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lundi, avril 14, 2008

Crossfade 4.2 Part 3

Issue 4.2 Part 3

Psychosis Agent

      New Track Taster                     4.3
      Deep inna jungle                    5.3
      Ruffin ah jungle                     5.5
      The Illuminati Illusion             4.9

Christchurch, New Zealand's Psychosis Agent is not only skilled in the hyper-velocity realms of drum'n'bass and jungle, but also in dense experimetnal sounds collage and reggae offshoots as well. "Taster" is just that: 60 seconds packed to the brim with trancey electronica, hardstyle and jungle, bound together with wild breaks and jump-cuts. "Illuminati" proves that Psy has the goods in breakneck EDM. The track veers between spaced-out drum'n'jungle hybrids with ear-shattering fx to hardcore breaks with expert sound manipulation. Production on both tracks is exceptional.
"Deep" and "Ruffin" are showcases for Psy's arranging and mixing talents. See also the Jah Blessings tracks for similar excellence. "Deep" uses dark atmospherics, montage effects and synths that segue int a really solid, danceable and jacked-up jungle groove. The cut is also laced with a good dose of dance-hall. The end result will not only please your mind but your ass as well. "Ruffin" goes one step better, arc-welding spacey drum'n'jungle to more hardcore-style workouts. The ensuing mix of styles and forms is fantastic. Miss this track at your own peril!

Jah Blessings- Indica Sound (Psychosis Agent Mix) 5.1
Jah Blessings- Marjiuanaremix (Psychosis Agent Mix) 5.4

Both of Psy's collabs with Jah Blessings have superior moments where the forms they employ (reggae, dance hall, island-beat, EDM, etc.) are nearly transcended by their usages and production. "Indica" is odd-meter electrnonic music: somewhere between the syncopation of reggae and the twitchiness of drum'n'bass. The rhythms clash, sometimes wildly, with Jah's odd, sing-song toasting. It's a good Grounation mix all around, and the global percussion saves the track from Jah's occasionally irritarting chants, which are a little tough on these ears and possibly a lot tougher on the uninitiated.
The remix (I can't resist calling it a "joint" effort) avoids the previous track's problems by employing wonderfully rolling dance-hall flavors, meshed neatly into drum'n'jungle percussion. Jah's rap is particularly inspired, and song's end is nice and soulful. It's kind of like the Fugees on holiday in Kingston, fueled by pot and meth, but without the weirdness either drug can inspire. With superior selections and productions like this, I can't wait to hear his new material!

The Quirky

            Straps             4.35
            Itchy Tits         4.6
            Fresh Lies       4.9
            Poison Rain    4.55
            Lee                  5.05

            There is no easy way to define The Quirky's sound, nor its intentions, which is refreshing in today's age of ready-made rehab superstars and squeaky-clean uplifting trance. Even more refreshing is the Salvation-Army-on-acid mix of styles and influences that they weave into a sound that is unmistakably theirs.
            That being said, "Straps" is the least of the current offerings, but only because it is a showcase for their weird side. Vocalist/guitarist/keyboardist Zee Peach has one of the most bizarre singing voices in alt/punk today: a strange marriage of the B-52 sisters' vocal swoops and Poly Styrene's glass-breaking caterwaul, the latter being the voice of seminal punk band X-Ray Spex. The lyrics seem to be kinky and damn funny in spots, but this isn't the place to start if you're not used to them .
            "Tits" (contender for best song title of the year), "Lies" and "Poison" a re a much better place to get "quirked" first. Each works off of a different and well-executed stylistic reference. "Tits" is Syd Barrett at its core, Soft Machine in its arrangement. "Lies" features Moorish vocals and instrumentation you'd expect to find on a late '60's Jefferson Airplane album, specifically Surrealistic Pillow or After Bathing at Baxter's. "Poison" could be the bastard love-child of Grace Slick and Nina Hagen (were that possible), set to rolling rock and funk settings.
            "Lee", however, is where the Weird and the Wonderful come together. The rest of the band (Tim Davine on guitar/vocals, Brian Heywood on bass, Mike Vishnick on drums) lay out a tight, vintage B-52's rock track with trademark over-the-top vocals and hysterical lyrics. I still can't get "doggy who's always horny" out of my head, nor do I want to. This band has to be heard to be believed. It's time to Get Quirked!

Simian Mobile Disco

               I Believe             5.2
               It's the Beat       5.1
               Simple                5.65

Bjork- Innocence (SMD Remix) 6.5
SMD deat. Char Johnson- Hustler 5.9

       As you can tell by the ratings imposed above, it's just possible that I admire and enjoy the work of London-based electronica/remix wizards, Simian Mobile Disco (a.k.a. James Ford and James Shaw, as they're known to their folks.) I know I don't have to do this, but I will. The ratings you see weren't borne from blathering fandom or an homage to superstardom; their music, ranging from bulletproof dance mixes to all-out electronica madness, is simply some of the most amazing and addictive music I have heard in some time.
      That being said, the first two non-collabs are from their most recent release, Attack Sustain Dely Release, on Wichita Recordings; the third is from their 2007 self-titled EP on Interscope. "I Believe" is a brilliant yet original updating of what could have been a killer 80's synth-pop tune. The tone is bluesy, soulful, and pure new-wave sawgger. Spot-on harmonies and a fantastic vocal track make this a guaranteed winner. "Beat" takes the 80's feel and puts it square in the 21st century, with an annoying but catchy cell-phone counter-rhythm: kind of like Tatarola's "Who is Calling" meets Negativland. Spectres of Technotronic and a little Empirion weave in and out of the well-produced stew. The song is very accessible, if not quite as inspired as "Believe."
       "Simple", by contrast to "Beat", is an even more original updating of classic dance-track sound. Featuring jacked-up electronica with spacey rave trappings and great use of analogue vs. digital, the track feels like vintage, life-enhancing new wavges transmuted through seminal technorave: think New Order, circa "Perfect Kiss" or "Bizarre Love Triangle", filtered through Channel F or early Praga Khan.
       The track is wonderful in its own right, without the influence lip-service, and transcends the club genre into a sound all its own, which is not surprising considering the sonic nirvana served up in the collabs and remixes they are known for. "Hustler" is a dynamite, hot-as-lava dance track with great loops, solid production, killer rhythm, and Char Johnson's cool hipster rap. It kind of reminds me of the treatment the Mighty Dub Katz gave Abusrd's "Fluke": weird and addicting.
       If you read Part 1, you know how I feel about the Bjork/SMD cut, but if you didn't (nice job, dork..this IS Part 3, you know), the remix of "Innocence" is simply stellar in all ways possible. I'd like to clarify, however, so I don't come off as an irritating fanboy. It's not so much the originality or the inventivesness of the track that makes it a true classic; it's thre encapsulation and extension of the mix with elevates the song, a classic in its own right, into the realm of the sublimely inspired.
     You can find it on Bjork's MySpace page most readily, and from there, you can also find how to get it.

Stressbomb

      The Slammer                    5.0
      Wasted Life                      5.0
      Imitate                              5.45

      I am honored to say that I know 2/3 of this raage-and-roll outfit from New London, CT. I'm sure I've met the other 1/3, but I'm old and sometimes mumble to myself in bus stations...
      "Slammer" is melodic punk in the Oi vein (see Cocksparrer's "England Belongs to Me" for details) and a great vintage Anti-Flag feel, but without that band's annoying lead singer. Like the best punk, I really have no concept of what is lyrically going on, nor does it really matter. The attitude is there, everyone is having a great fucking time, and there's enough references (Chelsea, Replacements, Test Tube Babies, etc.) to keep nerdy reviewers like me happy.
      "Wasted" is a cross between Green Day's bass-and-drum hyper-attack and great revved-up '70s rock in the vein of Brownsville Station and Foghat. Add to that a healthy dose of alternative formulae and a bit of Blasters bite and you have a great piece of rock and roll.
      "Imitate" is a fantastic tune in terms of how it's put together and how it's performed. Someone once told me (i.e., Douchebag 35980 I have met in this life) that punk only has three chords so it can't be difficult to write a classic punk song. This is not true...at all. If someone out there can just whip off a tune that takes hyped up SoCal punk, throw in the Damned for panache, the Dropkick Murphys for assault and wrap it up in a giant Ramones package (eww..he said package) and still sound like themselves, I'd like to see it, because that is EXACTLY what this track is: fucking awesome!
      Stay tuned for a full review of Stressbomb and their latest, Self Medicate, which will be coming in the hear future. You can also get your own copy now (plug plug) by hitting their MySpace page and checking out the locations where it's sold.

The Better World

      Down & Under                4.675
      Time Travel                     4.55
      Before & After                 4.95
      Instrumental                    4.65

      These tracks, dating back to 2001-2002, come from an established, talented, though ultimately derivative, alt/rock band from the metroppolitan New York City area. The songs feature strong songwriting and talented musicianship. "Down" is highlighted by slamming al/metal attack and soulful vocals. The song's lyrical concerns are a little standard, but soild guitar work and tight harmonies make it a very good rock tune.
     "Time" is hampered only by, whether intentional or not, a muddy vocal mix. The tune has a heavy but not stifling New York Dolls influence and a nice nod to the Goo Goo Dolls' "Iris" in the pianoi-chord backbuilding section. "Instrumental" is exactly what the title says it is, and is a good listen. The arrangement (strings over rock band) is well-shaped but the song really doesn't go anywhere.
     "Before" avoids the pitfalls of the previous three songs by becoming more than just a sum of its influences,which is The Better World's only real flaw. The track is more progressive in tone and scope and has a Smashing Pumpkins flavor to it, without Corgan's sneer, which is really great to listen to. In form and attack, it reminds me of the rock song Joshua Kaddison wanted to record but was too much a sensitive singer/songwriter to emotionally enttertain. A littel but not a lot of Creed in the vocals (ugh..Creed...we'll save that rant for later..) and some really fine guitar textures that make this song the Better World's best track to date.

Trance Optic

      N.W.O. MySpace Clip             4.3
      Trancellvania                           4.85
      ElectroCrawl                             4.45
      Seriously Joking                     5.05
      Sequencing Destruction         5.00
      Threshold                                 4.65

      Baltimore's Trance Optic specialize in a different sort of trance: the kind of trance that really..um..isn't trance, at least not in the Oakenfold/Ferry Corsten mold. The MySpace clip is more in the shape of electronica with a slight techno edge to it. Slightly dark in feel, very propulsive, it grooves on the furthest reaches of tranceland rather than in the middle of it.
      The punny-titled second tune (if you dont get it, explaining it woutd be waste of good joke), is solid techno/trance with solid nods to early '90's rave and some ambient as well. I'm not going to tell you exactly when it is, but if you check this track out in headphones, there is a bass kick in it that just might scare the shit out of you. I had to make a linen check after it. After a series of backbuilds and sequencing loops, the track returns to a nice electro/techno groove. Really good tune!
      "Crawl" starts out with great vintage rave and electro riffing, more in the realm of Plastikman than anything parked on the dancefloor these days. The cut's midsection strips it down to bare essentials, but then proceeds to not really go anywhere. It's not bad, per se, just a little dull. "Threshold"'s problem is diametrically opposed to the problem posed in "Crawl": the song is almost too eclectic. Still a good track in its own right, "Threshold" features jungle beats with a techno feel and a really unique electronic drumkit. Layers add texture but also make it a little spastic. Could be called "the ADD mix."
       "Seriously" and "Destruction", however, are great tunes. The former takes a turn towards jumpy d'n'b that almost becomes a hard house track. After a series of rhythm breakdowns and synth variationa, the track culminates in an awesome frenetic groove. Intense mix as well. "Destruction" also cops to the hard house but features diverse technorave sounds and textures. Overall, the track is supersolid. It does get a slightly lesser nod than "Seriously" for not really going anywhere, as opposed to the former track's clear journey. Still a great dance cut and one that should be played out alongside "Trancellvania" and "Seriously."

Verdugo Brothers

      Jesolo Nights                      5.05
      Denver Calling                    4.75

Rather Safe than Sound- Trust (Verdugo Brothers Remix)       4.75
JD Davis- Thrill Factor (remix)                                                4.6
Nogales- CARE YOURself (Verdugo Brothes Remix)          5.15
StarSteady- Crunk Bunch (Verdugo Brothers Remix)          5.4

     One of the hottest DJ teams in California and, indeed, on the entire West Coast, the Verdugo Brothers serve up hot and funky mixes as well as their own trance-fueled dance cuts to massive venues and festivals all over the country. Just prior to this publishing, they were one of the headliners at Denver's x:Refresh! festival, which had to be a slamfest.
     Known primarily for their mixes, the Verdugos also create stunning cuts of their own. "Jesolo" is a great original mix: progressive house leanings tempered by ace builds, great production, and an awesome acid house sound. "Denver", while not quite up to the last track's brillianc, has a great lush sound and refreshing orchestral textures. The mix and instrumentation is very diverse...maybe a little too diverse, but a very good track anyway.
     One of the caveats with remixing tracks, I think, is the remix is only as good or slightly better than the tune being recast. If the tune is a stinker, you're a little stuck. On the other hand, if the tune is amazing, the results are usually going to be jaw-dropping, unless the remixers seriously drop the ball. If any of you who regularly remix can comment one way or another on that, I would really appreciate it.
      "Trust" is a better-than-expected remix of a not-that-great song. Working off of a very funky electrohouse groove, "Trust" is more mix than original and features a really fine progresssion from progressive house to latin trance to a little bit of spacey trance. "Thrill" is an ironic title, really. A solid but second-rate original track, the Verdugos work with what they have and come up with a funky Euroclub feel punctuated with cell-phone buzz. Tatarola, this is YOUR fault, you know. "Thrill" is adequate bump-and-grind but just wasnt a great song to begin with.
     The Nogales remix is great: solid electro with a weird but wonderful percussion groove and a kitchen-sink rhythm mix. "CARE" starts minimal but evolves into a varied trance feel with awesome effects. "Crunk" is simply a hot-as-hell dance track. The builds are purposeful and perfecty measured, the layers are dense and deftly done, and the resulting groove is simply fantastic. Easily on a par with the best dance music of the past few years.

      Issue 5 is coming up the pike and will be finished a hell of a lot sooner than this one, thanks to editorial suggestion and administrative assistance from my wife, Trish Mayfield, and as always, your comments and suggestions.
     Coming up next will be update of live gigs and events and "Acid Trail Mix", CG's new mixtape mix/CD review.
     Issue 5 features new tracks by 4 eva blesst, Goku, CerealKila, J-Dub, J-Dub vs. 4 eva blesst, Koga Ninja, Film Noir World, Trip Addict, BLY, brkr, Daniele Mondello vs. Express Viviana, Daz Hunt, DJ Browsa, Ella Blame, Express Viviana, Empty, 20Mile, Form B Music, Hannah, Hot 2 Go, VS23, Zootkitt*Mysterieuse, Saint Dirty Soundz, Gutter Breaks, Broken Youth, Lil L aka Lisa, Control, Oracle, and DJ Loop (phew)
    Issue 5 Features: Norotek Records, Skizzy-Beats Productions, Skaul, Dizzygotheca, Alphazone, Dream Aria, the Fake Lazy Supernovas, SELF, Con the Bassmaster, Control, Cakebuilder, Louis Brains, DJ Nolche, .kne.lmpvzg., and Derb.

end CD 4.2 Part 3

5:46

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mardi, avril 08, 2008

Crossfade 4.2 part 2

Ella Blame

Ella Blame is a Milwaukee-based vocalist and composer who works primarily in experimental and avant-garde art-song and avant-pop. Possessing a jaw-dropping range, classical and pop chops, and an artistic vision that hasn’t seen the light of day since Nico’s albums in the 1970’s, Blame creates a musical tapestry that is at once hypnotic, alluring and nightmarish.

At first glance, the music of Ella Blame seems weird. I mean, really weirtd, but it’s not so much a combination of densely layered atmospherics and textures and bizarre vocalizations as it is a unique and intelligent approach to singing within an experimental/pop setting. "Another Side" and the three tracks that follow it are from her 2007 release, "Ineffable Desire." "Another" is packed full of experimental, dissonant electronics, which provide a virtual world for Ella’s jaw-dropping voice. By turns avant-garde (Nina Hagen), bluesy (Billie Holliday), psychedelic (Diamanda Galas) and multi-octave (Yma Sumac), she chides, allures, stalks and whispers her way through the track, building it to a very intense peak by song’s end. Adding a little of Siouxsie (of the Banshees) for effect and Grace Slick (for Moorish flavor), the track is unlike any vocal experiment you’ve heard in a long time.

"Ineffable" and "Dance" invoke the spectre of Nico, the once Velvet Underground collaborator and singer of dark and ominous songs in the 1970’s. The album’s title track trades experimentalism (though not all of it) for mutant alien habanero and a weird but nice groove with a heavy psychedelic bent. "Dance" uses pulsing synth under Ella’s disconnected singsong chants and truly creepy 21st century electronics. The overall feel is like a psychotic’s midnight serenade at a seance. Treated vocals and stunningly modern harmonies make this less a complete weirdfest than a melding of Nico and Arnold Schoenberg. "Last" uses Enigma-flavored eclecticism and Moorish blues to showcase Blame’s nearly unheard-of croon/caterwaul. Nina Hagen in space.

"Thousand Kisses" is the first release from her upcoming album, and features almost conventional arrangements and much clearer production. Combining unorthodox song structures and fractured Indian (sub-continent) harmonies with balalaika and middle-eastern vocalisations, the song is more accesible than any of the previous four tunes..although it’s still pretty weird. What I meant before about a unique approach to singing rather than tear-out-the-walls weird is in the way she sings in all of these songs. What may sound like bizarre vocalisation is just a comprehensive understanding of classical and modern vocal approach, performed in new and unorthodox ways. Dropping octaves, pear-shaped vowels at high registers, sotto voce whispers in the basement, low to super-low belting are just a few examples of what you’ll find in an Ella Blame song. A performer to watch and a legend when her prime arrives!

Another Side 4.4

Ineffable Desire 4.5

Dance With Me 4.7

Last View 4.6

A Thousand Kisses 4.8

DJ Browsa

Based in York, UK, DJ Browsa is primarily, though not exclusively, a remixer in the drum’n’bass and hip-hop genres. The UK DJ is part of a growing and prospering scene in the Midlands of England where a lot of vital and essential music is being created.

"HeyHey" features the DJ Browsa trademark sound: percolating drum’n’bass punctuated by a ripsaw bassline and good use of f/x. "Hey" is a teaser track, and while there’s really not enough to give a coherent review of it, it has the Browsa Sound, and is still a good listen. "Dig it" avoids the bassline blues by mixing it up with cool loops, reggae-flavored keys, solid drums, and an innovative mix. The BrowsaBass is here, and yes, it doth get old after a while, but the change-up at the end prevents the tune from sounding the same.

Browsa’s forte, however, is in the remix. "Choo Choo" features the BrowsaBass slicing through highly-danceable d’n’b with hyperspeed breaks, then over more conventional drums. Feels like updated Shaun Imrei, but the bassline does get a little old. ""Found a Lover" and "Foundations" are both very good updates of already good tunes. "Found" uses phased trip-hop with nice digital fx and a hacked-and-jacked BrowsaBass. The feel is almost jumpy techno, and the hardstyle touches affirm that feeling. "Foundations" is a great song in its own right and features a very univentive BrowsaBass line. The song’s breaks save the proceedings and the song ends up being a sort of Loudon Wainright-Kevin Coyne affair, distilled through drum’n’bass.

"Sick Phuck", Browsa’s remix of the Jennacide tune, is his current masterpiece, a credit to both parties. Jennacide’s music, in her words, is "junp-up drum’n’bass"; in other words, drum’n’bass that can shake your ass to. This mix is TNT in that respect. The BrowsaBass is here, but in the form of randomized machine-gun salvos instead of the usual flamethrowing drone. The bass variations are awesome, and the song’s rhythm build is way cool. By song’s end, the groove and synth/percussion tracks are minimalist and hot, and the song has an awesome end to it. A great song!

HeyHey 4.2

Dig It 4.7

Will P- Choo Choo (DJ Browsa Mix) 4.5

Jennacide- Sick Phuck (DJ Browsa VIP Mix) 5.4

DJ Creepa- Found a Lover (DJ Browsa Mix) 4.6

Kate Nash- Foundations (DJ Browsa Nash Mash Mix) 4.6

D-TEKTIV

Florida’s d-tektiv offers up a slightly jumped-up version of drum’n’bass, incorporating ambient, breakcore, jungle and dub into the proceedings. The result is up-to-date electronic dance music, good for both listening and shaking your ass to. Really looking forward to watching this artist develop.

We’re going to do this backwards because I just had an idea of how to better describe this evolving artist. The last two tracks, "Yeah" and "Da" are from 2007, the first two from 2008. "Yeah" shows a great sound (ravey goodness with blips and bleeps, looped vocals, some electronica trappings) married to an aggressive drum’n’bass. The midbreak is a bit skewed but layered, digital percussion is crisp, and the whole thing is all ravey/spacey. At the track’s end comes the beginning of the journey he is still continuing on. Trading in a homstretch rave ending for another breakdown of breakbeat and drum’n’bass, the song’s twisted propulsion ends with a voyage into dub effects. "Da" starts with a solid d’n’b rhythm kit with a standard 8-bar loop then goes into the darkness and a little slinky jungle. The whole feel is slightly off-kilter and a little experimental. The tune is a solid, if weird, dance track, and hints at what’s coming.

d-tektiv’s foray into experimentation is more in different styles and methods than the experimentation with sound and texture, such as the work of Ella Blame, or the alterations with vocals and mix, as is the case with the Quirky. It’s not unlike watching Deep Purple transition from psychedelia (Hush) to mysticism (Book of Taliesyn) to classical (Concerto for Rock Band and Orchestra) to prog-rock noodling (In Rock) before they discovered their mastersound (Machine Head).

"Every" features a good-to-great dance groove and sneaky vocal loops. Midsong is spacy, funky jungle with understated breaks. The song cuts a dark but highly danceable path and builds into a really great ending groove. The journey continues with "Alternate", which takes solid dance percussion, classic bassline, unsettling vocal loop and midsong ambient moves and places it back where we started, in a hot technorave setting. This is 21st century rave, and this is a truly awesome track! Here’s to hoping the journey takes us further, and to a very promising young artist!

Every Part of You 5.1

Alternate Direction (slight remix) 5.3

Ooo Yeah 4.85

Da Undaground 5.0

GUTTER BREAKS

UK’s Gutter Breaks is one of those rare DJ/recording artist combinations, capable of stunning original material as well as inspired, technologically-informed remixes. Incorporate a healthy knowledge of other musical styles and forms, and you have the ingredients for a powerhouse performer and producer.

"Jazz" is truly a wonderful synthesis of jazzy chords and massively jittery percussion, punctuated by a solid bassline. The tune uses layers and loops to great effect and some pretty weirdo samples as well. Midsong is completely jacked-out house, then hyperweird atmosphere over similarly out-there breaks. The whole tune has a graceful, if eccentric, beauty to it. Fantastic track.

"Beat" and "Stargaze" don’t succeed as well, but they are fascinating tracks nonetheless. "Beat" takes farty, buzzy, multi-octave synth and a weird vocal part through some amazing hardcore drum’n’bass maneuvers. It kind of reminds me of the Art of Noise’s "In the Army Now" mated with 4 Hero’s "Mr. Kirk’s Nightmare." The tune is really good and features a great sample near the end. "Stargaze" is Spanish-inflected drum’n’bass with nanosecond-duration vox editing. Combining a cement-cracking bass buzz with weird quasi-gyutar edits, the song becomes a collage of vaeious bent, tinkly synths and jazz percussion. It’s a little too repetitious, but a good tune anyway. "Cute" is breakbeat percussion spiked with power pop/reagge guitar, synth layering, and a great rock sound. The tune really jams out, and later becomes a lethal psych-out rock workout: Hendrix drum’n’bass! In response to A*S*Y*S*’s hit "No More Fucking Rock and Roll": "Listen to this and Shut Your Hole."

Gutter Breaks’ remixes are masterpieces, but on completely different levels. Last issue has the goods on the J-Dub remix, but to sum up, the remix takes J-Dub’s twitchy, jumpy tune into a completely new world of breaks, buzz, and pure sonic heaven. The Quietus Phasmatis remix is simply beautiful. Layers of ace vocal filtering, spacy atmospherem and uptempo percussion make this an awesome song: an updated Ultravox or Alphaville. Toss in a little Gary Numan and a nice counterpoint ending that DOESN’T resolve, and you have a classic track in any genre!

Jazz Dubbed in Colour 5.45

And the Beat Goes On 4.85

Stargaze 4.7

Cute as Hell 5.5

J-Dub- Tweaked Shitless (Gutter Breaks Remix) 5.625

Quietus Phasmatis- Subtleties and Small Talk
(Gutter Breaks Remix) 5.8

ING-J

Norwegian-born and London-based singer and artist Ing-J is one of those rare voices that takes familiar electronic ground and binds it up into her own unique sound. Add to that a penchant for genuine pop hooks and rock street-smarts and you have an amazing combination that invites comparisons to Tori Amos, Bjork, and Blondie.

All of the tracks you see here are from her 2008 release, "So Cold." "Crockfiles" (I have no idea what those are..) has a nice poptronica feel with a Breeders-style groove. Ing has a great voice, and although I have no idea what she’s saying, it’s a great rock/jazz counterpoint to the music. The song has a cool new-wave feel yet very rock, sort of like decent Romeo Void crossed with Pearl Harbour and the Explosions. The track is chocked full of pop hooks, and "all the girls in the bus stop" lyrics will not leave your head for some time. "Wave" mixes funky electric kit and guitar with a classic Chrissie Hynde vocal. "Wave" is like a cross between the Pretenders and the Police, with some jazzy Joni Mitchell thrown in for flavor. The track also features wonderful spanish guitar and is a solid and awesome dance track. Echoes of Blondie abound, and the ending is a classy spin on Robert Fripp’s "Frippertronics."

"Child" continues the winning streak with a jazz/funk guitar groove riding atop a hot dance track. Ing is in vocal peak, unleashing multi-octave, multi-character work much like Ella Blame, but more alluring. The whole song feels like updated Luscious Jackson. Who knows what the hell the song is about, and who cares? Listening to the song is a pleasure, although the loop-filled ending goes on a little too long. "Winter" is far more experimental, and while the shadow of Brian Eno and the hybrid hip-hop/electronica arrangement is great, some of the other experiments don’t come off as well. Ing’s voice, a powerful and seductive instrument, takes on an almost extreme Siouxsie Sioux affectation, and is frequently OTT. Her upper register vibrato seems to have been put more forward into the mix, which I’m not sure is a good thing, and the whole scope of the track is weird for weird’s sake. While I’m sure the track isn’t marked for a single release, it probably makes more sense within the scope of the album. Ing-J is a powerful new talent that, with some maturing and a little room to breathe, could equal or possibly eclipse the work that Bjork has recorded.

Crockfiles 5.7

Wave Attraction 5.65

Child 12 5.2

Winter Shell 4.45

DANIELE MONDELLO & EXPRESS VIVIANA

Virtually unknown in the US (which figures), Mondello is a legendary figure in Europe. Known for his breathtaking scratch technique as well as his incredible live performances at Poland’s Club Piramida, Sensation Black, Qlimax and other large-scale European dance events, his brand of hardstyle has few equals. Frequent collaborator Express Viviana, while not as known as Mondello, is also well-known in Europe and the UK for tight, ultra-danceable hardstyle and sharp, fist-pounding sets in many of Europe’s influential clubs. Both are from Italy: Mondello from Messina, Viviana from Torino.

The first two tracks are credited to "Daniele and Viviana", the remaining tracks to "Daniele Mondello vs. Express Viviana." All but the last are taster tracks. "Sensation" and "Intensity" are good-to-great dance tracks, heavy on the trance synths, layering, and the harmonic patterns that dominate pretty much all trance songs since Energy 52’s "Cafe del Mar." "Sensation" gets the slight edge for additional BT-inflected piano layering. Both are very good dance tracks in the trance/hard trance vein. The vs. tracks are more an indication of both artists’ hardstyle reputation. "The Boss" is rated lower because there’s really not much to go on here (being a taster), and what’s there is really no more than derivative 2 Unlimited loops and a refreshing but somehow out-of-place classical pattern.

"Amsterdam" is much better. Anthemic production with slightly dissonant synth patterns and strings, a solid wind-up into hardstyle territory and layered production hint at both artists/DJ’s powers live and in the studio. Very fine track. It’s "Tzunami" that really brings the point home. If you haven’t seen his performances at Qlimax 2006 or at the Club Piramida in Poland on YouTube, you really should. The Polish gig is arguably the most amazing DJ set I have ever heard, equalling Technoboy’s landmark set at Defqon1 in 2006 for sheer brilliance. "Tzunami" is hardstyle at its best. Pounding drums, standard build to sample loop, then drugged-up synth and percussion. Though midsong is a little echoey and not one of his best breakdowns, the ending is brutal and massive. A great hardstyle tracks by two masters of the trade!

Sensation 4.6

Intensity 4.5

In Amsterdam 5.0

The Boss 4.3

Tzunami Original Mix 5.5

NEUTRONIX

Serbian artist Neutronix performs trance with almost vintage sound and production. His work has touches of Kraftwerk, Front 242 and Front Line Assembly, and while mainly trance, flashes of techno and hardstyle add to his unique mix.

The first four tracks are from 2007; the last is from this year. "Last" features hard trance, most likely one of the peak numbers in the mix-CD it comes from. The track has a nice full-out sound and a good backbuild down to the base track. Great synth work. "Day" is better. Also most probably midway through the mix-CD it is from, the cut is straight-ahead technotrance, layered well and very rooted in late 90’s and early 2000’s deep trance. The song has a solid, Kraftwerkian groove. Very nice! "Simulation" has a great, if conventional, techno beat. The synth layering is harmonically dull but well-programmed and builds nicely. Unfortunately, it ends right before the meat of the song begins. "Sensitive" is prime hard trance, perfect for Qlimax or similar arena events. A solid Front 242 influence can be heard throughout, and the song, an absolute floorkiller, has a great vintage rave feel. Stunning!

"Seven Stars" is oldskool trance with progressive house tendencies. Very influenced by early-to-mid period rave, it’s a little on the minimal side, texture-wise. While not a bad track, it’s pretty standard trance that goes nowhere. Here’s to hoping this is just a misstep and Neutronix brings on the hardstyle with power and nuance.

Last Hour in Japan 4.5

Day After Midnight 4.75

Simulation 4.65

Sensitive 5.05

Seven Stars 4.2

end CG 4.2 Part 2

6:47

2 Compliments

mardi, avril 08, 2008

Crossfade 4.2 Part 1

Crossfade Grimoire 4.2

Evening all! I almost didn’t make this deadline, and shortly, you’ll see why. I updated the top tracks of both 4.1 and 4.2 and posted it on the front of the site, instead of taking up room here. If time allows, I’ll write out the list for all of you who like to check out the top 25, 50 or whatever.

Lots of music this issue. Let’s get to it!

Audible Integration

Jason Love IS Audible Integration, an electronic music outfit in Baltimre, MD that defies easy description. A.I.’s music spans entire genres, and the review has been categorized (as much as I despise categorization) in order to make more sense, musically and artistically. I don’t compare A.I.’s canon lightly to the body of work that Miles Davis created, because like Davis, who is responsible for creating or instigating most of the modern jazz genres since the late 1950’s, Love’s music spans drum’n’bass, jungle, techno, ambient, electronica, jazz, funk, R&B and reggae. A.I. also has the honor of being Crossfade’s top artist of 2008 to date.

EDM

As you can see, the amount of EDM that Audible Integration has put out is not only relatively prolific, it’s more or less all top-notch. "Push Cart" is one of A.I.’s more recent forays into sped-up jungle and also features one of the band’s trademarks: tasty jazz harmonics, skilled breaks, and awesome grooves. The song’s midsection phases into 70’s-style soundtrack melodies and tricky syncopated percusion. Later, the drumkit becomes truly obsessed and bounces between hard reggae and jungle seamlessly. Awesome! "Devices", also a new track, is not as solid as "Push Cart", but is a supersolid jungle/breakcore workout with every type of drum imaginable. Cool flute lines ride the chopshop rhythm and dub f/x. The mix is in this song is truly spastic and bounces between breakcore and dub. The ending is way too abrupt, tho. It’s like being yanked out of your headphones by a slap in the head.

"Untitled" explores spacy rave with slightly downtempo tech-step drums and wizard editing. As always, production and overdubs are to die for. The grooves are tight and classy and have great digital scratching! The endgroove is static but very fine, and the track also has a good experimental edge. "Drake" takes a turn for rave/electronica with ambient textures and well-executed d’n’b. The track is very ethereal and features solid musicianship. "Space Walkin’" also mines this vein, but expanding into solid Orb territory. While not as great as "Drake", "Space" is another dance/space-out cut that could be a moderate dance hit.

Now for the prime EDM! "Wasting Time" is possibly the most jaw-dropping, genre-spanning piece of electronic dance music I have heard in years, arguably one of the best I have ever heard. Starting with a hot 90’s electro/Big Beat mix (think SLAB) and with editing that will make you think your CD is toast, the track undergoes an epic splice-up section. The track is danceable only if your feet have Tourette’s. The stutter-mix at 1:33 feels like life inside a piinball machine. Transitioning into the classic "Quadrophonia" beat with reggae overtones, the tune sports a vocal track that sounds like mutant Savage Garden. The vox treatment is weird, and breaks into a mega-groove. The song ends with a hot groove...and a little jazz to sweeten the mix. ABSOLUTELY FUCKING ESSENTIAL!

"Velocity of Escape" starts with a schweet techno/d’n’b groove with particularly awesome mix in the beginning. While very rhythmically tricky, this song has floorkilling potential. The diversity of style in this track is also amazing: reggae, dance hall, breakcore, d’n’b, a little jungle. What keeps this from being another essential track are the slam breaks that act as bands of demarcation in the song; the breaks are simply too long, and the dead air ruins the song’s propulsion. Otherwise, wickedly eclectic and great to dance to. "All Falls" has a great Roni Size-influenced track with strange breaks. The variety of loops, samples and f/x are great. Sounds like the Mir on drugs with some Starlight Lounge jazz. Massive groove at 3:30, then back to Reprazent d’n’b at 4:00 and solid tech’n’bass groove toward the end. "Hypnogogia" features hyper d’n’b, a great and farty analog bass and extrajumpy breaks. The track also features a little Orbital influence, some Pink Floyd lines, and what sounds like a vintage Art of Noise sample ("Yebo" from Below the Waste). The musicality is stunning and the overall feel is like a techno Alan Parsons Project.

Push Cart Derby 5.125

our own devices 4.65

Untitled 5.0

Wasting Time 6.2

The Drake Equation 4.8

Space Walkin’ 4.3

Velocity of Escape 5.7

Path of Least Resistance 5.7

All falls in Intervals 5.4

It’s Only Hypnogogia 5.0

REGGAE/DANCE HALL/GLOBAL

"Amen" is laidback reggae, but authentic enough you need to be solid ruffstah to understand it. Combine the ruffstah rap with a nice d’n’b/reggae mix, jazz/fusion horns, an active jazz bass, cushy synths, and superb rhythm programming, and you have a very good rolling reggae track. "Dubplate" is hooky (not hokey) reggae over good d’n’b then over bouncy jazz chords and a pulsing bass. The rap delivery is truly wicked, and then breaks out into an awesome overdrive "everybody!" section with truly lightning-fast lyrical workouts. This song is an outstanding jungle/reggae hybrid! "Head" features d’n’b over more traditional reggae trappings. Very Sly and Robbie-influenced, "Head" favors more reggae and dub overtones than "Dubplate" and its furiousness. The breaks are prime at song’s end.

"Prophet" also favors echoey dub production over a looped rasta-rap and bass. The groove is good, if a little nervous, and a well-placed guitar adds texture. Very jazzy, it’s also very danceable with wild breaks at the end. The Honorable Negus mix combines fusion, jungle, spacy ambient textures, and holds Negus’ rap really well. The result is speedy reggae, alien and futuristic. The toasting and song are great, and the mood intense, but not rapishly so. The Werd2Jah collaboration has a more countrified flavor (right down to crickets) and "so authentic you need to be Jamaican" toasting, and what sounds like mice on speed. The song spans genres: reggae, trancey jazz, and solid EDM. The mice on speed effect is just weird. The cut also ends abruptly, which is so not cool.

"nice no rass" is aggressive d’n’b-infused regge with lightning editing and breaks. The jungle (as in the terrain) is a little OTT, though. Morphing into hyper d’n’b with dub effects, the cut is very good but a little too eclectic for classic reggae. "Latin Party" is what you would expect it to be but with a twist. Reggae bottom, Latin top, and featuring a very funny rap, it’s the most straight-ahead AI mix so far. A really good time!

Amen vs. Insect 4.425

A.I. feat. CuttyRank&Sizzla- Buy Me a Dubplate 5.675

Head tek a wata 5.075

More Prophet (A.I. Cappleton Ragga Remix) 4.55

Honorable Negus- No Know (A.I. Mix) 5.4

Werd2Jah- The Valley (A.I. Mix) 5.1

Blunt/TrifeLife/Untoucable- Latin Party 5.1

nice no rass 4.9

JAZZ/FUNK/R&B/ROCK

"7416" is a very tasty downtempo jazz tune with dub effects and a slightly irritating vocal line that becomes more beautiful as the song progresses. The tune is a dead ringer for late-70’s Miles Davis. The so-so ending leaves the listener hanging though, and the lack of a definite cut-ending cadence robs the cut of a higher rating. "Opposite", on the other hand, is a truly sublime 60’s jazz/funk tune that nearly transcends the genre completely. Textured with funky Hammond B3 , great trumpet lines, a bit of guitar, the cut morphs into spacy funk with Monkish overtones and dissonant strings The vocal is truly awesome, and recalls the power and feel of The Brian Auger Trinity featuring Julie Driscoll, an influential jazz/rock outfit in the late 1960’s in the UK. CLASSIC CUT!

"Groove City" is layered with chill-out jazz, Big Beat drums, R&B stylings, and a spacy mix. The cut could easily be a Yellowjackets or Spyro Gyra tune. What is truly awesome is that this FEELS like a live jam session! After some scratching, the tune lays out into classy third-stream jazz that recalls Herbie Hancock before and after "Future Shock." Beautiful! "Sixohnine" uses phazed-out R&B/funk with cool spoken tracks. The track also features groovy syncopation with lots of jazz and dub layers, but at 1:43, it’s really really short.

"Nano" heralds the arrival of rock texures to the stew with a slightly out-of-whack guitar/synth jam with a good backbeat. The jam is fusion-influenced, and reminds me of vintage Paul Hardcastle in the synth, Greg Philingaines in the feel. The aura is definitely George Duke, and while the foundaton is very rock, it’s also very porn soundtrack-ish. Unfortunately, like porns themselves, it doesnt really go anywhere; it just pops its wad and that’s it. "Desolate" features samples (Herbie Mann?) that lay out into another groovy downtempo jam. Without a harder jazz attack, the cut ends up sounding liek elevator music. The same can be said about "Mylkiewae", but instead of needing a harder attack, "Mylkie" just hits too many genres for its own good. Melding gip-hop, R&B, fusion, blues, and electronica, the track is more experimental in flavor and tries to go too many places. The same dilemma holds true for "Sled Ride", but the track goes somewhere: a journey from mellow jazz to d’n’b and electronica. To end the jazz review, there’s "Fractal" which mixes hip-hop and Fender Rhodes jazz into hooky chill-out electronica. The cut is cool and futuristic but a little too environmental to be a dance track. The ending groove is nice and hypnotic.

The rock tunes, "Sullenism" and "Jupitun", showcase, in spades, Jason Love’s gynormous talents. The former features a track that, if fuzzed-out and heavier, would be a Smashing Pumpkins track (think "Siamese Dream".) Cool Mellotron strings make this cut dark, hypnotic, and gorgeous alternative music. "Jupitun", another SP soundalike, throws guitar, muted drumming and a good string arrangement that ends up being electronia that is neither passive nor in your face. With a skilled hand that recalls the Art of Noise in their prime, the track builds beautifully, spanning rock, electronica and d’n’b. Wonderful!

7416 5.15

The Opposite Direction (feat. Vicky Flint) 5.9

Groove City Theme Song 5.4

Sixohnine 4.3

Nano Bots Rule the Earth 4.8

Desolate Frequency 4.4

A.I. 4.6

Mylkiewae 4.7

The Digital Alchemist’s Evil Sled Ride 4.7

Fractal Phlexology 4.8

Jupitun 5.5

Sullenism 5.0

OTHER

Describe 5.6

DeFlection 5.1

Phlexmix2012 4.9

Path of Least Resistance 5.7

These four tracks show Audible Integration’s more experimental side. A good friend that I used to work with once told me, after listening to one of Enigma’s later works, that ambient/experimental music had to be easy to pull off. The reality, however, is far from easy. Experimental music in any form, from electronic to classical to rock and so on, is very difficult, and creating masterpieces in the form are truly wondrous to both perfomer and listener: sonic art.

Sorry. Soapbox time is over. "Phlex" is comprised of new age synthezier, and understated percussion that transitions into a nice electro percussion sequence, Like Paul Hardcastle gone electro at a Kitaro concert, the track brews a tasty stew of electronics, synth and f/x that never undercut each other. "DeFlection" uses experimental electronics as a springboard for style combination. Cruising through techno, d’n’b, more ambient fare and then jazz and R&B, the cut is experimental more for content than in form. Late-track features include jump-cut editing and loops. "Describe" goes the other way, favoring Orb-like atmosphere and global music references. The track builds to a head, never rushing, into a truly awesome hypnotic and relaxing tracl. Ambient crowd loops, cool Aeolian harp and mute stabs at song’s end makes this a truly essential ambient track.

Last but not least is "Path", which is unlike anything I have ever heard. Featuring jazzy d’n’b with truly oddball loops, the track feels like a dum’n’bass version of Soft Machine: progressive rock filtered through EDM. A million things are going off in tangents in the mix, making the cut almost Beefheart in nature. At 3:18, the track completely freaks out. If you can imagine Pink Floyd’s "A Saucerful of Secrets" transmtued into drum’n’bass, that’s what this is. Truly one-of-a-kind by a truly gifted artist!

Part 2 will feature Ella Blame, DJ Browsa, d-tektiv, Gutter Breaks, Ing-J, Daniele Mondello and Express Viviana, and Neutronix. Part 3 will feature Psychosis Agent, The Quirky, Simian Mobile Disco, Stressbomb, The Better World, Trance Optic, and the Verdugo Brothers.

end CG 4.2 Part 1

3:50

0 Compliments

dimanche, mars 30, 2008

Crossfade Grimoire 4.1, Part 1

Issue 4.1

Issue 4 has grown so out-of-control that I’m having to split it in half. This issue, in no particular order: 4 eva blesst, 20Mile, Bjork, CerealKila, brkr, DRC (with collaborators Ars Nova, DJ Denise, and Auditory Sculpture), Empty, GeeViouS, Hot 2 Go, J-Dub, Jennacide, Let Go of Yesterday They Call it the Past 4 A Reason, Levitation Theory, Lex Loofah, Trip Addict, Sinnerfire vs. Product 6, and Zootkitt*Mysterieuse.

Part 2 (4.2) will feature: Abtract Traxx, Audible Integration, Ella Blame, DJ Browsa, D-tektiv, Gutter Breaks, Ing-J, Daniele Mondello, Neutronix, Psychosis Agent, The Quirky, Simian Mobile Disco, Stressbomb, A Better Life, and Trance Optic.

The following issue will be divided up into several parts as the blog space doesn’t have enough room for the full document; Sorry for the inconvenience.

Scott, Editor

TRAXX

1. Bjork- Innocence (SMD mix) 6.5

2. Bjork- Declare Independence 6.3

3. Empty- Your Loss 6.1

4. CerealKila- Geist 6.075

5. DRC vs. Auditory Sculpture- Under the Veil 6.0

6. 4 eva blesst- Juxed 5.875

7. Oscar TG- Snapdragon (Lex’s Dirty Dub) 5.75

7. Bjork- Earth Intruders 5.75

7. CerealKila- Skull Fucker 5.75

7. Zootkitt*Mysterieuse- Magic Mushroom 5.75

11. J-Dub- Tweaked Shitless (Gutter Breaks mix)5.625

12. J-Dub- Bust Your Head 5.5

12. Lex Loofah feat. Ben Julien- Sonia 5.5

12. Zootkitt*Mysterieuse- Requiem 5.5

13. Zootkitt*Mysterieuse- Something from God 5.375

14. Let Go Of Yesterday- For Real 5.35

15. 4 eva blesst- Bag of Bless 5.25

15. 4 eva blesst- Lake of Fear 5.25

15. Empty- Mob Violence 5.25

15. GeeViouS- Global Nemesis 5.25

15. GeeViouS- Die Emo Kids Die 5.25

15. Let Go of Yesterday- Strawberry Bounce 5.25

21. brkr- R. Spektor So Blue Dub [bootleg] 5.228

22. DRC & DJ Denise- SATISFY IT 5.125

22. GeeViouS- Dirty Junglist Squad (edit) 5.125

23. Let Go of Yesterday- Get Like Me Remix 5.1

24. Let Go of Yesterday- Girl It’s You (feat. La Ron) 5.0

24. Let Go Of Yesterday- Get Like Me 5.0

26. 4 eva blesst- Shadow Shifters 4.875

26. CerealKila- Transform 4.875

26. DRC & DJ Denise- Get Off Ur… 4.875

26. Empty- War Machine 4.875

26. Empty- Intrepid 4.875

26. Levitation Theory- Dark Morning 4.875

26. Lex Loofah feat. Julia Doce- find my essence 4.875

33. brkr [format error]- BreakExercise69 4.75

33. GeeViouS- CREEPSTEP 4.75

33. Hot 2 Go- Flog the Dog 4.75

33. Jennacide- Time’s Up 4.75

33. Lex Loofah- Thoughts 4.75

33. Sinnerfire vs. Product 6- NEVA 4.75

33. Trip Addict- TheDrumTheBass 4.75

33. Zootkitt*Mysterieuse- LoveR 4.75

41. 20Mile- Where She At (Jae Wiz mix) 4.7

41. Levitation Theory- Obsession 4.7

41. brkr vs. J-Dub- Ascension 4.7

44. GeeViouS- What was left 4.65

44. Levitation Theory- Bouncing Radar Beams 4.65

46. 4 eva blesst (feat. Johnny Details)- Growth 4.63

47. 4 eva blesst- Splittin’ Skullz 4.625

47. CerealKila- Mercy 4.625

47. GeeViouS- Obsessed 4.625

47. Trip Addict- TheDreamIHave 4.625

51. Ars Nova- On On 4.525

52. J-Dub- BrainDamage (CerealKila remix) 4.5

52. brkr- Hardskool Breakz 4.5

52. brkr- Cut34Edit 4.5

52. Hot 2 Go- Backseat (doof doof mix) 4.5

52. Lex Loofah- Bitch 4.5

52. Trip Addict- WhatBlud 4.5

52. Zootkitt*Mysterieuse- DANGER EXIST 4.5

59. Levitation Theory- The 4^th 4.475

60. CerealKila- Seen 4.35

61. Felipe Avelar- Electric Boogaloo (DJ Brian

S Remix) 4.25

61. Trip Addict- CantBiteMyStyles 4.25

63. Neutronix- Seven Stars 4.2

64. Trip Addict- Loss 4.125

65. 20Mile- Where She At (Electronic Mix) 4.0

65. Alternative Reality- Work This Mutha Out

(DJ Brian S remix) 4.0

65. Lex Loofah- Gecko Heaven 4.0

65. Trip Addict- CaffineBuz 4.0

69. Levitation Theory- Pour into the Sky 3.9

70. Alternative Reality- Get Away 3.75

70. DJ Brian S- Percolate (remix) 3.75

71. brkr- BreakExercise69 3.5

72. 20Mile- Where She At (Album Major Mix) 3.25

73. 20Mile- Where She At (Recon Mix) 3.00

"The following preview has been approved for all audiences"

brkr vs. J-Dub- Dark Growl 5.5

DJ Brian S- Climax sample 5.5

J-Dub- Walk in the Dark 5.35

Josh Schubel- What It Do Mix (Intro) 5.0

J-Dub- Will I Dream 4.25

Jennacide- Sick Phuck (DJ Browsa VIP Mix) 4.25

Alternative Reality- Work This Mutha out 4.0

Jennacide- Punkass 4.0

Jennacide- Sedation 4.0

Alternative Reality- Get Away 3.75

Perculate (DJ Brian S remix) 3.75

While some of these are practically hot off the CD tower and some of these are more than a year old, all of these demos, teasers, clips and so on are tunes that hold a lot of promise. Heading the list is the fantastic brkr vs. J-Dub collaboration, a danceable and headbangable fusion of dark orchestral textures, ominous drones and a killer rhythm track with a techno edge sharp enough to cut diamonds. Equally as promising is the "Climax" clip, a short sampling from Brian S’s 2007 Mixtape (presumably either of the same name or this is the climax.) The sample features a little bit of everything: a little Sir-Mix-a-Lot influence here, some M/A/R/R/S over there, a lot of smart set selection and production everywhere.

J-Dub’s other demos prove that the East Coast US artist is really coming into his own. Call me a freak if you want; many do..daily, but there’s something exciting about watching an artist progress from talented but raw apprentice to skilled and inventive journeyman. While "Dream" veers away from amphetamine percussion duels into more danceable material and ace production, "Walk" features truly complex montage effects, a drum track with a nervous twitch and synth programming that hint at some abstract jazz, all the while maintaining a d’n’b/trip-hop romp. Great style; I really want to hear these tracks when they gel.

With the exception of "Punkass", the remaining Jennacide tracks are from 2007, but all feature her trademark "jump up drum’n’bass" style. The Browsa mix gets a slight up on the others because it has both Browsa’s expert mixing styles and Jennacide’s electric feel.

Josh Schubel’s opening sample from his "What It Do" mix is a virtually seamless mix of contrasting styles, wonderful editing and more artists and songs than you can shake a stick at..(how rustic of me.) The intro gives just enough to wet the appetite; nuff said. I want to hear the rest.

The remaining Brian S tracks are good if conventional club/house mixes. Good, but both unfortunately pale to his 2007 mixtape sample. Should be interesting, though.

9:32

0 Compliments

dimanche, mars 30, 2008

Crossfade 4.1: Corrections

Evening again!

Just a couple of corrections that have been clarified.

"Bust Your Head" is credited in 4.1 as being a "FTS vs. Norotek Records" release, when it is, in fact, one of J-Dub’s tracks. The track will be released by Norotek at a future date and time, of which there will be full coverage. Thanks to J-Dub for clearing that up.

Thanks also to CerealKila for clearing up something that really confused the crap out of me. In the issue, Norotek Records is named as being just the moniker for a band, but it is also a production company with a considerable track record and, just recently, a recording imprint as well. The company is run by V for Hardcore and is based here on the East Coast (US). Thanks again for the clarification, and V, sorry for the confusion.

See you all in 4.2 if that’s all the mistakes I made. It probably isn’t, but one can hope.

Scott

Editor and Head Dork, Crossfade Grimoire

Affiliate, Bass Society

3:55

0 Compliments

dimanche, mars 30, 2008

Crossfade 4.1, Part 4

Zootkitt*Mysterieuse

Hailing from Moscow in the Russian Federation, Zootkitt’s music is as diverse as it is compelling. Drawing from such varied sources as techno, hip-hop and classical music, the music she creates is bullet-proof and in many cases, essential electronics.

This sampling of sublime electronica establishes Zootkitt as a force to be reckoned with. "God" is virtually its own genre: drum’n’bass hardcore metal! Meshing Godsmack-style leads with disconnected synth leads and spacy breaks, in one song, Zootkitt dismantles the universe inhabited by Rob Zombie, Lunatic Calm, and other technometal artists and reassembles it to her design. This song is truly amazing and one that defies categorization.

"Magic" is even more fantastic: a hardcore technofreak’s wet dream, complete with wild synth leads, speedy kick/snare and supreme editing. The track is tailor-made for European hardfests like Qlimax, Defqon1, and Sensation Black, and should be played there ASAP. "LoveR" takes a detour into hip-hop that mutates into atmospheric d’n’b. While not as amazing as the previous two cuts, "LoveR" is still an exceptional dance track with a hot mix and layering that never gets old. "DANGER" takes another detour, this time in the form of nanosecond drum’n’bass and advanced montage editing not dissimilar from the work Product 6 offers up. The sound collage is great, especially the demonic voice editing, and the midbreak nano-second breakbeats are impressive. It’s on "Requiem", though, that Zootkitt develops an eclectic force that rivals the best music out there. Using a good hip-hop track as a foundation, Zootkitt runs cello, funeral drum and symphonic textures through a beautiful progression and then grafts it to riveting electro-percussion. The elecro-classical feel of this song is practically unrivaled in beauty and artistic vision. Just like la femme Nikita: beautiful, resourceful, and deadly.

"Something from God" 5.375

"Magic Mushroom" 5.75

"LoveR" 4.75

"Requiem" 5.5

"DANGER EXIST" 4.5

Empty

The UK’s darktronica scene rivals the Chicago drum’n’bass scene for rarely-equalled brilliance and innovation. Empty’s work in the darktronic genres of jungle and drum’n’bass are evidence that the UK has a continually amazing artists who continue to evolve with every release.

When you consider the considerable depth of talent and skills this issue has highlighted, high-water marks like these should alert you to a fantastic, potentially mythic, artist in the making. "War Machine" is very, very dark, reminiscent of "Grace", the pounding coda to the last good Ministry album, "Psalm 69." The beatmap ranges from chopped-up at start to brutal breakcore/jungle throughout/ Empty’s sense of rhythm is impeccable, and the migraine-thud of the bass kick coupled with the snare hits is just amazing. "Intrepid" ups the evil ante by a ton, coming off like demons in the tubeway. The cut approximates the Prodigy’s "Fuel my Fire" and adds atmospheric breaks. The song is a great darktronic cut, but the eerie montage is reprised a few too many times. Still, a great dark hypergroove.

"Your Loss", the last track released in 2007, is a marathon cut that, in then and a half minutes, summarizes and expands on jungle, techno, and experimental electronics in a way unlike I have ever heard. Despite the track’s epic length, "Your" never loses its creepy edge nor sacrifices its massive and impressive flow, and manages to be both a landmark electronic recording AND a potential monster at the clubs. Perfection!

"Brutus" reaffirms the potential for an awesome career. Very cool shaolin beat mixing and what sounds like a 4-ton wasp act as brutal rhythm section. This one, on the other hand, is not the least bit danceable, unless you consider seizures and spasms a kind of dance. The track dumps a midbreak in favor of an evolving progression of beats, which culminate in seismic activity at song’s end. Fucking great!

"War Machine" 4.875

"Your Loss" 6.1

"Intrepid" 4.875

"Mob Violence" 5.25

"Brutus" 5.425

12:22

2 Compliments

dimanche, mars 30, 2008

Crossfade 4.1, Part 3

CerealKila

Proprietor of some of the darkest, most menacing darktronica in the known universe and head of the Bass Society collective, CerealKila’s tracks are like soundtracks from console games like Silent Hill and Resident Evil, transmuted through corrosive and heart-pounding jungle and drum’n’bass.

His Staten-Island based (but not limited to) collective, Bass Society, features some of the best unsigned talent in the business, and most recently, inducted this magazine as an affiliate. To share billing with artists like Lil L aka Lisa, Broken Youth, J-Dub, Cereal and the rest of the artists is truly awesome!

"Geist", from 2007, is simply un-fucking-believable. Laced with Kila’s ever-present sonic creepiness, the tracjk showcases nice d’n’b/breakbeat moves from an artist usually more dark than danceable. The song’s midbreak is packed to the roof with aggressive stabs over streamlined and runaway beat programming. The cut is relentless, varied, and is executed perfectly. A classic groove in any genre! The J-Dub remix from around the turn of the new year, is a prime remix, although I’m not sure if their sounds are suited to each other on this track. The cut is also unusually restrained for either artist, both rhythmically and production-wise.

It is a good remix of Dub’s 2007 work, but just not what it could have been. Still, it has club appeal, and should be DJ’d out more.

If 2008 hasn’t yet produced a track like "Geist", it should be said that the year has so far netted two great cuts and his latest, "Skull Fucker", is amazing. "Seen" and "Mercy" work the same turf: creepy soundscapes featuring hard-edged techno beats with the ghost of the Prodigy haunting both grooves, especially the former with its "Fuel My Fire" sound-alike percussion stabs. The montage work on both tracks is exceptional, and is a spooky ride with the lights off. Kind of like walking next to Coney Island in the middle of the night (if that’s even still possible). "Transform" is especially intense and is a great dark electronic track in its own right.

"Skull Fucker" can only be described as the most hellish orgasm I have ever heard. Over an insistent orgasm sample, the track unleashes prime hardcore rhythms that recall Atari Teenage Riot in their heyday. Breakdowns into trip-hop territory with a wild randomized synths and more orgasms contrast the loud/hard/fast cyberpunk attack really well. (Whoever the chick is on the sample must have a difficult time walking the next day..)

This track gets bonus ups for sheer balls, sexual pun unintentional but marginally funny. An artist to watch, definitely.

"Geist" 6.075

J-Dub- "BrainDamage" (CerealKila remix) 4.5

"Seen" 4.35

"Transform" 4.875

"Mercy" 4.625

"Skull Fucker" 5.75

GeeViouS

One of the few remaining artists left from the now-defunct Illinois-based collective, Dirty Junglist Squad, GeeViouS specializes in darktronica with a classic early-rave and industrial flair, and can be summed up, as one track puts it, as "creepstep": a halfway point between dark electronics and dubstep.

The first three tracks are from 2007 (as far as I can tell) and if "what was left" falls short of the other two tracks’ glory, let it be said that "left" is a masterful synthesis of dark electronics, a solid and snarky industrial-inflected rhythm section, and spacy Orb overtones. This is more listening music than it is dancing music, but that’s never a bad thing. "left" also features great attention to layering and textural effects. The result is more freeform and experimental but a nice mix between darktronica and ambient.

The other two tracks are great but for massively different reasons. The "DJS" edit neatly and expertly remakes the original but leaves out the over-the-top and completely unnecessary toasting at the track’s outset. If you’re good, you don’t need to tell us you’re good; we’ll be able to tell your talent by how good the track is. The cut is somewhere between CerealKila’s Satanic Mass techno and Valvegod’s technologically-informed beat-splicing. The rhythm is really propulsive with ace breaks and syncopated synth stabs. The overall feel is like updated Front Line Assembly. "Emo Kids" is a great-to-amazing updating of the classic late 80’s-early ’90s industrial feel: primal, asskicking, and danceable. The anti-emo samples are funny and disturbing. The track has a great oldskool feel that I really miss and makes me wish that artists such as Manufacture, Skinny Puppy, and Ministry were recognized more than they are.

2008: "Creepstep" and "Obsessed" lay out the GeeViouS creepstep manifesto: updated industrial beats (in "Obsessed"’s case, massive jackhammer stabs), nice syncopated underpinnings of drums and eclectic instrumentation and hellish midbreaks consisting of montage effects and runaway-locomotive drums. Both tracks point to a wonderful genre that "Nemesis" turns into reality. The track begins with a console RPG quote is then cheerfully murdered, air raid sirens, and glass-shattering electro-percussion. Later on, the cut breaks out into great KMFDMish power-synth riffing and a more tribal drum track. A great and eclectic track for the upcoming Armageddon.

"what was left" 4.65

"Dirty Junglist Squad (edit)" 5.125

"Die Emo Kids Die" 5.25

"Creepstep" 4.75

"Obsessed" 4.625

"Global Nemesis" 5.25

Let Go Of Yesterday, They Call It the Past 4 A Reason

One of the latest and hottest progenitors of Rap&B (that is, rap colored with rhythm and blues, funk, and jazz overtones), Chicago’s Let Go has one of the longer band names I have heard this side of George Clinton’s Parliafunkadelicment projects, and an absolutely killer sound.

Something I have noticed with Let Go and other Chicago rap artists is the love of their cock. There is a lot (and I mean quite a bit) of cock referencing in a couple of these tunes. I guess it’s the cock, not the talk or the walk, that makes da G in Chicago. (guess that leaves me out, then…)

Cock-pity rantings aside, this is one of the hottest Rap&B tickets out there. Run, do not walk, to one of their gigs.

I haven’t divided the tracks into 2007 and 2008 listings primarily because their sound is solid and striking through both years, at least so far. "Bounce" and "Real" are from a 2007 mixtape called "Code of da Streets", which should be sought out ASAP. Both cuts feature Let Go’s classic yet modern sound: easy, infectious grooves laced with a little toasting here, smoky and sexy vocals there, jazz and gospel flourishes to sweeten the pot.

"Bounce" features silky 4-part harmony fills and a little boasting over a bouncy, funky beat. It also has one hell of a melodic hook in the vocals that will haunt your mind for weeks. Not overdone or overdumb. In other words, brilliant. "For Real" showcases lush down-tempo jazz/funk, which functions as underscoring for a G barin’ his soul for his Lay-day. The vocals steal the show though, with jaw-dropping, multi-octave blues lines. Right behind that is a sweet ending jazz jam that is just gorgeous. This is progressive stuff, and not to be missed.

The other tracks have a more recent vintage and are from their "Go Ill" album. "Get Like Me" is great laidback funk (with congas, no less!) that makes the Surviva rap all the more believable. The track trades Fiddy-like snarling and bragging for a low-key but in-da-real style that is way more enjoyable to dance and relate to. Here, though, is where the multitudinous cock references start, which seem more at home with the Atlantic Starr-like music than thought possible. The remix is true hard-edged crunk, rollin’ and hung for the clubz. If you thought the original had a lot of cock, the remix has more dick than bukkake porn. In short (or in long, as the case seems to be), a hot remix of a cocky song.

"Girl It’s You" is their latest release, a testament to their vision and artistry and staying power as well. The rap, like their other cuts, is straight-up and real but never terminal OG crap. The horn fills are great Stax Records approximations. The miracle of this band is that they wear their influences on their sleeve (resisting cock joke..) and yet never sound like a copycat group. What could have been another "Dedicated to the One I Thug" is actually a pleasure to listen to. Great job!

"Girl It’s You (feat. La Ron)" 5.00

"Get Like Me Remix" 5.10

"Strawberry Bounce" 5.25

"Get Like Me" 5.00

"For Real" 5.35

Levitation Theory

A few weeks ago, I caught Levitation Theory’s mind-boggling visuals at Magically Delicious in Waterbury, CT, which are as astounding as they are trance-inducing. Having seen those visuals and listened to LT’s latest tracks, I’m convinced that the CD they are from ("Organism") is more a through-composed experimental sound-and-rhythm montage than a collection of tracks. LT is also a master at the recording and compositional arts, with a discography dating back to 1996. One of the rare performers/visualists who transcends their genre, Levitation Theory is an art form within itself.

"Bouncing" features a great technorave rhythm section and bass not unlike the Belgian rave tracks in the early 90’s. The hypnotic proceedings are mixed and remixed with a master’s touch and layered to perfection. It’s like a dream gig between Cabaret Voltaire and the Orb with Eno at the controls. "Dark" uses disparate influences (Spanish classical music, "Ummagumma"-period Pink Floyd, Enigma) to great effect and set to a pulsing, bouncy beat. The intermingling of styles and feels is a wonderful mix, especially the Spanish theming.

"Obsession" is a study in contrasts. Slightly out-of-whack drums complement breezy, dark synths. The builds are reminiscent of Negativland’s universe with a little vintage Front 242 urgency. Absolutely outerspace and innerspace at the same time. "4^th" is much more in the style of technorave, but doesn’t quite gel with the spaciness of the synthesphere.

It does, however, recall the forgotten frenzy of classic acid-slam units like Empirion, Electric Skychurch and Psykosonik. The overall feel is a little like Jean-Michel Jarre on crack. It’s here you feel that these tracks make up a unified whole.

The same feeling holds true on "Pour", which is essentially an extended, and esoteric, sound collage, most likely a beginning or an ending. The level of artistry with all these tracks, as well as the feel of composition, is truly masterful. "Pour" is the most overtly ambient/experimental of all the tracks, and while the rating is lower than the rest, it’s a good introduction to Levitation Theory’s universe.

"Bouncing Radar Beams" 4.65

"Dark Morning" 4.875

"Obsession" 4.7

"The 4^th" 4.475

"Pour Into the Sky" 3.9

DRC

San Francisco’s DRC is a legendary figure on the West Coast: a pioneering female DJ in a genre that was, for years, male-dominated and has for over two decades, presented top-notch releases and mixtapes. Her series of 90’s mixtapes, particularly the massive "Eargasmika" mixtape, were amazing collections of trance, techno, and drum’n’bass. It says something about the release if you buy four of them and actually cry when the last one dies a tired death, knowing you may never get the release again. "Eargasmika" is one such release, and judging by the tracks below, DRC still has the talent as DJ, collaborator and producer to continue to make vital music.

Her work with Ars Nova is like taking a time-travel journey back to the 1980’s. "Sorry" almost feels like a Comateens or an SSQ release from 1981 or 1983. Minimal, spare beats complement vintage synth sounds, almost minimally in a musical way the way Plastikman is minimal to rhythm. Great look back. The 2005 release, "On On", sports a cool and snotty vocal somewhere between the Waitresses and Lydia Lunch, and reminds me an awful lot of Suicide with Alan Vega, at least in tone. The drums even sound like they are from a Linn drum kit. Minimal in this day and age, but still enjoyable even if you didn’t come from the Age of Plastic.

Her work with DJ Denise is exceptional: a marriage of old school sensibilities and modern rhythms and production. "Get Off" features funky synthpop, a good house beat, and what sounds like sound effects from an Atari 2600 or Intellivision game. The song makes me feel like I’m 18 again, which is great since it doesn’t MAKE me 18 (that would be so not cool), and sounds like some of Cabaret Voltaire’s dance-oriented fare. "Satisfy It" is a phenomenal new release with enough 80’s influences to choke a horse. The riff sounds like a digital "Everybody Wants You" with a little of the Tom Tom Club’s "Wordy Rappinghood" stuck inside. The beat-splicing recalls "Electric Café", Kraftwerk’s mid-80’s masterpiece and the whole thing comes to a head in a wonderful alien robot-disco/dub workout. Great track!

Her collaboration with Auditory Sculpture reinforces the belief that this talented lady still has a lot to say. The track is a feast of middle-Eastern influences, chopped up drum’n’bass, and spliced-up global influences akin to Deep Forest or Enigma but more rhythmically updated. "Under" is simply outstanding!

DRC & Ars Nova

"Sorry" 4.325

"On On" 4.5

DRC & DJ Denise

"Get Off Ur…" 4.875

"SATISFY IT" 5.125

DRC vs. Auditory Sculpture-

"Under the Veil" 6.0

4 eva blesst

Skilled not only in hip-hop but in drum’n’bass and jungle, 4 eva blesst’s sound is a little like being trapped in a funhouse with The Devil’s Rejects. Add to that a healthy dose of remixing talent and you have a true contender for darktronica royalty. 4 eva has recorded for Vigilant Productions and Dirty Junglist Squad records and is part of the NYC-based Bass Society collective. Look for a review of his latest mix in the near-future and listen to these tracks: this guy is wicked talented.

"Growth" may be one of the most hyper rap tracks I have ever heard. The mix is solid and speedy and the rap never misses a beat..so to speak. I have no idea what JD is going on about, but combined with an hot techno riff and beats underneath, this is a really hot rap. "Juxed", the other track from 2007, is classic, wicked drum’n’jungle and gives a good idea of how hot the Dirty Junglist Squad collective was at their height. The techno sequencing is so hot it blisters your ears, there’s creepy written all over it, and the rhythm is thumps like a speed freak’s heartbeat. The track is ruthless, danceable and amazing.

2008 finds 4 eva blesst establishing his own particular niche in modern electronics. While the remaining tracks aren’t as superior as "Juxed", the cuts are definitely pointing towards a more mature and more assured style. "Skullz" and "Shadow" are minor masterpieces of dark, if not outright maniacal, electronics that feature brooding, sometimes brutal grooves, lots of vintage analog synth stabs and leads, prime darktronic atmosphere, and expert production. "Lake" gets the higher marks for weaving techno, drum’n’bass and jungle together in an enthralling and frightening tapestry of doom. "Bag" is like Kraftwerk or Chris and Cosey (of Throbbing Gristle infamy) set to hyperbreak percussion. The track breaks out into a darkraver’s fantasy, with tons of farty synths and a hypnotic groove. The rhythm, in particular, sounds like the great lost Atomic Babies rhythm track. Great hypertechno from a wildly diverse and accomplished musician.

"Growth (feat. Johnny Details)" 4.63

"Juxed" 5.875

"Lake of Fear" 5.25

"Splittin’ Skullz" 4.625

"Shadow Shifters" 4.875

"Bag of Bless" 5.25

12:09

2 Compliments

dimanche, mars 30, 2008

Crossfade 4.1, Part 2

TRAXX

20Mile

20Mile has been hailed as "the R&B OutKast", but other than locality and bare basics, I have to admit that I don’t really see the connection. They sound polished, if a little confused sometimes, and they show some promise as a modern Rap&B unit, but comparisons to OutKast aren’t helping.

Their album, "Southern Juke Joint", is out on Groovekids/Universal, and by the numbers of mixes "Where She At" has, this is probably the big single (or the first) from the album.

The Album Major Mix is a good if conventional Rap&B tune: nothing earth-shattering here, but certainly nothing shameful. The remark I made earlier about Twenny sounding confused is when they go into the whole everyone-toast-at-once sequence. Everyone literally starts talking at once, and it feels more like a bus station than a posse wordin’ up.

The Recon Mix, however, isn’t something to brag about. One of the things I look for in a mix (maybe it’s just my thing) is for the tune to elevate or expand sonically on the original cut. This mix actually manages to diminish the original cut, and, well..it’s pretty boring. The electronic mix is leagues better, although I think they need better opinions on who to do an electronic remix. The cut is good, and is a moderately good floorstomper, but again, nothing special as far as mixes go.

Jae Wiz’s masterful dancehall/reggaeton/whatever-its-called-this-month remix is by far the best. Instantly danceable, whether you’re getting your groove on or down and dirty grinding crotch to ass, this cut has it.

The rhythm is constant, on the mark, and the vocal samples ditch the confused sound-off parts in favor of smart and well-placed quotes. This is the version to get: a sure-fire club hit.

"Where She At (Album Major Mix)" 3.25

"Where She At (Recon Mix)" 3.00

"Where She At (Jae Wiz Mix)" 4.7

"wHERE sHE aT (electronic mix)" 4.0

There are two other tracks that I’ll cover in CG 4.15: "Where She At (Snap Mix)" and "Sexy Never Left." Sorry for the discontinuity.

Lex Loofah

Hailing from the UK, Lex’s debut album, "MoveMent", was just released earlier this month on Wreked Records. Lex’s forte is house and tranced-up house with some electronica and a little experimentalism thrown in. Keep a close eye on this one.

"Bitch" features what all of Lex’s tunes have to offer: rich layers of synth and effects, good (sometimes fantastic) rhythm with eclectic feels, and classic yet fresh production values. "Bitch" is a really good house track with the odd latin percussion and, in the beginning, bizarre sound effects. The track avoids Humdrum House Syndrome by building up to a pitch, stripping down to bare bones, then building back up again.

"Gecko" is a good track with interesting acid synth leads and solid 4-on-the-floor beats, but nothing truly innovative here. The groove is solid but gets a little old after a while, but the nod to Technotronic is nice, and the builds are wicked.

"Sonia", on the other hand, is fantastic, and has what the preceding tracks need in spades: layering. There are so many layers to this track that it’s like swimming in a vat of club. Ben’s role is primarily a human vocoder, which Lex works to great effect. The overall effect is a genuine floorburning groove with the ghost of PiL ("this is what you want, this is what you get") percolating throughout the mix. Wonderful track! "Essence" works along the same lines trades bulletproof textural bliss for a more spacey, drugged-out trancey sound. Doce has a smoky blues quality to her voice (hey, she gets to sing; Ben just got to parrot..). The vox editing sounds like "Surfin Bird" at times, but the 2-part melodic break is great. Not as awesome as "Sonia", but not picking this up would be a crime.

"Thoughts" goes further afoot, with off-kilter beats a la Photek and world-music trappings. This is how I imagine Deep Forest had it gone to Ministry of Sound instead of the library. There’s a wonderful habanera-like feel to the tune that moves me to coin the phrase "progressive global fusion", but doing so makes me feel like a dork. A vocal track on this would have rocked.

"Snapdragon" proves that Lex, unlike many talented DJs and artists, excels at both jobs. Without going into minute detail, this song is simply awesome. While not at all for the trance crowd who want their beats uplifting and inspirational, the track promises slam heaven with intense layers of synth, drums, and expert production that calls to mind the golden days of trance: i.e., before it got watered down into pap. Classic dance track and classic trance track to boot.

"Bitch" 4.5

"Gecko Heaven" 4.0

"Sonia (featuring Ben Julien)" 5.5

"find my essence (featuring Julia Doce) 4.875

"Thoughts" 4.75

Oscar TG- "Snapdragon" (Lex’s Dirty Dub) 5.75

Brkr

Also hailing from Jersey, brkr and occasional collaborator, J-Dub, work in the drum’n’jungle genre: somewhere between the hyperkinetic spasmodics of drum’n’bass and the dark jackhammer soul of jungle is the heart of d’n’j, the best of both worlds.

The third in a series of Spektor remixes (2 by J-Dub and this one), the "So Blue Dub" is so far the best of the lot. The track is wonderfully atmospheric, as truly great dub should be, features a great glitched-up vocal by Ms. Spektor, and really fine off-kilter jazz/hip-hop drums. Think of it as Pink Floyd inna dub. Ambient and dub fans should pick this up ASAP.

"69" and "34" are lesser triumphs, but good examples of the glitchcore genre that is currently represented by brkr and J-Dub. "Cut34" is especially fine. The track is a great glitchy, farty dance track that grows trippier and trippier with every loop. It also features a kick-ass dum’n’jungle ending with hardstyle bass kick.

"Pressure" and "Hardskool" are good summations of where drum’n’bass is heading and how quickly it’s evolving into a truly formidable genre. Both feature erratic, spastic rhythm, the former having especially drugged-out percussion, the latter with jackhammer drum’n’jungle with an experimental edge. Both also feature ace change-ups and rhythm variations. "Pressure" is extreme in the mix, coming off like Brian Eno jamming with Gravediggaz. See J-Dub for the "Ascension" review." Very promising artist.

"R. Spektor So Blue Dub" [bootleg] 5.228

"Breakexercise69" 3.5

"Hardskool Breakz" 4.5

"Cut34Edit" 4.5

"Pressure Cycles" 4.75

brkr vs. J-Dub- "Ascension" 4.65

Trip Addict

Until this issue, Wolverhampton’s drum’n’bass wonderboy, Trip Addict, was the only artist in this mag’s short history to have two tracks that garnered the coveted 6.0 rating: "Hit the Piano" (6.3) and "Relax" (6.0), both from the exceptional "Broken" digital album. Sorry, Trip, you’ll have to share that spot with Bjork now.

"WhatBlud", "Dream", and "Drum" all come from his 2007 offering, "Beats and Breaks", a collection I would seriously love to see released in either digital or CD format. These tracks show in detail how and why "Broken" is one of the best digital releases in recent days. "Blud" offers up a hot techno/jungle riff with good toasting samples and serious floor-killing midbreak. "Dream" sounds like a deleted electronic clip from Metallica’s landmark "S&M" album: symphonic riffing gliding over solid d’n’b with eclectic production. I really dig the symphonic/club synthesis in this tune.

"Drum" has Trip’s trademark supersonic drum workouts with a very good (read: Eurythmics) synthpop tune and feel. The song’s midbreak mixes the tune into hyperdrive. Really great.

Trip’s more recent releases give the feeling that he is growing as an electronic artist, but isn’t quite sure where he wants to go. "Loss", from the "Overdose" compilation, has a vintage 1980’s feel: alien electro/disco with more modern jungle breaks and a very enjoyable synth workout. "CantBite" is even better, with oldskool synth riffs completely at home with Trip’s brand of lightning-speed drum’n’bass. The newest track, "CaffineBuz"is a little more uneven. Trip’s choice of rhythm sequence and synth leads are hardly ever at fault, but the track simply doesn’t go anywhere. The song’s Mach III midbreak recalls the glory of "Broken", but just isn’t enough to save the track from being just merely. Not a bad track at all, but Trip has done profoundly better work. Here’s to hoping he finds his new direction soon, and when he finds it, blowing our fucking minds away again.

"CaffineBuz" 4.00

"CantBiteMyStyles" 4.25

"Loss" 4.125

"WhatBlud" 4.5

"TheDreamIHave" 4.625

"TheDrumtheBass" 4.75

DJ Brian S

Brian S is one of Chicago’s premier DJs, spinning everything from club and house to progressive house, trance, and hip-hop. See top section for info on his latest teasers and demos. His newest mixes will be reviewed in the upcoming 4.3 add-on. Mixology 101.

Jennacide

Chicago, it seems, it still a crucial spot for all genres of electronic and dance music, including jump-up drum’n’bass DJ/producer Jennacide, who is also aligned with SickoDubz Records, a very promising modern electronic imprint. Her lone non-demo track, "Time’s Up", shows why the Lady of Jump-Up is so in demand in the Chicago scene. The 2007 track is showcased by diamond-hard rhythms, so hard and clean they’d knock your skull off, and a truly funky synth riff that goes through a ton of high-pass, low-pass and envelope variations. The synth programming on this track is truly exceptional, and while the percussion track is simple and addictive, it’s a little on the long side for these ears. Still, a monster club track and a foretaste of beats to come.

"Time’s Up" 4.75

Sinnerfire vs. Product 6

Product 6’s brand of jump-cut d’n’j and amazing montage experimentalism gets a groove workout courtesy of Sinnerfire, making the track at once edgy and memorable. The track is slamming techno, more over the edge than conventional techno by far. Rubber-band synth lines counterpoint sproingy bass maneuvers over harder drums and percussion breaks. Towards the end, it returns to the slamming techno edge but with as hundred things firing off at once. Hey, it’s a P6 tune. You were expecting..?

"NEVA" is also a rock-hard club mix that should be DJ’d out more often.

"NEVA" 4.75

Hot 2 Go

A recent addition to CG’s hard-drive-of-slam, Australia’s Hot 2 Go specialize in club-worthy disco and dance music that assures as good (if not dirty) time on the floor.

The music is unashamedly sexual in content and feel, guaranteed to shake up the tight-assed dancers of America by a furlong. Side note: you wouldn’t believe how many prudish people I meet at clubs. Anyway, "Flog" is the best dance track about masturbation since "I Touch Myself" by the Divinyls, also Australian. Coincidence? Probably not. The track is gay techno with a wonderful 80’s diversity of sound and instrumentation. Glimpses of Soft Cell, Dead or Alive, and the mythical Erasure are all over this. As proudly gay as Frankie Goes to Hollywood, and just as bumpable!

This is a near classic dance track.

I was going to ask what "doof doof" means, but I can probably surmise that it’s slang for fucking. "Backseat" isn’t as airtight as "Flog", but it is a great dance song about fucking. (God..I LOVE the word "fucking"! Er..sorry..) Jettisoning innovation and today’s millions of sub-subgenres for good old move-your-ass dance moves, the track is one hot number. Look for these tracks at a disco, gay or non, near you.

"Flog the Dog" 4.75

"Backseat (doof doof mix)" 4.5

Bjork

There are few artists, in any genre, that can honestly be said to have been influential or seminal to popular music: The Beatles, Elvis, The Stones, The Who, Captain Beefheart, Frank Zappa, Beaver and Krause, Kraftwerk, Gary Numan, the Art of Noise, M/A/R/R/S, the Orb, Praga Khan, REM, Nirvana, Paul Oakenfold, to name just a few, are legendary names with legendary influence on their genres and others. Bjork is another one of those artists: a singer, producer, collaborator and composer who consistently pushes the boundaries of her and other genres with, at times, jaw-dropping genius. She also shares the top spot with Trip Addict for having the most 6.0 and over tracks.

I first heard the original version of "Innocence" last year when Volta, her current album, was released, and was undecided on how I felt. The track is so far removed from anything that was being played and from anything she had recorded that I was without reference. The track is an unholy synthesis of synth and electronica, and one of the best electronica tracks of all time. Veteran mixers Simian Mobile Disco’s version of the track is stunning. Remixing someone like her HAS to be difficult, but the track is eerie, solid, and the interplay between vocal and remix is truly amazing.

The track, sonically, is arguably her best single since "Human Behaviour", in terms of experimentalism in a pop context.

"Earth Intruders", the famed Timbaland collaboration, is a wonderful fusion of global percussion and the Icelandic artist’s own distinctive soundscape. Bjork is at the top of her game vocally and conceptually with this song. While not as momentous as "Innocence", the collaboration gels well with the video, which is an important factor when you’re dealing with someone as inherently visual as Bjork.

"Declare" features a fuzzed-out bass track so glitched up it almost sounds aliem. Combine that with advanced electronic effects and a jarring hardstyle bass and you have anarchic electronica that informs and deforms at the same time. What sets this apart from other similarly hard-edged material is the multi-tracked alienized chants and her willingness to take the vocals to a histrionic level at song’s end. Simply breath-taking!

"Innocence (Simian Mobile Disco mix)" 6.5

"Earth Intruders" 5.75

"Declare Independence" 6.3

J-Dub

This writer would like to say at the outset of this review that were it not for this massively-talented DJ/producer from New Jersey, this ’zine would likely not exist. Having said that, you can call me a freak if you want (people do daily) but there is something artistically exciting about watching an artist mature through his/her/its work and come into his/her/its own.

These tracks show an amazing evolution from the man who released "Circuit" and "Musical Morphine" a bare 6 months to a year ago.

Among other things, J-Dub has also shown ace talent in picking his collaborators. The Gutter Breaks remix is a mind-melting example of how a remix can elevate a song into the realm of the truly awesome. (20Mile…I hope you’re reading this..you need more mixers like Jae Wiz and less like Recon. Check out some of the people in this issue..PLEASE!) Back to business. The GB remix features prime darktronica over spare but tight d’n’b with an intense sine wave bassline. The song’s midbreak has the goods: overdrive breaks meshed with killer synth programming. Truly a great cut!

"Bust" bring dark, industrial flavor, palpitating kick/snare, a sweet chainsaw synth lead, and, dare I say it, a pop hook in the bass! The break and mix at middle and end is truly top-notch.

The brkr vs. J-Dub track also shows two great artists in mid-creation. Utilizing a trebled-up mix to counter the dark proceedings, it’s really hard to tell who is doing what on the track. Great use of weirdo vox samples. The rhythm is slightly off-kilter and while a little hard to move to, not all electronica should be danced to. A really fine collaboration, and hopefully an omen of things to come.

"Tweaked Shitless (Gutter Breaks remix)" 5.625

"Bust Your Head" 5.5

Brkr vs. J-Dub- "Ascension" 4.65

12:03

2 Compliments

samedi, mars 22, 2008

Letter from the Editor

Evening all!

The issue is coming in the next couple of days, but there was something I wanted to say. In light of our office’s recent viral infection, one person in particular has been blamed for it in this online community, and I have to say a portion of that mess is my fault: I spoke before I thunk, and the result has been a day in hell for the person blamed.

For the record, I have narrowed the whole stupid virus thing down to a person I should have suspected long ago, and this person does NOT have a site on Myspace. Rather, it si a person I used to work professionally with. I would like to take this opportunity to clear all persons who unfortunately got the blame. As I said, this is partially my fault (having never been blue screned and acting like a dumbass in the process)

I would like to apologize to all injured parties, and to those of you who got wind of this via this ’zine and was totally uninvolved, I apologize profusely. My mouth will only contain reviews and profiles.

Thank you for helping this ’zine reach over 500 reads as of today and thank you for bearing with us during this super-ozoned time.

Warm regards,

Scott Mayfield

Editor and Proprietor of 2008’s Stupid Mouth of the Year, Crossfade Grimoire

3:56

2 Compliments