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Portishead by Portishead (CD - 09/30/1997)
 

Portishead by Portishead (CD - 09/30/199...

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Portishead by Portishead (CD - 09/30/1997)
"Portishead" (09/30/1997) Electronic Portishead, London (USA)Portishead: Beth Gibbons (vocals); Adrian Utley (guitar, piano, Fender Rhodes piano, Moog synthesizer, bass); Geoff Barrow (drums). Additional personnel includes: John Baggot (samples); Sean Atkins (background vocals). Personnel: S. Atkins (vocals); Adrian Utley (guitar, piano, Fender Rhodes piano, Moog synthesizer); Steve Cooper (violin); John Cornick (trombone, horns); A. Hague, B. Waghorn (horns); John Baggot (piano, organ); Geoff Barrow, Clive Deamer (drums); Hookers & Gin, Ken Thorne (sampler). Audio Mixer: Trevor Curwen. Recording information: AIR Studios; Moles; Ridge Farm. Like Soul II Soul a few years before them, Portishead spearheaded a revolution in both pop and dance music by introducing a distinctive new groove. Portishead was at the vanguard of the '90s trip-hop onslaught, and after a three-year respite, they return with a self-titled second album to reclaim the trip-hop crown. Beth Gibbons is on her way to becoming the Billie Holiday of electronica, retaining a stoic, laconic tone while recounting tales of despair and emotional upheaval. The lazy, spacious beats that are the band's trademark provide just the right combination of urgency and tranquility to underscore the emotional contradictions at the core of Portishead's music. Adrian Utley's delightfully creepy guitar and keyboard work adorns the proceedings tastefully and effectively. On tunes like "Cowboys" and "All Mine" Portishead makes it plain that when it comes to arresting, unsettling electronic dance-pop, nobody does it better.

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Reiki: Hands of Light by Deuter (CD - 03/05/2002)
 

Reiki: Hands of Light by Deuter (CD - 03...

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Reiki: Hands of Light by Deuter (CD - 03/05/2002)
"Reiki: Hands of Light" (03/05/2002) Electronic Deuter, New Earth RecordsLiner Note Authors: Deuter; HP Beate Blaszok. Of all the CDs designed to accompany the healing energy of Reiki, Reiki: Hands of Light, by Deuter, is one of the best, if not the best. That is no surprise, because Deuter always ascends to the top in whatever style he chooses. His releases are always diverse, with many different applications. This CD is perfect for use in the healing arts. It is also outstanding ambient and deep space music. The atmospheres and soundscapes evoke images of exploration and discovery. It is like a perpetual sunrise -- always new. This disc is in on an elite level and rates with the best work of Constance Demby, Jonathan Goldman, Anugama, and Jorge Alfano. ~ Jim Brenholts

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Parts of the Process by Morcheeba (CD - 08/26/2003)
 

Parts of the Process by Morcheeba (CD - ...

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Parts of the Process by Morcheeba (CD - 08/26/2003)
"Parts of the Process" (08/26/2003) Electronic Morcheeba, RepriseThis collection includes 2 new tracks and a bonus DVD containing 3 videos. Morcheeba: Skye Edwards (vocals); Ross Godfrey (guitar, various instruments); Paul Godfrey (drums, percussion, scratches). Additional personnel includes: Big Daddy Kane (rap vocals); Paul Stacey (acoustic guitar, piano, synthesizer); Pino Palladino (guitar, bass); L. Melhuish (violin); Peter Lale (viola); David Daniels (cello); Andy Findon (flute); Steve Fidwell (trumpet); D Lee (French horn); D. Pipkin, Dan Goldman (keyboards); Steve Gordon, Scott Firth (bass); Chris Laurence (double bass); Miles Bould, Donald Gamble (percussion); Joe Cooper, Graham Kyle, Danny McLevin, Pascale Danae (background vocals); Kurt Wagner. Producers: Morcheeba, Pete Norris, Paul Godfrey, Ross Godfrey. Recorded between 1998 & 2003. Includes liner notes by Nigel Williamson. Morcheeba: Skye Edwards (vocals); Ross Godfrey (guitar); Paul Godfrey (drums, percussion). Additional personnel: Big Daddy Kane, Kurt Wagner. Parts of the Process reflects on five albums and seven years for the London trip-hop act Morcheeba. This stunning 18-track set isn't chronologically arranged, but all the hits and staples are here. Morcheeba loyalists may be slightly disappointed by the exclusion of "Who Can You Trust?" but overall, Parts of the Process captures the beauty of Morcheeba. Big Calm seems to be the major album represented with "The Sea," "Over and Over," "Let Me See," and the song for which this album is named, "Parts of the Process." Other amazing tracks from the band's first release, Who Can You Trust? -- "Tape Loop" and the brooding chill of "Trigger Hippie" -- make this album more complete. But other select cuts are equal in style and still appeal. Cuts from the less popular Charango album add a bit of flair to Morcheeba's sophisticated catalog, especially "What New York Couples Fight About." Even the stormy narrative "Rome Wasn't Built in a Day," from Fragments of Freedom, is chalked in. Those who found Morcheeba's 2001 Back to Mine collection crucial to the band's body of work shouldn't distress; that album doesn't really fit with the direction of this collection. Instead, the trio treats listeners to two brand-new tracks. Big Daddy Kane joins Morcheeba for the funkadelic, hip-hop groove "What's Your Name," while "Can't Stand It" is the band's attempt at chamber pop. While Morcheeba isn't one of the more exclusive acts of British electronic music, they've assessed their power as artists. Parts of the Process is well-suited for those unfamiliar with the band, while still tailored for those faithful followers, too. [A limited edition release of Parts of the Process includes a limited-edition bonus DVD of live material from Morcheeba's brilliant performance at London's Brixton Academy in 2002.] ~ MacKenzie Wilson Parts of the Process reflects on five albums and seven years for the London trip-hop act Morcheeba. This stunning 18-track set isn't chronologically arranged, but all the hits and staples are here. Morcheeba loyalists may be slightly disappointed by the exclusion of "Who Can You Trust?" but overall, Parts of the Process captures the beauty of Morcheeba. Big Calm seems to be the major album represented with "The Sea," "Over and Over," "Let Me See," and the song for which this album is named, "Parts of the Process." Other amazing tracks from the band's first release, Who Can You Trust? -- "Tape Loop" and the brooding chill of "Trigger Hippie" -- make this album more complete. But other select cuts are equal in style and still appeal. Cuts from the less popular Charango album add a bit of flair to Morcheeba's sophisticated catalog, especially "What New York Couples Fight About." Even the stormy narrative "Rome Wasn't Built in a Day," from Fragments of Freedom, is chalked in. Those who found Morcheeba's 2001 Back to Mine collection crucial to the band's body of work shouldn't distress; that album doesn't really fit with the direction of this collection. Instead, the trio treats listeners to two brand-new tracks. Big Daddy Kane joins Morcheeba for the funkadelic, hip-hop groo

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Sound Medicine: Music for Healing by Steven Halpern (CD - 01/21/2003)
 

Sound Medicine: Music for Healing by Ste...

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Sound Medicine: Music for Healing by Steven Halpern (CD - 01/21/2003)
"Sound Medicine: Music for Healing" (01/21/2003) Electronic Halpern, Steven, The Relaxation CompanyRecording information: Open Channel Sound Studio; The Music Annex.

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Inner Peace by Steven Halpern (CD - 08/06/2002)
 

Inner Peace by Steven Halpern (CD - 08/0...

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Inner Peace by Steven Halpern (CD - 08/06/2002)
"Inner Peace" (08/06/2002) Electronic Halpern, Steven, Steven Halpern's Inner Peace MusicThere are certain things you can expect to find on a Steven Halpern release, and they are all here on INNER PEACE. The instrumentation is Halpern's classic combination of synthesizer, electric and acoustic piano, flutes, and in places, English Horn (courtesy of Paul McCandless, who has collaborated with Halpern on other occasions). The range and purity of the tones, from primordial lows to celestial highs, are meant to address the energy of each of the seven chakras. The pace is beyond slow, creating an atmosphere for quiet introspection and healing. Within that formula thrives a refreshing variety of sounds. On the title track, a slow, rolling wave of synthesizer provides a deep drone, while muted horn rises over the horizon like the sun breaking. "Deep Peace" is a tone poem for keyboards, with gentle drum-taps that mimic the heart. Bettine Clemen's sweet flute melodies seem to climb the listener's spine in "Sanctuary of the Heart," and "Traveling Among the Stars" is an effortless, gliding piece for Fender Rhodes piano. The final track, "Time Being," is so motionless it almost defies the rules of music, and yet it generates pure bliss. INNER PEACE is another perfect offering from the master of healing music.

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Give Up by The Postal Service (CD - 02/18/2003)
 

Give Up by The Postal Service (CD - 02/1...

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Give Up by The Postal Service (CD - 02/18/2003)
"Give Up" (02/18/2003) Electronic Postal Service (The), Sub Pop Records (USA)The Postal Service: Ben Gibbard (guitar, electric piano, keyboards, drums); Jimmy Tamborello (programming). Additional personnel: Jen Wood (vocals); Chris Walls (piano); Jenny Lewis (background vocals). Personnel: Christopher Walla (vocals, guitar, piano, drums); Jen Wood (vocals, background vocals); Jimmy Tamborello (accordion, keyboards, programming); Jenny Lewis (background vocals). Audio Mixer: The Postal Service. Recording information: Hall Of Justice/Dying Songs, Los Angeles/Computerworld, (2002). A side project from Death Cab For Cutie frontman Ben Gibbard and Jimmy Tamborello, who formerly played with synth-poppers Figurine but now records as Dntel, the Postal Service creates bedroom electronica with surprising emotional pull on GIVE UP. Ten tracks lyrically convey both a youthful ennui and the nostalgic ache of longing. Tamborello creates a tense sonic space that allows Gibbard's spare yet careful guitar to occasionally chime in and cut the tension. While Tamborello's sculpted electronics hearken back to the minimalism of early Depeche Mode, Gibbard's expressively fey vocals and emotional sentiments lend a warm, comforting contrast to the machine-age chilliness (as do the occasional backing vocals from Jen Wood and Rilo Kiley's Jenny Lewis). This contrast is best illustrated on "We Will Become Silhouettes," when Gibbard sings "[A]nd we become silhouettes when our bodies finally go," only to be followed by a string of optimistic bleeps that are the sonic equivalent of a miniature sky full of twinkling stars.

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Night on Fire by VHS or Beta (CD - 09/21/2004)
 

Night on Fire by VHS or Beta (CD - 09/21...

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Night on Fire by VHS or Beta (CD - 09/21/2004)
"Night on Fire" (09/21/2004) Electronic VHS or Beta, Astralwerks (Record Label)VHS or Beta: Craig Pfunder, Zeke Buck (vocals, guitar, keyboards); Mark Palgy (vocals, keyboards, bass instrument); Chea Buckley (keyboards); Mark Guidry. Personnel: Mark Guidry (vocals, keyboards, drums); Chea Beckley (keyboards). Additional personnel: Martin Brumbach, P.J. O'Connor, Tommy Williams , Anthony Roman, Errol Kolosine. Audio Mixers: Adam Dorn; Martin Brumbach. Recording information: The Magic Shop, New York, NY (02/23/2004-03/04/2004). On their full-length debut, Night on Fire, VHS or Beta trade in the Daft Punk-esque filter disco of their EP for dance-punk with a new wave twist. At their best, as on the album's title track and "No Cabaret!," the band sounds like Robert Smith singing over Duran Duran remixes; like the similarly retro-minded Killers, they have a knack for distilling everyone's favorite new wave/post-punk moments into pop confections. This shiny pop veneer gives VHS or Beta an edge over the increasing, and increasingly tired-sounding, ranks of artists recreating the '70s and '80s' disco-punk hybrids -- instead of trying to attach any kind of deep significance to their rolling basslines, staccato riffs, and polyrhythms, they buff the style's rough edges into smooth stylishness. The only problem with the band's transformation from a dance-inspired band to a poppier one is that their songwriting isn't always as strong as their grooves are; "You Got Me" and "The Ocean" meander, proving that it's possible to sound driving but not compelling. The dance-punk instrumentals are particularly tepid: "Nightwaves"' chrome-plated guitar squeals and four-on-the-floor beat are squandered by stretching a three-minute idea out to five-and-a-half, while the nine-minute album closer, "Irreversible," goes nowhere and seemingly refuses to end. But Night on Fire's second half makes it a little more difficult to dismiss VHS or Beta as also-rans; perhaps not surprisingly, the band gets more interesting once it stops tracing the dance-punk template so closely. "Forever" is a gloriously cheesy disco ballad rife with vocoders, wah-wah guitars, and rippling keyboard arpeggios that recalls VHS or Beta's early work as well as Discovery-era Daft Punk. Though they don't quite achieve the transcendent takeoff that the French duo achieves so effortlessly, the track does sound fresher and more genuine than some of the posturing found elsewhere on Night on Fire. Likewise, "Dynamize" is another fun instrumental, a great big love letter to the big guitars 'n' drums sound of the '80s. VHS or Beta also do well when they indulge their poppier instincts: "The Melting Room" and "Alive" are two of the most danceable songs the Cure never wrote. Even though it's possible nobody will care about dance-punk by the time VHS or Beta get their next album out, Night on Fire is an uneven but promising debut album that suggests that the group may still create something distinctive. ~ Heather Phares

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Med£lla by Bj?rk (CD - 08/31/2004)
 

Med£lla by Bj?rk (CD - 08/31/2004)

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Med£lla by Bj?rk (CD - 08/31/2004)
"Med£lla" (08/31/2004) Electronic Bj?rk, Elektra EntertainmentPersonnel: Bj?rk (vocals, piano, bass instrument, programming); Robert Wyatt (vocals, sampler); Mike Patton, Tagaq, Icelandic Choir (vocals); Nico Muhly (piano); Peter Van Hooke (gong); Mark Bell , Matmos, Rahzel, Valgeir Sigurdsson, Shlomo, Jake Davies (programming). With 2004's MEDULLA, Bjork's already distinctive musical vision is catapulted into another stratosphere. Using the mouth as the primary instrument--vocal, percussive, and otherwise--MEDULLA evokes the ethereal sound of an angelic spirit and a group of Benedictine monks desperately hurtling through outer space. "Pleasure Is All Mine" immediately establishes MEDULLA's haunting, yet strangely comforting, tone. On top of a distorted background of carnal breathing, the vocals of Bjork, Inuit throat singer Tagaq, Mike Patton (Fantomas/Mr. Bungle), and the Icelandic Choir combine with the rhythms of human beat-box Rahzel, building to an eerily ferocious intensity. The album, which also features art-rock pioneer Robert Wyatt, shifts back and forth between ambitious, operatically layered tracks ("Where Is the Line," "Desired Constellation") and more direct a cappella songs ("Show Me Forgiveness," "Oll Birtan"). Bjork reaches her peak when she combines both of these seemingly disparate forces, as in the electrifying "Who Is It (Carry My Joy on the Left, Carry My Pain on the Right)" and the album-closer, "Triumph of a Heart." MEDULLA proves that, once again, when it comes to sheer musical audacity, Bjork knows no boundaries.

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Anything [Digipak] * by Martina Topley-Bird (CD - 09/01/2004)
 

Anything [Digipak] * by Martina Topley-B...

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Anything [Digipak] * by Martina Topley-Bird (CD - 09/01/2004)
"Anything [Digipak] *" (09/01/2004) Electronic Topley-Bird, Martina, PalmBest known for her guest appearances on Tricky's first three solo albums, Martina Topley-Bird owes much to the trip-hop movement, yet is not defined by it. Originally released in the UK to much critical acclaim under the title QUIXOTIC, ANYTHING is a pared-down, re-sequenced version of that original album, and serves as the US introduction to Topley-Bird's postmodern, electronica-infused soul music. Sophisticated, unpredictable, and intense, Topley-Bird veers between rock ("Need One"), ragga-rap ("Ragga"), atmospheric ballads ("Sandpaper Kisses"), and piercing pleas of emotional intensity (the spectacular title track), all unified by a keen sense of stylistic focus. Topley-Bird's sultry voice, at once understated and sharp as a tack, is equally at home with classic soul styling ("Soul Food"), and on edgier material ("Too Tough to Die"). Like the best of Britain's digital-era soul, ANYTHING is rhythmically driven, but ethereal, combining the otherworldliness of electronic soundscapes with a vocabulary informed by hip-hop, experimental music, and pop. Topley-Bird takes this recipe one step further here, and promises--if her debut is any indication--to take it even further in the future.

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System Trance Anthems, Vol. 2 by Various Artists (CD - 02/21/2006)
 

System Trance Anthems, Vol. 2 by Various...

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System Trance Anthems, Vol. 2 by Various Artists (CD - 02/21/2006)
"System Trance Anthems, Vol. 2" (02/21/2006) Electronic Various Artists, System RecordingsDJ: John Hazen. Audio Mixer: John Hazen. Audio Remixers: Denis G?kdag; Ian Wilkie.

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The Rough Guide to the Asian Underground by Various Artists (CD - 03/11/2003)
 

The Rough Guide to the Asian Underground...

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The Rough Guide to the Asian Underground by Various Artists (CD - 03/11/2003)
"The Rough Guide to the Asian Underground" (03/11/2003) Electronic Various Artists, World Music Network (UK)Includes liner notes by DJ Ritu. Liner Note Author: DJ Ritu. Photographer: Antonio Pagano. Unknown Contributor Role: Christie Mellor. How you view the Asian underground might well be a matter of geography. To those in the U.S., it's an English-based scene that blew up in 1997 and exploded. In Britain, its roots date back to the beginning of the '90s, as this compilation so excellently explains. Starting with the granddaddy and inspiration to all, Ananda Shankar, it takes off through the pioneers, like State of Bengal and Black Star Liner, with Fun-Da-Mental's "Ja Sha Taan" an especially strong track with its strong qawwali influence. But there are no bad cuts here. Orchestral World Groove's "Pyar" is marvelously atmospheric and Asian Dub Foundation smokes, while Mahatma T offers an early glimpse of Talvin Singh, at one point the movement's poster boy. Full marks to compiler DJ Ritu -- a veteran of the scene herself -- for including a track by Sister India, who is unsigned to a label but remains quite successful (and from the sound of "Out of Place," the group deserves to be widely heard). If you though the Asian underground was all banging club beats, then this compilation is going to make you think again; it's a range of music, a mindset, if you will. And an unreleased track from Joi is simply icing on the cake. Maybe, as the notes suggest, the scene is currently in a lull; if so, you have to think it's just the calm before an even bigger movement erupts. A superb disc, excellently annotated. ~ Chris Nickson

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The Essential Chill Collection [Box] by Various Artists (CD - 11/04/2003)
 

The Essential Chill Collection [Box] by ...

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The Essential Chill Collection [Box] by Various Artists (CD - 11/04/2003)
"The Essential Chill Collection [Box]" (11/04/2003) Electronic Various Artists, Topaz Records

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Ultimate Trance Party, Vol. 2 [Box] by Various Artists (CD - 01/13/2004)
 

Ultimate Trance Party, Vol. 2 [Box] by V...

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Ultimate Trance Party, Vol. 2 [Box] by Various Artists (CD - 01/13/2004)
"Ultimate Trance Party, Vol. 2 [Box]" (01/13/2004) Electronic Various Artists, Topaz Records

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Summerbreeze by DJ Ti?sto (CD - 01/01/2006)
 

Summerbreeze by DJ Ti?sto (CD - 01/01/20...

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Summerbreeze by DJ Ti?sto (CD - 01/01/2006)
"Summerbreeze" (01/01/2006) Electronic Tiesto, Nettwerk AmericaThis is a continuous in-the-mix CD compiled and mixed by DJ Tiesto. Personnel: DJ Ti?sto (turntables); Jan Johnston (background vocals). Audio Mixer: DJ Ti?sto. Audio Remixers: Oliver Lieb; DJ Ti?sto. As they say, you are a target market. Released to help coincide with a timely North American tour, Summerbreeze coddles an erratic DJ Tiesto -- a bit too eager to please his new audience -- with big tunes and creative hypertension. Okay, probably unfair considering the quick hurdles Tiesto has jumped in trance circles. After all, it's easy to be seduced by his knack for driving home highbrow warmth or to be impressed with the manner in which he can put a clever spit'n'shine on what's usually considered mawkish elation. Rather, the dilemma stems from dishing out those songs that got universal drool (BT's "Dreaming," Delerium's "Silence") for no other reason except that they weren't absolute excrement. Redemption rarely comes out to play with Tiesto. The closing landslide of swelling, staccato beats that is "Wonder" is about as close as he gets to a game of handball with his muse, but it feels like one of pity. Don't let anybody ever lie to you that strength can't be found in being a little more off-target. ~ Dean Carlson Released to help coincide with a timely North American tour, Summerbreeze coddles an erratic DJ Tiesto with big tunes and creative hypertension. After all, it's easy to be seduced by his knack for driving home highbrow warmth or to be impressed with the manner in which he can put a clever spit'n'shine on what's usually considered mawkish elation as he dishes out songs like BT's "Dreaming" and Delerium's "Silence" that got universal drool. ~ Dean Carlson

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Med£lla [Limited] by Bj?rk (CD - 08/31/2004)
 

Med£lla [Limited] by Bj?rk (CD - 0...

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Med£lla [Limited] by Bj?rk (CD - 08/31/2004)
"Med£lla [Limited]" (08/31/2004) Electronic Bj?rk, Elektra EntertainmentPersonnel: Bj?rk (vocals, piano, bass instrument, programming); Robert Wyatt (vocals, sampler); Mike Patton, Tagaq, Icelandic Choir (vocals); Rahzel, Nico Muhly (piano); Peter Van Hooke (gong); Mark Bell , Matmos, Valgeir Sigurdsson, Shlomo, Jake Davies (programming). With 2004's MEDULLA, Bjork's already distinctive musical vision is catapulted into another stratosphere. Using the mouth as the primary instrument--vocal, percussive, and otherwise--MEDULLA evokes the ethereal sound of an angelic spirit and a group of Benedictine monks desperately hurtling through outer space. "Pleasure Is All Mine" immediately establishes MEDULLA's haunting, yet strangely comforting, tone. On top of a distorted background of carnal breathing, the vocals of Bjork, Inuit throat singer Tagaq, Mike Patton (Fantomas/Mr. Bungle), and the Icelandic Choir combine with the rhythms of human beat-box Rahzel, building to an eerily ferocious intensity. The album, which also features art-rock pioneer Robert Wyatt, shifts back and forth between ambitious, operatically layered tracks ("Where Is the Line," "Desired Constellation") and more direct a cappella songs ("Show Me Forgiveness," "Oll Birtan"). Bjork reaches her peak when she combines both of these seemingly disparate forces, as in the electrifying "Who Is It (Carry My Joy on the Left, Carry My Pain on the Right)" and the album-closer, "Triumph of a Heart." MEDULLA proves that, once again, when it comes to sheer musical audacity, Bjork knows no boundaries.

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