SLAM. Dark Forces Remixes. Soma 45cds

The final track from the excellent ‘Headstates’ debut album by duo Stuart McMillan and Orde Meike better known as Slam features four remixes and the amazing original version of ‘Dark Forces’. The Claude Young mix gives the single a hard Detroit image whereas the Kenny Larkin version combines some harshness with inventiveness and the outcome is much more satisfying. The ‘Sick Organ’ remix was lifted from the Full Circle compilation album. ‘Plastic Jazz’ is only available on the cd format. Underground dance is moving on from it’s predictability and although the remixers are trying hard to improve on the original, in reality it’s a hopeless task. (Phil Brook)

QUBISM. Emit 2294

1994 was a good year for Emit collectors, this being the 3rd album in the series. Qubism, a name difficult to forget, sprang onto the scene with a full length release. The track ‘Anthropomorphic’ was included in the compilation 0094 although here it’s running time has been almost doubled. It was previously superb and now it’s even better because of the electronics, Japanese style surrounding mellow themes of haunting experimentation. The results are breathtaking, at long last a company who really care about music, and are willing to allow artists from all around the world to challenge the previously held belief that experimental music was only for the performer and not for the listener to enjoy. Even employing techno on ‘Repercussions’ doesn’t detract from the melodically generated. Today, this is as fresh as any other material available. This series boldly goes where no record company goes before so trek of into the excel zone! (Phil Brook)

RED SNAPPER. Prince Blimey. Warp CD45

Of all the artists signed to Warp records, these are the ones that don’t appear to fit into the modern electronic techno sphere,. For a start they use real instruments and play as a band. Surely the record company have not made a drastic change of direction. Certainly not as Red Snapper use their instruments to the limit to explore interesting sounds, this technique is definitely not standard. The line up consists of guitarist David Ayers, bassist Ali Friend, drummer Richard Thair and wind instrumentalist Ollie Nocre. The results are startling, electronic music without the electronics, the style is all their own not borrowed or sampled from elsewhere. The opening track ‘Crusoe Takes A Trip’ is brilliant. There’s only one track with lyrics and this is sung by Anne Haigh. An album that slowly grows and as my initial thoughts were of an extremely high standard you will now appreciate the esteem in which I hold the band. (Phil Brook)

SIMON FISHER TURNER. Shwarma. Mute. CDSTUMM151.

I really do believe that there is some form of divine intervention. It was only recently received an intensely superb album by Simon Fisher Turner, on Humbug Records, called Revox Volume 1, and I was wondering when Volume 2 would come out. Well, this isn’t quite Volume 2, but it’s probably the nearest we’ll get. It’s also as good, if not better than the above. As usual, it’s full of soundbites, recorded by SFT on his travels around the globe. He’s also enlisted the likes of Kate St. John, Bruce Gilbert and Jocelyn West. Unlike Revox, this is more than just a solo album, and the landscapes unfold like an aural map. This is a very successful experimental album that adds yet many more facets to the world of ambience. (Dave W)

BLECH. Blech. Warp CD44

Is this a compilation album by various artists on the Warp label or by Blech.—’ Well both really as Strictly Kev and PC of Ninja Tune’s DJ Food have been unleashed in the ballroom vaults of the Cavendish Buildings to cut up, dress up and serve a remix package that is as outstanding as the originals are. Artists featured whose music has been reconstituted include Autechre, Aphex Twin, LFO, Nightmares On Wax and Red Snapper, all pioneers of the electronic groove. The ambient world of B12 has been shocked by the inclusion of a Jungle beat. All the tracks have been put together to blend into a continuous mix with some of the tracks being divided into quarter segments to make up a 23 track album. A word of warning, this is not to be confused with the original cassette only version released back in December 1995 as the track listing is different. Yet another classic from the Warp stable this time only available on cd. Press play to begin and then press repeat. (Phil Brook).

LOOM FEATURING BILLY MACKENZIE Anacosta Bay. Millenium Mill 022CD

A single of over 42 minutes duration giving tremendous value for money and featuring Billy Mackenzie who initially rose to fame in the 80’s with the Associates. Four different mixes including the instrumental with the building electronic catchy background spinning a rich collage of sounds in a melodic fashion. All the tracks retain the same theme yet are sufficiently altered to prevent repetition. The instrumental is excellent in itself, and with the vocalist it is enhanced. Hopefully a chart winner! PS, I like the 9 minute 23 second radio edit that will cause problems for the standard 4 minute radio slot (Phil Brook)

APHEX TWIN. Richard D James. Warp CD43

How can Aphex Twin continue his techno trip into the mid nineties when this type of music is now considered by some to have become staid and very predictable? His reply is emphatic as James exploits the latest beats and invents new ones which unfolds into a typical outing of electronic mayhem. Ten shortish tracks allows the musical author to ring the changes between tracks like ‘4’ and ‘Peek 824542.011, where the mellow meets the harsh and boundaries disappear at an alarming rate. On ‘Fore Street’ a more standard approach is used to provide an easy listening (well easy for Aphex) segment on this well crafted album. I was surprised by the ‘Girl/Bay Song’ where a ‘string quartet’ is joined by an extremely fast jungle beat - a song that works exceptionally well. A much shorter cd lasting only 33mins, yet Aphex is still one of the best which the rest can only admire. (Phil Brook)

MOBY Animal Rights. Mute CD Stumml5O

Having missed Moby’s previous release ‘Everything Is Wrong’ Mixed and Remixed, it’s good to acknowledge that the man is still willing to show what diverse type of music he can still perform and write. The clash between the opener ‘Now I Let It Go’ with the succulent violin playing of Hahn Rowe and the following heavy metal effect of ‘Come On Baby’ is so strident, the listener will wonder what genre he is supposed to be entrenched in. Moby plays drums, guitars, bass and keyboards and uses tongue in cheek titles life ‘Soft’ to show a slightly lighter (!) side of the heavier scene with lyrics to match. He is very angry about the lack of animal rights. The normal dance area has been left alone and apart from the first and final two tracks, Moby is in a very heavy metal music mode. (Phil Brook)

LUNAR DRIVE. Here at The Black Mesa, Arizona. Nation NR1076CD

Enter one Sandy Hoover, armed with a video camera who recorded typical North American experiences in Arizona for Channel 4 viewers. Why loose an opportunity for a musician/editor/web-surfer to produce a tv programme only when an album was possible. Surely this would only be a soundtrack anyway. The answer is surprising as she has sought the assistance of a respected producer with an impeccable record of sympathetic understanding, Count Dubulah of Transglobal Underground fame who’s distinctive multi - cultural dance production techniques are used to fill out the soundscore with fascinating, intricate rhythms and loops of desolate beauty. ..South Dakota is like a cross between the slower vocal sections of Enigma and up tempo dance music. The following piece Wupatki Crater features the spoken word of Rey Cantil set to an electronic score. I read the press release before listening to the album and it did not do justice. Lunar Drive speed down the highways of Arizona in a vehicle of class. Reliability guaranteed. (Phil Brook)

NEURONIUM. Numerica. Thunderbolt. CDTB 082.

A couple of years ago, Modern Dance got an album from Thunderbolt by a guy called Michael Huygen. I can’t, off hand, remember what it was called, but the point is, Neuronium is Huygen’s band. What I find rather ironic is that the band members in Neuronium (or, they are on this album) are, none other than Michael Huygen... and that’s it! Synthesizers rule the day on this 8 track/8 movement album. It was recorded in Spain back in 1989, and fortunately (unlike Pete Baumann and Ashra’s later Virgin albums) it doesn’t slip into what I call Europop. Extreme Limits, Promenade, Deep Illness Of Love and Au Revoir are pretty impressive pieces that on the one hand enlighten and lift the heart, then, by turns, bring about a deep and foreboding mood. A terribly overlooked synth ‘band’. Check it out. (Phil Brook).

VARIOUS. Viva Diablo Blanco. Indochina. ZEN013CD.

Cracking taster/sampler from Indochina that contains some tasty gear. Okay, so there’s a picture of a snow boarder on the cover, don’t let that put you off! Bands such as Apollo 440, 808 State, Art Of Noise, Fila Brazzillia, Morcheeba and Omni Trio. I must confess, however, to going truly apeshit over the one track by Grantby. The track in question is called Timber, and contains a truly remarkable use of what (I’m sure) is a sample from You Only Live Twice - not the actual song, the movie. The unmistakable sound of Barry’s strings and orchestral strut is there, shadowed by a little bit of scratching - remarkable. There’s 13 tracks in all, producing not only a big fat playing time, but it should produce a big fat smile on your face. (Phil Brook).

VARIOUS. Anthems For The Chemical Generation. Virgin.724384472924

Compilations like this one are being released in such profusion, it is becoming more difficult to decide which fit into the highly recommended category. All the tracks bar two are very well known, some perhaps too well known like Fools Gold by the Stone Roses and the Sabres Of Paradise’s Smokebelch 1. Add Underworld’s Born Slippy (Nuxx mix), the Future Sound Of London’s We have Explosive (Part 1) and the original version of Inner City Life by Goldie. Another popular selection is Alex Reece featuring Deborah Anderson with Feel The Sunshine and the message becomes clear, no chances have been taken to deviate from the safe path. As mentioned earlier, the only tracks that may not have been heard are the Propellerheads Spybreak! and Back Tae The Auld Skool by Craig Smith. It all starts with the still memorable Pacific 202 by 808 State, flows into Chime by Orbital and then continues with the original mix of the Sun Rising by The Beloved. There’s even the Choppers Mix of a Black Grape song and Don’t Fight It, Feel It by Primal Scream. The other track to complete this album is the Witewash edit of Fluke’s Absurd. To recap, the fourteen tracks offered here are popular anthems for the chemical generations and this is the musical equivalent of a coffee table book. So it is quite easy to listen to this album that contains ideal music for the car cd. (Phil Brook)

PLAID. Undoneson. WARP. WAP95CD

It was with great personal regret when the North London collective known as The Black Dog split after the release of their excellent Spanners Album. It was hard to imagine that such talent could stay idle for any length of time and the remaining two members have reverted to the name Plaid. Ed Hanley and Andy Turner work presented here only lasts for quarter of an hour, yet within that short time they had me completely hooked. The title track is very inventive, the second (Spudink) very melodic and the finale Headspin has a pseudo drum ‘n bass feel, where the emphasis is on gentle melodic lines of lasting quality. It’s smooth and not in any way bland. This short single heralds great instrumental electronic music from their forthcoming album Not For Threes. Get it, I certainly will! (Phil Brook)

JEAN MICHEL JARRE. Oxygene 7-13. Epic. 486984.

Carrying on in the great tradition of revisiting old haunts (ala Oldfield), Jarre has given us another seven chunks of Oxygene. Granted, it’s not quite the Part II scenario (or is it?) - to be truthful, who gives a damn - if the music’s good, then let’s listen. I had the opportunity of going to see this gent in Manchester recently, and was simply overawed with the whole experience. It was great to hear the old numbers come chugging out of the analogue, and half-remembered pieces came tumbling forth via the superb lights and the hellishly loud PA. In and amongst the old, and not so old, material from this album was presented. Part 7 indeed opened the show, the new single, Part 4, closed it. Inbetween we were treated to the amazing Part 11, which really gets those neck hairs to raise. Like I once heard about Tubular Bells part II, the room is the same, but the furniture has been moved. Jarre has produced a superb album that betters some of his later albums, and goes a long way to show that this man is a really gifted visionary who is capable of producing some of the best popular electronic music there is. (Dave W).

CRESCENT. Electronic Sound Constructions. Snapshot. CLK 001CD.

As the cd back sleeve states, this is a cd of home recordings by one member of the Crescent Quartet. The album isn’t easy going, at first, but if you have a broad sense of adventure, and enjoy having the odd challenge thrown at you, then this will fit the bill very well. The inner sleeve notes are about as informative as Roswell, so I’m afraid I can’t give you too much about who what or why. What I will venture forth is that it isn’t an album you’d put on at a party! Personal involvement is of the essence here, and I can distinctly hear people uttering what the hell’s this? But battle on, brave soldier, as there is some interesting diversions to be had. I won’t say that the music is utterly brilliant because I don’t think there was that much that went in to it. What does come across is the superb spontinaity, and that’s what counts. (Dave W).

RONNIE & CLYDE. In Glorious Black And Blue. SWIM. WM15

My first, and I am glad to say lasting impression of the instrumental music of Ronnie & Clyde came from the excellent Swim compilation double album released not too long ago, where the representative track Last Hand was well above the standard required. It’s jazzy overtones will stay with me for a long time. John Ross and Robert Fitzpatrick have released an album that demands attention. The second track Theme From A Lazy Life starts and finishes with choral singing, throw in, in a very structured way of course drums and acoustic bass then provide the rhythm with other electronic sounds that expands the sound to make a magnificent instrumental of distinction. If you like me enjoy a heavy meaty bass, then this album is for you. Macro-Scopic contains a fast jungle beat in comparison to the following track Twice Removed, where a gentle beats contain an easily hooked melody and a dreamily treated acoustic guitar. It’s now only at the half way stage through the album and being disappointed is one of the thoughts furthest from my mind. The tenth and last track The 33rd Caller is slower with dreamy bass lines and piano like riffs with just the right tempo to gently lull the listener off to sleep after hearing what is really a very good album. They indulge in a variety of subtle styles and they deserve your support. After playing this album in glorious black and blue, I hope to colour your judgment. (Phil Brook)

BABY MAMMOTH - One....Two....Freak - Pork - CD044

Their last album was quite a surprise, as it was one of the best tonics that I have heard for bringing someone out of the dumps and making the observer feel much happier. Although this album does not have quite the same effect, I still muse at the track listing which states such obvious things as Skidding On All Fours, Warm Air Rising and Sound In Your Mouth. The third track entitled Additive is as addictive as they come with deep rolling bass, loud drums and a beat of a dance nature. Luna Park continues the trend with slightly unusual percussion grafted onto a faster riff and neatly fitted with a slower haunting melody. This is a fine exponent of their creativity which is used to the full. They have a distinctive flare for blending melodic overtones with harsh drum patterns and guitars and, in particular on Zen Butchers it appears to combine three differing sections into just one piece. Basilica is a typical example of their beguiling, simplistic approach to composition which completely retains the beautiful choral arrangements. Foxy Grandpa uses a rather weepy sample to fascinate the mind from the backing drum loops and bass and as such is incredibly infectious. I am still waiting for the album filler (ie the weaker track) perhaps it’s the final piece Level Freak? No it’s another good track this time featuring a trip hop beat. This album is much better than their last and that was very good. Electronic music has taken another turn and I just want more, More, MORE! Probably one of the most underrated duo from New Yorkshire (Kingston Upon Hull) or even the UK. (Phil Brook)

VARIOUS. Electronic Drum & Bass. Lodestone. YUMMYCD2.

How far has drum ‘n bass developed since it’s inception? The answer can be found in this 60 min slice of electronics that improves this now familiar genre. The first thing to strike me is how exceptionally mellow the opening track by Mellofonic is, but please don’t take the word mellow to mean bland because this piece entitled Zen Buddies is really the most chilled out drum ‘n bass that I have ever clapped my ears on and as a result it receives an excellent rating. Their debut album is awaited with great interest. The next track by Robots & Humanoids is just another name of R.H. Kirk, who is a noted pioneer of musical electronics and on Robot this true pioneering material can be intoxicating at the same time. Mig’s String Filter appears on the surface to be a straight forward example of the type apart from the lush sample of diy stores music that beautifully balances the stark with the syrupy. Not many of the tracks feature fast and furious drum beats, but some such as Mystery James Blokes’s Dark Basic Life Form is even slower than you would imagine and in my opinion better much for it. B Scale are two former East Germans who deliver a brilliant musical version of Jekyll & Hyde. The final track by Doktor Uggs (!) is unusual as it features a harp on this lovely Desert. In general the usual stripped down sound is no longer prevalent and artists have resorted to much more inventive structures whilst still using the drum ‘n bass feel. In short this is an album of distinction. (Phil Brook)

VARIOUS. Dream Mixers. Virgin CDVD86.

Subtitled a non stop dance mix 97, these all time classic anthems have been put together to fill longer segments of music lasting for the most part in excess of ten minutes. A typical example is the opening track which slices four pieces of known material into almost thirteen mins. The very well known X Files and Higher state Of Consciousness are entwined with Offshore and Seven Days And One Week. Some of the other tracks which are included on the first disc are the bouncy Rhythm Of The Night and Underworld’s Born Slippy. Other highlights include Moby’s Go on the fourth track and the chart hit Rhythm Of The Night as part of the fifth sound collage. On the second disc, of the five offerings the final seventeen plus mins only contains four individual section. The two by Robert Miles are the well respected Children and Fable which are followed by DJ Quicksilver’s Bellissima, a current favourite and it finally ends with the almost singalong I Love You Stop. Unfortunately there is no information as to the identity of the Dream Mixers, but they do a very good job of it all. Why should I recommend this album above all the other mass releases when they may appear to offer more up to date songs? The answer is quite simple, not all up to date songs will become classic anthems. (Phil Brook)

VARIOUS. Electronic(Full On Beats). Virgin. VTCD131.

Where as the other recent compilation Anthems For The Chemical Generation is more designed for the less serious listener, this double album is much better, mainly because it allows a greater diversity of tracks in the electronic mainstream to be presented in a balanced way. Although it contains some of the same tracks as on the Chemical Generation like the Future Sound Of London’s We Have Explosive, Goldies’s Inner City Life and Underworld’s Born Slippy, the other 31 show the range from the power of Orbital live in New York (Satan) to the brilliant finale by Massive Attack (Protection The Eno Mix). It all starts with those Block Rockin Beats the original version by the Chemical Brothers and navigates via a rather impressive Hardfloor mix of It’s No Good By Depeche Mode to the single version of Leftfield/Lydon’s Open Up, to the Grid’s Rollercoaster (Original) and finally ends the first disc with the 440 Radio Edit of Apollo 440’s Ain’t Talkin’ About Dub. Continuing onto the second silvered spinny thing, the full length Dream Version of Children by Robert Miles makes a change from the normal mix available on a lot of other albums. Also of interest is the Daft Punk remix of Life is sweet by the Chemical Brothers. I still love the delightful infectious sound of Wilmot by the Sabres Of Paradise and although it is only the shorter version, the trumpet notes will be repeatedly sung in ones head. Everything But The Girl contributes just one track, that is Walking Wounded the Dave Wallace Remix, which is another hidden masterpiece. I could go on, but the above are just some of the edited highlights, you probably could come up with an entirely different choice to mine, but to do that you’ll need this double album. Now there’s a hint. (Phil Brook)

BANCO DE GAIA. Big Men Cry. Planet Dog BARK CD025.

Few artists can hold the attention of the dance media for long and still be in their good books, however Tony Marks has previously released two spectacular studio albums and a live set recorded at Glastonbury that certainly caught and held the attention of those writers. It was now time to return to his own studio and put together a new collection of pieces with a subtle change of direction. Instead of featuring global samples as the main source, the emphasis is towards using real instruments, partly due to the increasing problems of obtaining clearances for their use. For instance, the saxophonist Dick Parry of Dark Side Of The Moon fame is featured on the track called Celestine, which has a similar composition to many a Pink Floyd piece. The album starts with Drippy, a percussive section built around a drop of water sample and evolves into a dancey track. Big Men Cry is dripping with those lush themes and a haunting style of violin playing, where the melancholy balances the uplifting sections in just about the right proportions. The final accolade is a 19 min glorious track about the Starstation Earth where you will find a musical welcome to the homeworld. There’s nothing to cry about here, just plenty of rejoicing where Banco continues to release spectacular albums. (Phil Brook)

COLIN NEWMAN - Bastard. Swim. WM3

Although this CD cover states 2 CD’s, this is not strictly a double album, rather an album and an ep from ex-Wire man Colin Newman. The title and one fingered salute displayed on the front cover may alienate some prospective purchasers, I think it should draw your attention to a fascinating trip across the musical barriers. For starters a dance beat with guitars may lead you to think this sets the mood. The second, called May uses distorted lead guitar to provide the melody while the very solid rhythm is in the care of bass and drums. The next piece is even better as he shows his grasp of all types of music is firmly held in his fingers. Slowfast (Falling Down The Stairs) is his reply to the current drum n bass craze and he uses lots of different gadgets to make a track that is asking to be noticed. The fourth installment Without benefits from the use of string instrumentation and is certainly one hell of a catchy tune. After the standard dance type beat of the fifth track, the blending of guitar and electronics is boastful to a point where the riffs, melodies and tunes all explore the edges of what is called normal and at times the results make you believe it’s just a ordinary instrumental rock band, such as Spiked. Don’t be fooled, as he mixes certain telephonic sounds into the overall aural picture with the help of Robin Rimbaud scanning the airwaves on a track from the ep. With a pedigree of fine albums released, Newman with the help of Malka still proves the ability to compose and produce music of very high quality has not been lost. Just one of the many aspects of amazement found on this album is the variety of styles. This is no bastard - it’s a thoroughbred. (Phil Brook)

SQUAREPUSHER. Big Loada. WARP. WAP-92CD.

Squarepusher’s (aka Tom Jenkinson) previous album Hard Normal Daddy was in my opinion a milestone in the history of the recorded sound, not because of any startling development in hardware, no, just the achievement of breaking out of the rather confining strait jacket of jungle and pushing it to it’s limits. This seven track cd of previously unreleased material is superb. The drum beats on the opening track A Journey To Reedham (7AM Mix) are at times at lightning speed and the associated strong melodies prevent the music degenerating into a cacophony of noise. After the second track, which the drums are only marginally slower, the previously mentioned super fast drum snare beats hit home to contrast with the ever so melodic tune of Massif (Stay Strong). The forth shows his mastery of the bass guitar. After another harsh track, the sixth (Tequila Fish) reverts to the more melancholy sounds, at least during the first half before the drum ‘n bass vein pervades the latter. The final track Jacques Mal Chance (Il n’a Pas Chance) uses slightly off key sounds to make a short section that could almost be danced to. Although this will not help to popularize drum ‘n bass music, his ideas are so wonderful and ahead of their time, he must surely be regarded as a genius eventually. It might just take the public a little longer to catch up with his music. (Phil Brook)

AUTECHRE. Cichlisuite. Warp. WAP96CD

The duo's last single was a bit of an eye opener as they tore down the last vestiges of musical boundaries and modified the sounds from the insides. They are not content with just being experimentalists of electronic music, they wish to alter the very fabric of modern instrumental music. Although labelled as a single, this is really a half hour ep that continues the good work of the previous offering and dare I say contains the odd easy listening section. The less well versed may describe this as electronic noodling or dabbling in comparison to my opinion of bold compositions that certainly work well together. I wish there were a lot more musicians of this caliber producing quality material. It all starts with Yeesland, a track that contains unusual harsh sounds which compete with an almost syrupy melodic line to complete the formula. This is followed by the even harsher Pencha which makes appreciation more difficult. Characi is the best, mainly due to the intriguing use of seemingly odd loops of samples that don't appear to fit, yet the results are an undeniable success. It finishes all too quickly for me after seven mins had elapsed. Krib is slower and much more mellow and the final track Tilapia exhibits a peculiar charm. The cutting edge of music and Autechre are never far apart and you won't find many of these sounds on any other packages. Very fine indeed. (Phil Brook)

ZART. Zart. Millennium. MILL029CD.

My mind is never closed to any new act, just because they are unknown does not mean they are lacking in musical ability. There's always little bit of excitement for me when a new debut album is about to be played for the first time, perhaps at my age I am easily pleased! Zart hails from Mersey side and the first track, Dark & Deep, surprises with funky sounds blended into a totally melodic dub tune whilst escaping any semblance of possible blandness. Dig Deeper is a little like the output of u-ziq mixed with Children Of Dub. He also dabbles with trip hop and drum'n bass and the ghost of Kraftwerk's musical inspiration occasionally permeates. The glorious dub type bass resounds and fills the head with gorgeous notes, all this care of the track called Dwate. Just as you may have detected a repetitive theme, the next track could be from a classical piano concerto except for the strange background noises that suddenly develop into a Led Zep style riff. Unusual to say the least and jolly good musical fun. The seventh track offers another lurch in a different direction, lyrics with a strong language content dubbed onto a varied and often changing theme which all slot together perfectly. The ninth is a great dub or is it drum 'n bass track. The production is first class, so naturally headphone listening is heartily recommended. It's not often that an album is likely to excite reviewers and public alike yet this is pleasurable listening, so go on indulge yourself. For a debut album, the maturity of composition shown is breathtaking, Zart should not be described as a promising newcomer, but as an exceptionally gifted musician. (Phil Brook)

TANGERINE DREAM. Oasis. TDI Music. TD1007CD.

I didn't realise 'til the album came through, that it was actually an album that contained music from the original piccy, and was indeed a soundtrack! Mind you, I've not heard of the film. This version of TD is back to Edgar and Jerome (Froese). Being fair to the lads, it's actually one of the best albums I've heard by the Froese's and looking at the sleevenotes it would appear that Oasis is a kind of geographical documentary. The subtitle is Natural Wonders Of The American Southwest - I'd love to see, and hear, it. There are eight tracks that sparkle with originality and a freshness that's been lacking in one or two of TD's late-period material. One or two of the titles give you a bit of a visual starter, such as Summer Storm, Waterbom and Flashflood, but stuff like Zion and Cedar Breaks don't give too much away. This initself is no bad thing as your mind is left, unfettered, to wander without influence through the colourful and magical synoptic landscapes created by the Froese's. Pretty effective stuff - even without seeing the film. (Dave W.)

VARIOUS. Untouchable Outcaste Beats Volume One. Outcaste CASTE 3CD.

A veritable cornucopia of eastern influenced music with western foundations that, it has to be said, form a pretty interesting list of goodies. Some of the styles are very familiar, and so, are too, some of the names: Natin Sawhney and stuff from the 70s psychedelic sitar-funk classics from Dave Pike Set and Amanda Shankar. It has to be admitted that a lot of Indian and/or Pakistan music is okay when it's instrumental, but quite a lot of the vocal styles leave me cold. Fortunately most of the aforesaid vocals are quite acceptable. All in all its a very stylish album that opens yet even further the doors of musical perception. (Dave W).

SALARYMAN. Salaryman. City Slang. EFA#04996

Two years ago in Illinois, a quartet was formed to accompany a female singer. The resultant music worked so well, the band decided to experiment with lo-fi grungy guitars which they describe as a basement music' project ie music that you would play in your basement if you have such a luxury. The seven tracks lasts for 40 mins and were recorded without the use of over dubs but did include live TV broadcasts to enhance the overall effect. This will not be to everyone's liking and you certainly won't hear any of these on Songs Of Praise. The album should be by expectation, a lo-fi event yet the acoustic drums are presented in full frequency and therefore mitigates to some extent the style. The music does not contain many riffs or melodies, instead it relies on a collection of samples above the beat which are not in any way discordant or out of place. Inca Picnic is a typical example of the new format and I cannot think of any other purveyors who I can compare them to. Apart from the organist and drummer, the other members of the band mix samples and broadcasts etc into the final mix. On New Centurions, the sampled noises are carefully structured to become an integral part of the rhythm. The last track uses an odd collection of notes and an occasional riff with bucket loads of distortion to achieve a tuneful instrumental piece with TV dialogue. It may be slightly uncomfortably to appreciate what they are doing yet amongst all the drones there is a refreshing spirit of adventure. (Phil Brook)

VARIOUS. Fused. Polygram TV 553 482-2

After the great success of the first double CD compilation of the new directions in dance (called Wired), there had to be a follow up. This time it is subtitled 3 5 New Directions in Indie-Dance and it features an impressive who's who of well known artists/bands playing some of their better material. The album starts with a modern mix of an old TV theme, The Saint by Orbital and finishes with the 711 edit of Darkheart by Bomb The Bass. The Hardfloor mix of It's No Good by Depeche Mode does not thankfully, live up to it's title and the Propellerheads mix of 808 State's Lopez is rather tasty. The Charlatans latest album contains a couple of songs where the Chemical Brothers have assisted and they have remodelled Nine Acre Dust for inclusion. Add tracks by Leftfield/Lydon, The Grid, New Order, Robert Miles and yet another remix of Josh Winx's Higher State Of Consciousness (Dex & Jonesy's Higher Started Mix). If that was not sufficient to satisfy, the second helping has The Orb, Portishead, Underworld, Orbital, Bjork, Goldie and Alex Reece. The 7" original of Papua New Guinea by The Future Sound Of London is a very worthy addition as is the drum n bass version of So Many Dreams by A Guy Called Gerald (Aquasky Radio Edit), a name to follow closely for the future. With over 150 mins of playing time and the choice of artists, how could anyone criticise the format of music. (Phil Brook)

BABY MAMMOTH. Bridging Two Worlds Pork 042

The duo of Blissenden and Burdall recording under the name of Baby Mammoth presents an instrumental package of modern sounds to spread happiness. A certain amount of patience is required to grasp all the fine detailed music in one go, yet the average person should have no problem in accepting these uplifting proceedings. Applegate introduce the style which is basically trip-hop with a jungle beat and jazzy influences surrounding a sample of the words of Bishop Desmond Tutu. The next track, Musk Tusk has a lovely bass heavy production with squelchy synths and those gaps are beautifully filled with rhythm guitar, whereas the next piece Hoodwinked contains some wondrous notes above the basic tune and is one of those songs that is very infectious with an almost cheesy effect. The jazz tinged delights continue with Slipping Jigsaw, but my favourite is the deep bass lines adapted on Sly Times, which balances these with saxophone passages above eerie synths. If you are feeling a little low, then please allow this album to improve your mood and hence well being. My lasting impression is of a basic trip-hop sound with sufficient variation to make the difference. There should be no sad faces in the audience. (Phil Brook).

FREDDY FRESH. Chupacabbra Harthouse HH112

Consisting of the original from the rather good debut album, two remixes, and a bonus track, this 12" single has loads of electro beats which are spewed out of those analogue synths in such a format as to give the music a warn feel. The Base Bins Twin remix wakes the listener with the use of a very loud siren and the Propellerheads remix is another variation of the basic beat. The bonus track Mi Esposa Mas Fina is somewhat remarkable as it reminds me of a samba type rhythm. It's not what you would expect from this guy, break beat formation dancing perhaps. Of all the tracks, I still prefer the original. When it comes to producing material, this man lives up to his surname. (Phil Brook)

DAFT PUNK. Homework Virgin UKCDV 2821

Not since the launch of Jean Ifichele Jarre's Oxygene twenty years ago has there been so much interest in the musical output of France. Daft Punk, who are Paris based, first came to my attention via tracks on the excellent compilations released on Soma Recordings. So I was excited by the prospect of their debut album. First surprise, the impressive Musique is not included (shame!) and secondly, the album does not disappoint. Most artists copy others or only make minor changes to similar material, whereas Thomas Bangalter and Guy-Manuel de Homen Christo have developed their own individual style. They like to continually alter the tone controls on some of the songs. Of the many good tracks out of the sixteen are the previously released Da Funk and a new piece entitled Fresh which is craftily superimposed onto a sea soundtrack. I also like the infectious funk strewn All Around The World. They inject a certain amount of humour into the songs as displayed on the 10th, which starts with a tinny sound and has the title High Fidelity, or perhaps the very mis-titled Rock 'n Roll (as far away from this as can possibly be). A great debut and this is the only time Homework will be a pleasant experience. (Phil Brook)

SQUAREPUSHER. Hard Normal Daddy. WARP CD 50

There are lots of good bassists in the world, but how many really contribute to breaking down the traditional barriers of music? Squarepusher is one Tom Jenkinson, who releases his second album which in many ways is almost a continuation of the highly respected, Feed Me Weird Things. He has taken the Jungalist theme of drum & bass, and expanded the manipulation of the sounds way beyond the normal confined limits of the genre. The album starts with the jazz drenched Coopers World which is closely followed by the excellent Bleep Street, fast light snare drum beats provides the main theme for the other three sumptuous melodies to interact in a positive way. It was from here I realized that I was listening to a major talent. I like the very short Anirog Dg, which is the calm before the cut up jungle staccato track six shatters the peace. On Male Pill Part 13, a lo-fi drum competes with jazz influenced backing to complete a most unusual but still wonderful piece. The tempo changes on the interestingly titled Rat/P's & Q's which is breathtaking. Some drum & bass albums suffer from all the tracks being very similar and hence rather dull after the 115th track, whereas Hard Normal Daddy has rectified this problem by the dozen tracks being so varied. He admires the work of The Aphex Twin and Luke Vibert and so do I. I will have to add the name Squarepusher to my list of highly respected artists. (Phil Brook)

BROADCAST. Work And Non Work. WARP CD52

You would expect, more electronic weirdness from the 52nd album released from the Warp stable, but maybe times are a-changing when a normal female singer is allowed to accompany what a first glance appears to be standard music. Of course, the results are much more fascinating with an easy listening quality to the songs that just do not fit neatly into any category. This should not happen. The second track generates a very sad mood especially during the end of second section. The next piece Message from Home is also split into two distinct parts, the latter being short yet highly effective with it's haunting accompaniment. I also adore the Phantom with the cheesy sound of a deranged fairground organ. Living Room seems to be such a simple track whilst the complexities are deceptively hidden. Most of the nine tracks only last between three to four mins which accounts for the fact that all three singles that were previously released on other labels are included. I would like to hear a fuller length piece to see if they can deliver the staying power needed. I think the John Barry style orchestration is making a comeback albeit with electronica that only those people from Warp could get away with. Jimi Tenor with a female vocalist perhaps? I can't explain why I find so much to enjoy here and why it's so appealing. (Phil Brook).

ATTICA BLUES. The Debut Album. MoWax. MW080

Some bands, hopefully find a successful formula and stick to it, whereas others diversify to make each album different. Attica Blues have combined these differing traits onto a single debut album that makes them stand above the majority of the rest that produce ordinary music from those mass production factories. How have they achieved this? Simply by mixing instrumental and vocal tracks onto a multitudinous soundtrack that is not heard every day of the week. The sound is so large, yet it is made by the trio of Williams, Nwatchaku, and Essaway who pick the choice selections from the hip hop world and use classical music techniques to create a string section that is exceptionally melodic whilst not pandering to the easy listening brigade. The band describe their music as beat orientated musical landscapes where the voice is used as another instrument and this is precisely what they do in a very effective way. The memorable single 3ree (A Means To Be) is included, which is guaranteed to have you humming the chorus line and this is by no means the best track out of the fifteen in total. I suppose the instrumentals are the easiest to appreciate at first, as the way the voice is utilized may not be to everyone’s liking, yet you should not dismiss this instantly as the warmth of her voice permeates through the electronic score and delivers a refreshing aspect to the songs. The samples used appear to come from all spheres of music including classical , one such instance is woodwind instruments, which I have to admit are not often heard on a hip hop beat. The results of their debut album reveal an amazing choice, not all enticing on first hearing, but anyone with patience will soon warm to the more complex rhythms. Remember the name Attica Blues, as there’s inspired talent lurking within the minds of this extraordinary band. (Phil Brook)

SUKIA. Gary Super Macho. MoWax. MW081

A four track cassette, not from a band originating in the far East, but in California. Their name comes from a character in a Colombian comic and Sukia is a lesbian vampire. This four piece remind me of a 90’s version of the B52s crossed with a Frankie Goes To Hollywood chorus and lounge music you may just be receiving a flavour of their own sound. The single is taken from the album Contacto Espacial Con El Tercer Sexo and is certainly different with guitars thrashing against the samples and the results are hugely enjoyable. The remixes are by the Dust brothers , the Dirty Sanchez mix is laid back and I especially like the version by the Japanese Major Force West. If you are looking for something a bit different yet don’t like all the modern ambient-ish themes and prefer guitars with attitude then this could be just what you have been waiting for. (Phil Brook)

Various. Essential Drum & Bass. Beechwood. Essecd1

Let's play completely straight and state the obvious that not everyone will like the world of drum and bass. The main features of this genre are the deep bass and the fast snare and cymbal beats. To the casual observer the tracks and the rhythms may all sound very similar. There are a total of twenty exclusive pieces from the UK underground movement on this double CD, which gives a fair representation of the style. The prolific D.Styles has composed and produced six contributions of which five are under different names. He is not the only one to do this as C. Bishop and L. Galloway both have three songs under two different names. Universal Flava's Jazz Creation is a summery sounding jazzy drum & bass, whereas by contrast Scan's Saxophony uses a distant muted sax on a loud drum & bass beat. On the second disc, Scan's Sizeable Respect is one of those essential themes with much more inventive use of the samples. If you could not imagine what reggae drum & bass would sound like, then perhaps Need You by Redneck should be your next request. The final track by Roots once again shows just what can be achieved by using differing aspects and compositions. Not all the tracks are essential, but there are plenty that are. With a little more quality control instead of being good this could have been very good. (Phil Brook)

DJ KRUSH. Milight. MoWax. MW077

His past life is frightening - he only turned to music after discovering the severed finger of a comrade on his desk! This former gangster of the Tokyo underworld has thankfully put his talents to a cause that we all can enjoy. Hip hop and trip hop vying for the predominant position although there are all sorts of weird electronic sounds to brighten this otherwise very dark album. It is surprising how many different contrasts are included especially when the Japanese hip hop begins, but who can understand Japanese except themselves? My knowledge of the language is non existent, but there is a morbid fascination with the track. Most of the other vocal tracks are more easily understood as they are in English. He has collaborated with rappers Shawn J Period, Rhino, Tragedy and musician DJ Cam to give a cosmopolitan atmosphere to the twenty eight tracks of his third album for MoWax. Not only does he work with musicians from the underground but is also willing to allow a famous Japanese female singer in this case Eri Ohno to develop his themes to even more of a mystifying conclusion. The above may sound rather negative and it should not be taken in such a light as this is an incredible album that manages to pull off almost every track and delivers compositions that normally I would not entertain. Although rappers are used, you might expect the gangsta scenario to be all pervasive, but DJ Krush avoids this trap so easily and amongst those darker events are uplifting sections that provide a positive contribution. The excellent finale with the help of singer Deborah Anderson has a hallmark similar to what Bjork could have achieved . Not since Moby’s Everything Is Wrong have I heard such a diverse collections of tracks and you had better like this album or else (you know the consequences!) (Phil Brook)

VARIOUS. Shake The Bones Hydrogen Dukebox Duke 033CD

A twelve track slab of all things good available from this label from some new as well as existing artists, with a little more flavour added by notable remixers Beaumont Hannant, Monkey Mafia and Andrew Weatherall. New band Soil are very different with electro beats and bass tuned to beguile the listener. If this is a typical sample of their output, then a future album should be a totally electrifying experience. The Big Eye have successfully remodelled Beelzedub into a pseudo reggae/jungle outing of distinction. I also found the track by Pilote Burste scintillating as they have combined succulent themes and bass rhythms that few could play due to the varying beat. TLM are usually guaranteed to fill the speakers with delightful sounds and it should come as no surprise to find their beaten and broken Electrastar does exactly what is promised. The final track by Blue Frog finishes this truly excellent sampler in great style where the reviewer is left wishing for more. Overall the mix is certainly in the modern theme where the changes in instrumental music allows plenty of diversity to shake those bones. (Phil Brook).

MAAS. Latitude. Soma CD7

One morning when I was on leave from work, I had some back cataloging to do on the computer and so I put a cd into the player. I suppose it was just for background music as I did not wish to play something too heavy. Normally I would have continued the task, but I soon found myself ignoring the screen and just listening to the impressive instrumental music on offer. Ewan Pearson is the gent who successfully grabbed and held my attention totally. He delivers his own style of the instrumental underground dance with dancefloors full of uplifting beats and sounds. This is jovial music by any standard yet still retaining the freshness needed to prevent repetition and listening boredom. Most of the tracks are very easy to digest and could be described as being lightweight, an example is Upstate, but behind the main theme are lots of interesting interplay between the various rhythms. It was surely a great pleasure to be in the aural company of MAAS for 70 mins. PS The cataloging is still to be done as I Listened to this album instead and I am heartened that I can occasionally make the correct decision. (Phil Brook).

VARIOUS. Fused. Polygram TV 553 482-2

After the great success of the first double CD compilation of the new directions in dance (called Wired), there had to be a follow up. This time it is subtitled 35 New Directions in Indie-Dance and it features an impressive who's who of well known artists/bands playing some of their better material. The album starts with a modern mix of an old TV theme, The Saint by Orbital and finishes with the 711 edit of Darkheart by Bomb The Bass. The Hardfloor mix of It's No Good by Depeche Mode does not thankfully, live up to it's title and the Propellerheads mix of 808 State's Lopez is rather tasty. The Charlatans latest album contains a couple of songs where the Chemical Brothers have assisted and they have remodelled Nine Acre Dust for inclusion. Add tracks by Leftfield/Lydon, The Grid, New Order, Robert Miles and yet another remix of Jash Winx's Higher State Of Consciousness (Dex & Janesyls Higher Started Mix). If that was not sufficient to satisfy, the second helping has The Orb, Portishead, Underworld, Orbital, Bjork, Goldie and Alex Reece. The 7" original of Papua New Guinea by The Future Sound Of London is a very worthy addition as is the drum In bass version of So Many Dreams by A Guy Called Gerald (Aquasky Radio Edit), a name to follow closely for the future. With over 150 mins of playing time and the choice of artists, how could anyone criticise the format or music. (Phil Brook).

EAT STATIC. Interceptor. Planet Dog. BARK030CD

On a list of acclaimed artists in the field of electronic music the name of Eat Static is bound to appear in the higher order. They have not allowed their brand of UFO inspired music to stand still and are willing to embrace the new themes such as drum ‘n bass and incorporate these intelligently into their highly individualistic scores. This is their third single which lasts for twenty min about the normal playing time and is a delight for hi-fi systems to reproduce the sounds faithfully. The original mix from the excellent album Science Of The Gods (See Separate review) is included, but this single starts with the Radio Edit which is not just a cut down original. Often when remixes are done in house, there is a tendency for less dramatic interpretations to surface, this is not the case in The Decoder Mix as it is even more scary. It still uses a drum ‘n bass beat but very modified from the previous and could almost be a different track. They never disappoint and if you have 20 min of your time to waste, then why not put it to good use by listening to this single. PS The fourth track is a multi media experience. (Phil Brook)

VARIOUS. Kraftwork (Nu Skool elektro). Millennium. MILL051CD

Music is built on fashions and they have a tendency to reoccur every now and again usually in a slightly modified form which either pleases or completely irritates the listeners. The style of elektro has always been somewhat peculiar particularly with the sound of those early drum machines competing with that individualistic jerky sound that so describes the period. This double album of twenty one different artists gives rise to the rekindling of that short lived section of modern music where Gary Numan was the undisputed king , although to be fair this far more modern and the use of cut up beats provides the up to date moniker where much more experimentation is allowed, naturally derived from the technological gains of the last few years. So that’s the history, what's really like and does it stand alone or just fall into a recycle bin. The answer is, providing you are willing to throw away any performed prejudices, this instrumental music is much better than the old sound. Take for instance Between The Lines by Carbon Academy where a quieter more reflective perhaps even subtle if that is possible in this case. (Phil Brook)

ROBERT MILES. 23AM. Deconstruction. 74321541132

You know Robert Miles, don’t you? He has sold over 13 million records during the last eighteen months and his best known work to date is the popular chart hit entitled Children. This is the follow up to his debut Dreamland and the first track on here could easily have been allocated to the previous release. It contains ambience’s during a thunderstorm with light sounding vocal passages and is rather aurally gorgeous with very gentle themes. It has been given the title Introducing. The tracks all flow from one to another and the second commences with the sound of baby noises battling against the ebbing and flowing of the seascape on A New Flower. The third, Everyday Life is the longest (10.30) and features the French singer Nancy Danio on the first of two tracks with harmonization to match the amiable soundscapes created before she sings in English on an upbeat tempo. The other is Full Moon which has a cinematic overture with riffs and samples abounding. The other guest vocalist is soul diva Kathy Sledge, who contributes her own distinctive singing style on two other songs, Freedom and Enjoy. I thought the inclusion of real trumpets on Heatwave gives this a majestic pose in contrast to the sax on the following track Maresias which prevents it from becoming classed as too easy listening. The final track Leaving Behind is a quieter reflective piece with a piano passage to round off a very pleasant 60mins. It is important to progress with the release of each album and not just stick to the same successful formula because music would become pretty boring if all it consisted of was Status Quo sound-a-likes. This light hugely enjoyable album perhaps should be played at 2.30 am when the realization of the many varied styles of music becomes more apparent, it still after all a very commercial but worthwhile product. (Phil Brook)

VARIOUS. Naturally Stoned Vol. 1. Millennium. MILL053CD

In these days of the quickly changing aspects of music, a new term is coined to describe the latest fashions. Dope beat may not totally impart the kind of sounds included on this 23 track double album, but it signifies the perfect soundtrack for stoned evenings where slow motion trip hop meets lazy jazzy grooves. The opener is surely a stunner in anyone’s musical library, it’s a ten min epic entitled triangle by Sounds For The Ground and contained within are some of the most haunting collection of melodies that I have heard for quite a long time. Can the rest of this album live up to the superb entrance? It certainly tries and with the help of the following two sections by Sternklang, where a heavy snare sets the scene for the infectious riffs and fascinating rhythms to make their mark before the jazz influences become apparent. The fourth track Rotate In Haarlem by The Kaleidoscope is musically lovable due to the very jazzy bass and ethereal strings. Injuryman’s Bineric Blues contains a loud kick drum beat that rattles the chest but to prevent feeling uncomfortable, the cheesy organ provides light relief. The sixth by Visit Venus commences with dreamy psychedelia before the jazz tinged experience takes over in comparison to the 7th by Small World which has a remarkable middle section of dub like landscape. Even Reggae jazz is included with bottom shattering bass on Cactoid by Kactus. The Starseeds provide an ultimate late night track Timequakes and Alex McGowan of the Starseeds rounds off the first disc very neatly with Beach under the name Universal Feedback. The second disc is no less interesting than the first and includes a number of highlights such as Future 3 and Mr. Electric Triangle. The only remix here is Vinyl Blair’s alternative version of the Full Moon Scientists track Monday Morning Dread which again blends into the general mood of this double. You don’t need to be naturally stoned to enjoy this 135 min trip where the choice of material shows a wide variation. This is indeed excellent stuff. (Phil Brook)

DJ WILD CHILD. Jungle Talk. Millennium. MILL055CD

Introduced on the cover as 17 tracks of hardsteppin’ drum & bass, this also features MC Skibadee. She, yes She is one of the few female drum ‘n bass artists to popularise the scene. The music as you may have already noted contains lots of hard slammin riffs and is not for the feint-hearted. It is true to say that few of the artists are known to me, but Macko, Dom & Rob, and Blue I have heard before. This compilation is a live mix created by using ‘good old fashioned vinyl’. The music is extreme yet not unlistenable but the distraction of Skibadee does become a problem. Perhaps the lo-fi MC was not on top form when the mix was done because his contribution does become repetitive after a while. The music is in fact very good, it just takes a little time to adjust to the beats. The listener has to wait until the 13th track which is by Mr. Freeze until there is a change in the vocals. This is most welcome. I have listened to this album three times and now find the style of deliver of the MC has become too much and I just wish he would shut up for a while. It’s a shame as this could have been a good album. (Phil Brook)

DE-SENSER. Om. Ultimate/ UKPROMO13CD

Senser are not known for pleasant melodies for afternoon ladies tea parties, neither are they acknowledged as being purveyors of the latest drum ‘n bass scene. So you can imagine my surprise that this package turned out to be music from the latter category. Om (Edit) contains a hard drum ‘n bass beat on a commercial sounding multi-layered melody with female harmonization and infectious riffs. If it is possible to make this style popular with a wider audience, then this is the best example that I have listened to, that has any prospect of achieving the desired results. Om (12”) uses the same beat and melodies yet appears to have even deeper bass notes to create an hypnotic effect which pleased this reviewer. The final track Om (Harry Hogg) is a different remix where the drum ‘n bass is modified by the use of common cut up beats, whilst still being full of sampled riffs that manages to break away from the repetitive sound . At just short of nineteen mins, this single represents a radical change of direction that is most welcome. (Phil Brook)

RED SNAPPER. Making Bones. Warp. WARPCD56

Despite what the press releases says about this being their second album (it’s actually the third) and is their best. In an electronic world , it’s is somewhat remarkable that a trio consisting of drummer, double bassist and guitarist with occasional help, can compete with the mighty computerized machines and produce an album of distinction. On the third track Image Of You vocalist Alison David from ex-Life’s Addiction waxes yet another aspect to this album and the fifth piece combines the trumpet playing of Byron Wallen with an acoustic drum ‘n bass feel. It is like a trip through all what’s best in modern music and predicting what’s going to be fashionable in the future. Don’t bother looking for copy cats just go for the original and let this really excellent album remind your brain what it should be listening to. (Phil Brook).

FUTURE LOOP FOUNDATION. Conditions For The Living. Planet Dog. BARKCD036

Although you may be forgiven for thinking that this is a collective, it is all the work of drum ‘n bass producer Mark Barrott, who apart from releasing a couple of singles, has done little on the commercially available front since his debut album from two years. During that span, he has gone out and toured which means that he has been able to develop his style to a more personal level and is now more confident at delivering a more experimental approach to these rugged instrumentals. For instance on Omerta, a gentle start with subdued female vocals slowly gives way to a church bell and delightful melodies. Surely this is not drum ‘n bass and certainly not as we know it. The sixth track, Praha combines a haunting piano loop with a deep funky bass and typical percussion for this style and I adore the results. He manages to pull off a very cool sounding piece on Exit Rush, where scratching blends with a plodding beat that then allows an n impressive lead guitar riff to build into a memorable section of this album. To some these contemporary riffs may seem harsh and without any light, yet the subtlety is there awaiting to be discovered. This is an album of contrasts within the drum ‘n bass world and for me it’s at the very least a step forward or more precisely a giant leap. (Phil Brook)

CHILDREN OF DUB. Digital Mantras. Magick Eye. MEYCD23

Being a part time reviewer, it’s is so easy to only listen to new material. Yet it was only a fortnight ago that I musically revisited their first album on Diversity records. Making the instant comparison of just how much more mature this their fourth album is. Musical diversity appears to be the norm, because this is where drum ‘n bass meets jazz on a dub rollercoaster and the results are spectacular. Ever since their last EP that contained the outstanding Track New Morning, I did not believe this would be bettered. I was almost right apart from the final excursion Spook that is truly amazing. The album features a couple of guest vocalist (Saiorse Keogh and Lou Palmer), but the album is on the whole a major instrumental package with the bands own style of production. These digital mantras are for adults who wish to buck the diet of being forced fed with superficially slick music that executive thinks you should be listening to. They have not made an album below par and this is certainly the best. (Phil Brook)

SQUAREPUSHER. Music Is Rotted One Note. Warp. WARPCD57

We all live in a changing world and ignoring those who wish to alter the boundaries could be construed as burying our heads in the sand. For those who wish to peer over the horizon, and investigate the latest developments in the drum ‘n bass arena, then this album takes a step sideways from all the followers of precise musical programming. In this case, all the instruments are played live and sequencers have been cast side in what must be a major gamble. Anything Tom Jenkinson does, he does it with the idea of challenging the very ideas that he invented recently on his last album and never allows the opposition a chance to catch up with him. The fifteen tracks all have live feel, a little like Red Snapper on their most mind boggling experience. This album is a challenge not only to himself but also the listener and does not fit into any music category. All the same it is a necessary part of any worthwhile collection. (Phil Brook)

JIMI TENOR. Year Of The Apocalypse. Warp. WAP116CD

A three track single which offers two different versions of the title. If you have not heard Tenor before, then his music is very unusual almost defying description at times as he lunges from one extreme to another and combining previously unused styles to make a mixture that is commended. This commercialised single may just have the right notes to catch the ear of the Top Of The Pops producer, as it lends itself to silliness, but in a grown up way. On this single, the title gives the exact opposite impression of the happy, bounding along song with catchy lyrics. It should not work, but somehow this guy has the tenacity to carry it off and more upsettingly for most other artists, he can get away with it. Great music, Great single. (Look out for his new album) (Phil Brook).

TANGERINE DREAM. The Dream Mixes. TDI Music. TDI001CD

The huge body of work continues to grow I am very pleased to say and this double CD of remixes fits very nicely in the general scheme of things.The basic tracks featured here can be found in their original state on "Tyranny Of Beauty", "Rockoon" and "Turn The Tides" but are far enough removed to engage the seasoned Tangerine Dream fan afresh and to turn a few more onto their particular brand of synth-driven rock. The two discs can be viewed slightly differently in that the second is entitled "The Club Dream Mixes" and is definitely more at home in that particular pigeon-hole. That I can listen and enjoy is more a testament to the quality of music and innovation than to my hipness, I can assure you. Particular "faves" are "Little Blonde In The Park" and "Iowa". The stronger collection to these ears at any rate is the first disc however, and there are some classic moments in "Jungle Journey" and "Change Of The Gods" in particular. There has been somewhat of a resurgence in Tangerine Dream of late and on the basis of this collection it is easy to see why. (Gordon Maxwell)

MALKA SPIGEL. My Pet Fish. Swim. WM10

With two albums already under here belt as a solo artists, she released this last album last year and it has taken MD a while to keep up to events. She is from Israel and married to the former Wire man Colin Newman. So with lots of ability and a very wide musical knowledge, we find Malka diving into all types of musical ponds. The opening track is One that grows on the listener due mainly to the good solid beat and unusual sounds that gives an ethnic feel. Her vocal style is not standardized, yet is ideally suited to the rhythms. The 11 songs on the album all display differing moods and assistance on I Said You Said is given by electronic pioneer Scanner who surrounds the vocals, which are delivered in a manner that is slightly reminiscent of Grace Jones with ambiences. This is good in fact very good. After the guitar influenced Like Machines and the Indian styled The Fishes & The Shining Sea, we hear her singing on Fly but only just as the vocals are way down in the mix. Man and wife have triumphed over the music machines and produced an album of great distinction. Is it not time that you dipped you musical toe into the water and sampled the delights of My Pet Fish. (Phil Brook)

SQUAREPUSHER. Presents Maximum Priest EP. Warp. WAP122CD

A seven track EP from the imaginative mind o