album is actually great and even surpasses Tri Repetae in terms of quality, but the rest of the album is pretty much forgettable mostly due to the huge amounts of repetition in the latter tracks. This is also definitely not a starting point for Autechre's newcomers, your best bet would either be Incunabula or Tri Repetae++. These are their best, yet more accessible releases.

One of my favourite Autechre CDs
This is Autechre's 4th album. It's absolutely excellent. While it is quite harsh in sound, it shouldn't take long to warm up to it if you already are into IDM. Otherwise, you may wanna get something like Tri Repetae.

This album shows Autechre exploring more of the industrial sounds they started to experiment with on Tri Repetae. They sound like a completely different badn though. Everything is just gone so much... "more". The beats are harsher, and more abstract and more complex and some even use unusual time signatures making them hard to follow.

The melodies are darker and more beautiful than ever before. They just sound more mature, and more unlike ANYTHING you've heard before. They also experiment with odd song stuctures.

Although I like ALL the songs, I'd say the highlights are Cipater, which has a rather groovey industrial, crunchy beat and a nice change up half way through. Cichli, although repeatitive is INCREDIBLY beautiful. Hub is also very beautiful and majestic, suprisingly short as well. And Nuane is just plain cool... gives me the same feeling when techno and dance was cool. Even though it's not beautiful, it's just cool.

Overall, I highly recommend you get this if you are into IDM.

Les humains ne sont pas concernés
J'ai toujours un petit pincement (robotique, bien entendu) au coeur lorsque je pense à "Chiastic Slide". C'est mon premier album d'Autechre et celui qui, comme vous vous en doutez, m'a convaincu à me procurer TOUT d'eux.

Ici, le son plutôt "ambiant" de Tri Repetae+ évolue subtilement vers quelque chose d'encore plus chirurgical, abstrait et foncièrement inhumain. On dirait de la musique créé par des robots POUR des robots. Dès les premières secondes de l'album, on est propulsé dans l'univers si particulier d'Autechre, avec tous ces effets machinaux, ce triturage excessif et ces "drones" incessants qui viennent nous hanter les tympans.

Un véritable must !

grows on you
I guess this goes without saying, but Autechre's music is really strange. For the longest time I didn't like it; it sounded too cold and mechanical. Then I started to like certain tracks off Tri Rep and Incunabula, and when I purchased LP5 I was instantly impressed. The paradoxical thing is, I think their music is so intriguing because it always leaves you dissatisfied on some level. I return to their music again and again, not because it has addictive hooks, or because it's emotionally moving, but because it can seem willfully oblique, pretentious, brilliant, underdeveloped, overly macho, touching, and immature, often all at the same time. Even now, though I own more of their albums than any other electronic artist, can I say that I love Ae's music? Not really. Some of it, especially Confield, I find near unlistenable (in the sense that the pain far outweighs the pleasure). Is it because their music is always brilliant but difficult? Again, no. Some of their music is quite boring, some of it comes across as childish. But at their best Sean and Rob capture something no other electronic artist can, something visionary and damaged.

Anyway, this is one of their best albums, but as others have noted, it is not for beginners. Or maybe it is, for ones with patience and sophistication. All in all, I would say this is their most "feminine" album, in the sense that it has great melodies, and it almost feels like something is gestating within the music, or that the music comes from a pullulating electronic rainforest (especially Pule). It has a lot of static, "crunchy" and analog sounds, which gives it a warmer feel, that contrasts nicely with the snappy and often harsh beats.

The best tracks to my ears are Cipater, Rettic AC, Cichli, Calbruc and Nuane. Everyone talks about Cichli, and I like it too, but it is somehow too obvious and irritating after a while. I'd like to recommend Calbruc, which like Cichli starts out harsh and ends with fragile strings, but is to my mind the better of the two tracks.

Nuane deserves special mention. It's a stunning track. Imagine you're standing in the middle of the desert when suddenly a vibrant parade passes by, led by drummers but eventually with wild dancing, lurid floats and confetti, eventually receding into the distance. Perhaps it is the "pied piper" Ae track, leading the faithful on to the more sinister terrain of following albums. To me it's one of Ae's most positive - even inspirational - tracks. Someone here said it sounds evil, but I disagree; to me, it sounds defiant, buoyant in an unsentimental way, as if saying "yeah, life is difficult, but we are going to party, d*mn it!" Nuane fades out it into a single tone, that seems fitting at the eight minute mark, but overstays its welcome by the twelve minute mark. That's another thing, Sean and Rob are ornery guys, so several tracks here may try your patience, especially Hub, Recury, and Pule. Still, it's worth sticking with it - its a grower.

On a side note, in terms of the "best starter album" in Ae's ouevre, I'd like to say that Tri Repetae++ is not one of my favorites. Strangely everyone seems to praise it, but I didn't like it much when I bought it, and I still don't (the Anvil Vampyre and Garbage EPs are tasty though). I'd start with Incunabula and LP5, then depending on which style you prefer - ambient or experimental - move on to Amber or this album, respectively. Why not?

Possibly the moodiest Autechre album....
I don't agree with most of the critics of Chiastic Slide, indeed I would go as far as to say that it is the most satisfying of all the full-length albums the band has done so far. While LP5 and Tri Repetae are certainly forces to be reckoned with, I find that there is something so emotional about the metallic clanky beats and faraway claxon hums and static pads of Chiastic Slide that it seems to leave those other two pinnacle albums looking somewhat impotent...
Chiastic Slide sounds like the consummation of the early period of Autechre, where they had taken the dark hardware machine beats as far as they could be taken, not in terms of aural wreckage but in terms of just raw feeling. After Chiastic slide, Autechre began to evoke less grandeur and more inward chaos... it began to sound less like immense machines and more like artificial intelligences of quasi-physical design. Confield was a bit of a return to the machines, as was the second half of EP7 (another personal favorite), but no album since Chiastic Slide had really captured these particular vibes so well.
A lot of critics point to the middle tracks of the album, which feature beats that really don't evolve much throughout the track, but I find that these tracks are the ones that carry the most emotional weight and really envelop the listener. By the time the tracks end, they have gathered so much sonic dirt, light and glory that an entire new world has been created in your ears. These are the things that bring me back to Chiastic Slide over and over again, and these are the things that should be praised on this fantastic album. ... Read more

Amazon.com

Thick fractals of bloops, blips, flutterings, and kerrangs are combined on EP 7, Autechre's least textural, most rabidly experimental release yet. At this point, Autechre's music pretty much exists within its own, idiosyncratic subgenre of the experimental techno subgenre. Their music invites hyperbole rather than external comparison: one could easily imagine that the discordant bleeps of track 4 are the sound of R2D2 flipping out on angel dust or that one segment of track 9 captures the demon baby from It's Alive devouring a microphone. While some tracks approach sublime chaos--where a dense, hard-to-grasp internal order is revealed after multiple listens--most of the pieces are perfectly content to resemble indecipherable alien transmissions. EP 7's 60 abstract, knotty minutes will clear most any dance floor but, by sheer force, cleanse the brain of all but the most primitive functions. It's fabulous. --Mike McGonigal ... Read more

Reviews (63)

Fantastic, Not "Noise" by any Stretch of the Word.
Yes, this is considerably more "noisey" and chaotic than Incunabula or Tri Repetae ever were, but _EP7_ really is no more amelodic than some of the stuff on Aphex Twin's _Richard D. James Album_. The rhythms and melodies that have always been a gift of Autechre's are still there, rest assured, albeit a tad "buried" in layers of staticy and metallic samples that, in themselves, do nothing but bolster the music's strength by providing atmosphere. They themselves possess recognizable patterns as well, and this makes for some extremely hard to follow, complex songs(a notable change for a band that based its first three LPs on a standard of stark minimalism).

If nothing else is to be said, it is that EP7 resembles _none_ of the previous Autechre releases(save perhaps it's parent LP); it has neither the rhythmic, jazzy IDM of _Tri Repetae_ nor the synthesized beauty of _Incunabula_ or _Amber_. I've always harbored the notion that these two had a hearty love of noisier, more off-putting music. Their re-mix of "The Killing Game" on a recent Skinny Puppy tribute album was anything if not incongruous with thier signature style(an impenetrable wall of flowing noise that I still fail to enjoy), coupled with the very fact that they even participated on Scumtron(the Merzbow tribute LP) first roused these suspicions in me, and now I see them confirmed, and confirmed in only the most glorious of ways.

There's precious little I can think of that resembles the music contained here. Perhaps early, noisier Kraftwerk(think Ralf und Florian) or Download when they still had Mark Spybey as part of their roster. Comparisons aside, this is incredibly original stuff, truly a masterpiece of electronic music. I can't say I've ever really heard song structures like this, and how they work I'm still trying to discern, but for now I'm happy to simply sit back and enjoy them.

There's a great deal of humanity displayed here, particularly toward the end, to answer a reviewer who stated that the group's new direction was soulless and mechanical. They do soulless and mechanical too, of course, but it works for the album, and not once sounds as if there weren't a pair of extremely talented, thoughtful musicians designing every blip and crunch.

I would easily call this Autechre's most original and probably most important release, but I will admit that I enjoy their others equally as well. _Incunabula_ and _Tri Repetae_ will always be regulars on my CD player, but I sincerely believe that this one was what it was all leading up to. With all the shifts in sound they've made already, each better than the last, I'm anxious to see how they plan to top _EP7_. I wish them luck. They'll need it.

A tale of two albums.
It is almost impossible for me to review this album as a single entity. The simple fact of the matter is that the first half of EP7 is absolutely terrible and the second half is quite good. Authechre have recently delved into less organic sounds and more complex musical structures. Their recent self titled album worked because the disparate sonic elements still came together to make compelling tracks that were greater than the sum of their parts. The entire first half of this album, up until the track Liccflii, sounds like Booth and Brown threw a lot of grating sounds together with little consideration for their interaction or overall structure. Ccec is especially annoying with its wierd incoherent babble and twitchy bleeps. From track 7 on, the album is more focused and more attention seems to be given to the stucture and sound of the compositions. These tracks finally make us understand the point behind Ae's sonic experiments even if they don't quite satisfy our lofty expectations. It saddens me to say that this is a very disappointing album from Ae, especially after the maddeningly complex and beautiful LP5. Still, I have to applaude them for being so daring and having the skill to make even SOME of these tracks work.

one of my favorite autechre cds
This is one of my favorite Autechre albums so far. I feel there is better cohesion and progression on this record than some other Autechre albums.

The album starts off sort of slow, subdued, and rigid, then picks up and eventually climaxes at 'Maphive 6.1.' The rest of the record is resolution. I feel 'Maphive' is the most accessible track on the album, and a true standout amongst Autechre's canon. Most of the other songs on the ep really fit within the context of the record, and may not make any sense standing on their own.

That said, I'd suggest Amber and possibly Chiastic Slide first if you are new to Autechre.

This ain't no easy ride
EP7 was originally released in two parts but has been put together for our enjoyment and well it takes a bit of getting used to that's for sure! Guzzling, clicky, fizzy computers that at first will only make itself heard better on computers since ( it seems ) that there are encoded sounds that will let itself be known to computers. It's not exactly easy listening for people - in fact people who like Merzbow might enjoy this more than those who liked Incunabula or Amber. But with repeated listening the songs come together and it proves that for all the probing and prodding and poking that Autechre do to the wires of their computer systems, the music comes out in the end. Well worth the slog in the end but don't expect something instantly accessible

spiky, impenetrable, delicious
the cover art for this album is probably the most strikingly appropriate I've encountered for any album since ok computer. It depicts an alien, mechanical, vaguely threatening but overall unclear form that seems to be wriggling into existence spontaneously (i.e., constructing itself rather than being birthed). The mixed feelings of awe, curiosity, and uneasiness that I feel when looking at this picture are a good summary for the feelings that EP7 evokes in the listener.

Ultimately, what autechre seems to be doing with this album is somehow reinventing the utterly stale and banal "techno-dystopian-future" schtick that's been done for the last decade or so by scores of mediocre electronic artists. The trick here I think is that they do it by completely omitting the human element. In short, this is an album that gets you inside the head of the machine.

This makes for a rough first couple listens, especially if you're not familiar with autechre's other stuff. Some tracks, such as "left blank," appear to have nothing going on in them whatsoever beyond scrapes, clicks, and occasional rushes of air. But as one reviewer wrote of a different autechre work, there's an epiphany to be had, lurking in this album-- and I think the listener's changing feelings towards "left blank" are a microcosm of this epiphany. At some point, after two, three, or several listens, the track just *pops out* at you, like a 3D magic-eye drawing -- and suddenly right before you, there's a mad cyclone of jagged, clipped bits of beats.. like being in a sandstorm, only with tiny fragments of glass and silicon, and no less punishing.

If such descriptions strike you as insane, don't worry... they are. But give this album enough listens to get under your skin, and I guarantee you one day you'll find yourself grasping about for your own metaphors to enclose, capture, and name the experiences this album evokes.

I'd be curious to hear what you come up with. ... Read more

Amazon.com

Premier British trancemeisters Orbital have often threatened to make a consistently great album. Their Diversions remix EP remains a genuine classic in trance-techno music, but more often than not they miss the mark of greatness by a whisper. The Altogether starts strongly; "Tension" is a true Orbitalian head-twister, all loops and sounds mangled to create a regulated flow of energy before falling into the almost orchestral techno of "Funny Break (One Is Enough)." "Oi!" sniffs again at classic Orbital, with its spongy keyboard textures and slow ease into ambient territory. The band bravely dives head first into some interesting creative waters, as "Waving Not Drowning" brushes by folk and nods toward Pink Floyd, while "Meltdown" puts a hand firmly in breakbeat's back pocket. But once again, Orbital's greatness is isolated to certain tracks, and the pervading feeling is that half the album is a grand experiment that either went too far or not far enough. Unlike the Orb, the KLF, or evenUnderworld, Orbital are still searching for their first truly consistent studio masterpiece. --Steffan Chirazi ... Read more

Reviews (47)

This is a GOOD album
Okay this isn't In-Sides(which is the best Orbital album, followed by Snivilisation), but this is a VERY, VERY, VERY big step up from "The Middle of Nowhere" which was(excluding Otoño, Way Out and to a smaller extent Nothing Left) a disappointment in my opinion.

The Altogether is a different sounding Orbital. So what? The songs aren't as long as we all are used to. So what? This is a very good album, and while it may not "flow" or contain a certain mood from start to finish, does that make it any less of an album? People come on, Orbital wanted to do something different here(see Basement Jaxx- Rooty). I'm glad they didn't make another album that would have been the exact same as the Green, Brown, or Middle of Nowhere albums. You could sense that Orbital was changing their music a bit. If you've happened to have caught any of their shows in which they have played "Theme from Dr. Who(Doctor?)" "Tootled" and "An Fhomhair" live, which these studion versions do no justice, you'd know what I mean. Be open to change and enjoy it, have fun with it!!

Extremely underrated by fans and moronic editorials alike...
If nothing else, the second disc makes up for any problems that could be found in the album itself. Let's start with disc 2. Being largely comprised of remixes, it is the best stand alone EP/single set/half-album i've ever listened to. This is no exaggeration. I all their other albums first, before getting The Altogether more than a year ago. I would recommend owning at least Middle of Nowhere before trying to listen to disc 2, but even without, it still sounds great even to my non-Orbital-fan friends. Who requests a B-sides disc of an artist they don't listen to often? I can't believe the number of reviews that don't mention Beelzebeat, let alone the entire second disc.
Bigpipe Style - great morale boosting starter.
Monorail slows it down to start and picks it up continuously adding interesting samples making an extremely cool sound.
Much Ado... is a great matchup of voice verse good percussion.
Ah Fhomhair is some great short sampling melody creation with a great vibrant feel.
Doctor Look Out gives a much needed threatening feel (for balance)
Beelzebeat kind of extends that feel but really takes the astute listener on a voyage throughout its entirety. This song is great!
Nothing Left Out is a good, heavy, fast pace Nothing Left.
Old Style is shows the heavier darker side of the already established and great song Style.
The Funny Break is better than that on the original album, which has been one of the high points of others' reviews.
Mock Tudor, much like Beelzebeat is another great new track, that progresses much from start to finish.
New Style gives you the much needed feel of floating in relaxation after the intense workout of the rest of the disc.
Anyone who liked Middle Of Nowhere should love this disc, but I've come to appreciate MON more since listening to the disc.
Disc 1 has been reviewed to death, but it really shows some great experimentation. I think that it has enough good points to give it at least 4 stars without the second disc. Again Meltdown, Doctor, Waving Not Drowning, Funny Break, Tension, Illuminate, Tootled all stand out, but the other songs are much needed, and make the album better rather than adding rubbish to a masterpiece. A must-have for anyone that owns or enjoys any Orbital, and 2 discs for the price of 1 (roughly).

fall of the king
how could one of the most innovative groups in modern electronic music make such a dissapointing album. How can this be the two brothers who gave us the amazing InSides and Brown Album. they are either rehashing the past on this album with sounds and rhythms we've already heard out of them, or they are taking tragic missteps. If it wasnt for Funny Break and Illuminate I would never listen to this album... well in the MP3 age, I actually don't have to anymore...

Lets hope the Blue Album will be a proper swan song

A new direction
Orbital has been long coveted as one of the greatest innovators in electronic music. Starting from their second release, Orbital 2 (or "brown album"), Orbital produced four albums in a row that were more than just a sum of their parts - they were full-length CDs in the full sense of the word. Orbital 2 and Middle of Nowhere almost sounded like one huge song, while Snivilisation and InSides had songs with similar feeling to them. Now take The Altogether, which departs from this, going back to the same style as their first album - just a collection of songs, not really an album.

The thing with this one is that the songs are all more experimental - unlike the first one, Orbital never really took the time to really build much on these rhythms. That's bad for anyone who loves extended techno, as only the final track goes over 6 minutes. But it is good for anyone who thinks that a few of Orbital's songs has overstayed their welcome. Even songs that sound like they ought to be longer, such as Funny Break or Last Thing (mainly because these are the songs that at least let you know they're still the same guys), really just present themselves quickly, cutting to the chase more than anything. The other thing that stands out is how simple the songs are - at least by Orbital's standards. They don't build on themselves the way the brothers are known for, making some of the songs seem more bland at times. Don't worry, it stands up to repeated listens quite well, but it seems that they did this one more in the style of Fatboy Slim then themselves.

But I can't help but feel that it's just more gimmicky than anything. Take the song "Oi!", for instance. Since when has Orbital sampled from something popular? Sure, there's been a vocal sample here and there, but this song borrows pretty heavily from "Hit me with your Rhythm Stick"...you might not know it, but I'm sure you've heard it before. Similarly, there's "Tootled", which borrows a lot from Tool's "Sober" (A.K.A. the only decent Tool song, although it still sucks). Luckily, they both have enough original elements to keep interesting. Then you have "Doctor?", a remake of the Doctor Who theme, which has been remixed probably around 883902 times, but this one's still the best. Despite it not being too original (it's really Orbital's only cover), it still rocks and is a great reason to buy the album. The other song that samples a lot is the opener, "Tension". The bass line from "Surfin' Bird" holds together a bunch of odd vocal samples - but the song is actually quite good, as Orbital proves that their mixing abilities are at the top of the game. The closer, "Meltdown" is similar, but much more original. With thumping bass notes and plenty of hooks to go around, the 10-minute epic brings the album to a fulfilling but unsettling close.

There's still more on the experimental side - "Pay Per View" is quite interesting, yet kind of annoying. I still don't see why they would start a song out with porno noises (but at least it's not too extreme). Likewise, the whole first minute is kind of boring, at least until an 80's style slap bassline kicks in (think Seinfeld). It's not bad, but it could have been mixed a little better. "Shadows" is quite a cool song however. It's dark and suspensful, and, like on "Last Thing", the brothers mix it up enough to keep it interesting. "Waving not Drowning" is quite an oddity, using a relentless repeating acoustic riff. If anything, it's got quite a happy mood to it, which is a nice chance of pace. It's also exteremely catchy, so I like it.

This only leaves "Illuminate" with David Gray. All the hate and loathing that fans feel toward this album probably can be traced back to this song. Yes, it sounds commercial. Yes, David Gray does not do too well a job on the vocals. But I like it. It is a pretty damn catchy melody, so don't pass it up.

Finally, there's the whole second disc. It's actually longer than the first one, bringing the total to over two hours, so at least you know it's worth it. Here's a quick review of that: out of the eleven tracks, only four are originals. There's three Style remixes. Each of are quite unique, especially "Bigpipe Style". There's also two "Nothing Left" mixes, neither of which are really special. One mix of "Otono", which is good, but hampered a bit by the annoying vocal sample used. The other mix is a Weekend Ravers mix of "Funny Break"...it's just a standard rave anthem using only the vocals from Funny Break...and when they kick in, it's really moving. But the rest is kind of bland. Finally, the originals..."Monorail" and "Mock Tudor" both have nice rhythms, but you can see why they're B-sides - but they should have been included on Disc 1 anyway. "Doctor Look Out" and "Beezlebeat" are also quite good, although I can't see why people are ranting and raving over the latter - it's good, but not that good.

So yeah, it's worth it.

its worth it
This album may have a handful of forgetable tracks, but the seconds CD in the U.S. release (I have both, and regret paying $35 for the european cd before the US double cd came out) make this a worthy buy. Last Thing and Funny Break will stand out as classic anthems, Mock Tudor and Bezzlebeat on the second CD may very well be some of the best Orbital Tracks released.

There is still a lot of good music on here to satisfy any Orbital fan. I give it 5 stars since the second CD will supplement you with plenty of great music. ... Read more

Reviews (1)

thump that kompakt kick
I haven't been a follower of Kompakt Records since the very start, but I have to admit being drawn in ever-closer since first hearing of them about a year back. Specializing in a brand of minimal thump, their textural dancefloor music is almost always very high quality and the label has become one of those that most people can rely on when they're wanting to hear a certain sound. Instead of simply compiling a bunch of previously-released tracks for their 100th release, though, they've let artists both on their roster (and not) rework some of their favorite tracks from the first 99 releases.

Some may cringe at the mention of a "remix" disc, but there's really no need to be afraid when it's such a bunch of like minds working together that obviously have a mutual respect and admiration for the work of one another. While tracks are reworked, the original spirit of none of them is lost and in all cases the remixed work fits right into the lexicon of what the label releases anyway. What it comes down to is 2 CDs, 20 tracks, and about 2 hours of great music that is exclusive to this release, and that's a good thing.

The first disc opens with an absolutely gorgeous reworking of Ulf Lohmann's "Because Before" by The Orb. With a simple 4/4 beat and washes upon washes of lovely textures, it's unlike anything you'd expect from the group, but it opens the compilation on a high note. From there, things get a little more standard dancefloor with the repetitive thump of a DJ Koze reworking of Reinhard Voigt's "Zue Dicht Dran" while Sascha Funke tweaks Thomas Fehlmann's "Radeln." The first disc hits a high with the Joachim Spieth reworking of Michael Mayer's "17&4" and Kaito's subtle uplift of "Tomorrow" by Superpitcher. Combined, the two tracks provide both an emotional (uplifting) as well as a musical peak to the first disc (if not the entire compilation).

The second disc opens very similar to the first disc with the ambo-thump of Michael Mayers "Pensum" retooled by Markus Guenther. One of the weirder tracks on the entire compilation follows with the almost chunky french-pop sounding rework of "Hot Love" by Freiland/Frei. With vocodered vocals and a romping beat, the track recalls Royksopp more than Kompakt, but it's not entirely a bad thing. One of my favorite tracks out of the 20 is Dettinger's "Intershop" getting overhauled by Jonas Bering. Swirling with washes of sound that sub-melodies that sound like something Wolfgang Voigt would put together, the track is a subtle masterpiece that some of the more bumping tracks on the release simply can't match. All in all, the Kompakt 100 isn't quite as strong of a release overall as some of the things that have been put out on the label (it's bound to happen when you have so many different people involved), but it's also a good place to start if you're just getting into the label and really a must have for fans and well worth the reasonable sticker price.

(from almostcool music reviews) ... Read more

Reviews (15)

Electronic at it's finest
First let me say this - The artists and tracks that Urb magazine has pulled together on this compilation are definitely good music. But I would not call this a definitive guide to electronic music. There are definitely other bands that put out good electronic music at the time. But I guess you can only fit so much good music on an 80 minute CD (76:43 to be exact). That being said, let me give a short run down of the awesome tracks on this CD:
1. The Prodigy - Poison: gets better with age - Prodigy is definitely an essential - powerful lead in track for this CD
2. DJ Icey - Big Ditch: Icey is nice and dicey on this track
3. The Chemical Brothers - Block Rockin Beats: might have been played one too many times but it rocks every time you here it
4. Future Sound of London - We Have Explosive: the original is a good track and this remix is even better
5. Rabbit in the Moon - O.B.E.: This is how down tempo is done
6. Wink - Higher State of Consciousness: I would call it the anthem of acid funk - my favorite track
7. Keoki - Caterpillar: the driving beat and guitar sounds make it worth listening to twice
8. Underworld - Born Slippery: a sticky tune with a beat that makes you move to the music
9. CJ Bolland - Sugar is Sweeter: a very surprising track with some nice lyrics
10. Orbital - The Saint: shows the best side of Orbital with airy flute sounds and a nice bass line
11. The Orb - Toxygene: the comeback of the orb - a good ambient dub
12. Goldie - Inner City Life: good ambience - nice vocals
13. Reprazent - Share The Fall: the airy flute at the beginning leads to a good beat
14. Portishead - Sour Times: another good ambient dub
15. Everything But The Girl - Before Today: the best vocals on the CD with a hint of drum and bass
16. Crystal Method - Busy Child: one of the most played by the crystal method, but makes for a good driving last track

Hope this helps in making your choice to add this CD to your electronic collection. Now that I own Urbal Beats Vol. 1, 2, & 3, I can say that Vol. 1 is probably the best.

It opens the door to more!
The CD was great, not only do I listen to it but it opened up the door for me. I went out a bought the CD's of the Artist that where on it. I am new to this music but it is great! I love it! Prodigy, Chemical Brothers, Rabbit in the Moon, The Orb, Goldie, Ronie Size, and Crystal Method are real good CD's to look into if you like this too.

Electronica 101?
Obviously these 16 songs aren't all you need to know about electronica. I could think of another 16 right off the top of my head. BUT, this all good, and one of the better collections to come out of 1997. You got your big names like "Chemical Brothers", "Prodigy", and "Crystal Method", along side some more unknowns which is nice. Three of my favorites are the tracks by "DJ Keoki", "Underworld", and "CJ Bolland". All are excellent. I could have dropped a few of these myself, but I'll let you decide which ones. Though no compilation is gonna be perfect, I would say this is almost there. By not having it, you might find yourself in "Sour Times".

Tecno Heaven
This CD is a mixture of songs from various artists. If you just started listening to techno, you'll really be hooked after hearing this one. Out of the three urbal beat CD's, This one is the best. Because of all the different artists. Highly reccomended. ENJOY!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Excellent Introduction To Techno/Ambient
This CD contains some of my favorite tracks of the genre, including 'Block Rockin Beats', 'Rabbit In The Moon', 'Sour Times' and 'Busy Child'. Probably the best overall mix that I have encountered. A very few of the tracks are a bit grating/overly repetitive, so it doesn't quite deserve five stars (maybe 4 1/2). If you like the samples, you will like the rest of the disc! ... Read more