- Aphex Twin - Richard D. James Album
- Associated Digital Sound Research - Findings
- Autechre - Chiastic Slide
- Black Lung - The Disinformation Plague
- Chemical Brothers - Dig Your Own Hole
- Delerium - Karma
- Digital Poodle - Combat!
- DJ Spooky - Songs of a Dead Dreamer
- 808 State - Don Solaris
- Empirion - Advanced Technology
- Exovedate - Greatest Hits
- Fluke - Risotto
- Future Sound of London - Dead Cities
- Future Sound of London - ISDN Show (live)
- Hab - maPOd
- Juno Reactor - Bible of Dreams
- Kinder Atom - Super Nice Hippy Pants
- Legion of Green Men - Spatial Specific
- Meat Beat Manifesto - Original Fire
- Miasma2 - Clear + Cold at the Higher Elevations

- Mike & Rich - Expert Knob Twiddlers
- Mouse on Mars - Autoditacker
- Mu-Ziq - Urmur Bile Trax Volumes 1 and 2
- Noise Unit - Drill
- The Orb - Orblivion
- O Yuki Conjugate - Primitive
- Photek - Modus Operandi
- Rezz - Rezz
- Slotek - 7
- Soma - The Inner Cinema
- Soma - Stygian Vistas
- Speedy J - G Spot
- Speedy J - Public Energy #1
- Spooky - Found Sound
- Underworld - Second Toughest in the Infants
- Various - Amp
- Various - Cube
- Various - Drug Test One/Two
- Various - Future - A Journey Through the Electronic Underground
- Various - Trance Pacific Express

Aphex Twin
Richard D. James

When I first played tracks from this CD on my show, I read a snippet of an interview, in which the interviewer gave the comment that the CD "shows disturbing signs of a musician at peace with himself. Kicking back and having a bit of a laugh." Can't say that I agree. "Expert Knob Twiddlers" lives up to that description. But a CD which features a photo of his dead brother's grave could not be all that carefree. A feeling that seems to underlie each track is one of sadness, of uncontrollable and slow self-destruction. A degeneration of sorts. (Nov 1996)

Hard to pinpoint my opinion of this particular CD - interesting, I suppose, would be as specific as I can manage at the present time. The choices for track titles receive my congratulations - words and concepts like "piracetam" just get the neurons firing. Lots of experimental electronica - with decent atmosphere ... but then somewhere in the middle of the CD the entire theme changes and there are suddenly vocals and sounds that I really dislike. Stuff that not just kind-of bad but also kind-of irritating. As a result of this discrepancy I don't plan to be purchasing this item, but you might want to check it out for yourself. I definitely love the group name and how well the CD title fits in. A good start, but with misgivings. (April 1997)

This latest project carries on from previous Autechre releases, but some sound takes on a harsher edge. Although Autechre has dabbled with this in the past, these new tracks take on a decidedly confident tone - no niceties or messing around here! Despite the odd and contrasting sounds that are mixed together, there is an unmistakable beat that transcends everything, bullying you to get up and move around with the rhythm. Rich texturally, and very interesting to listen to all the layers interacting with each other.... but don't listen when you have a headache! (May 1997)

Black Lung is a master at creating a dark, evil, ominous presence throughout their entire CDs. No soft, pleasant ambient soundscapes in their repertoire! Kind-of like a soundtrack for the artwork by Geiger. If you are going to sprint out to your local store to buy this CD, however, let me suggest instead their CD "The Depopulation Bomb" (not reveiwed), which was released at least a year before this. Both CDs are similar in style and sound, so it is not necessary ot purchase both. But "The Depopulation Bomb", in my opinion, is best at bringing out the creative and eerie dark sound. (July 1997)</FONT

In the past, the Chemical Brothers hung tenuously at the brink of being unsuitable for my show....now they have moved across that line. Don't get me wrong - they have done some stuff which is amazing (like the "Loops of Fury" single), and this CD has its good moments. However, there is far too much dancey-hiphop-style vocals in it for my liking. The group has also begun its ascent into worldwide popularity which will no doubt lead into a comercialisation and over-exploitation that's sickening. That's my prediction, anyway. The Chemical Brothers began as a pretty good thing, but I'm letting go now before it becomes a monster. (I realise this is not much of a CD review, but I got a personal advance copy and have given it away; that should give you an idea what I think of it.) (February, 1997)

I have the utmost respect for Bill Leeb and Rhys Fulber. My god, you'd be hard-pressed to find two more musically prolific individuals! But the past couple of releases have been shy of extraordinary. My comments are similar to those in the Noise Unit review - Karma is beautiful and wispy and atmospheric, but it is like an extension of the Semantic Spaces release. Sure, Sarah McLaughlin sings in some tracks, but she sounds very similar to the other female vocalist in their previous release. Perhaps I'm being slightly more harsh because I expect a lot from this pair - Karma is actually a lovely CD - but there is nothing new and I think Leeb and Fulber could use a short vacation to regenerate the creativity. (April 1997)

I like Digital Poodle. I like their sound and the image they create. And the CD Combat! is harmless enough - I can't say I dislike it. But my main problem is that it sounds very similar to Soul Crush, and as such, since I own this first CD, I cannot think of a reason to buy the latest one. There are a couple of tracks which sound quite good, but the sound hasn't particularly evolved over time. If you don't currently own a piece of Digital Poodle's red-army-electro-industrial sound, then buy it. If you do.... well..... I suggest you listen to Combat! first before buying. (March 1997)

Despite the silly name, DJ Spooky has managed to produce a CD with a rich and varied texture: some tracks are dreamy, and others downright funky. And if you bother to read the ideas written in the sleeve, they come from a thoughtful (albeit wordy) mind who put some consideration into the "electronic hybrids" he recorded (either that or he made it all up afterward). (1996)

I've heard a variety of reactions to this latest addition to the 808 State roster; to those who are upset because "it isn't like other 808 State CDs", I have a couple of things to say. First of all, if you actually listen to each CD, you'll notice that every single previous release is also different from the other. If this sounded a lot like Gorgeous or Ex:el I'd have felt let down. Second of all, it is a wonderful thing if a collective doesn't stagnate with the same formula for the entirety of their existence. And finally, if you know 808 State well, you can hear its unmistakable personality in Don Solaris and take solace in that. As usual, it is a magnificent mixture of vocal and instrumental pieces, electronics and live equipment. (September 1996)

Despite all the hype associated with this young group and their release, I have been quite impressed with its sound. I may not agree with some reviewers who claim Empirion to be the kings of the new techno and the geniuses of the electronic genre, but I think the CD performs well overall. The atmosphere is different from the usual techno, in that much of it incorporates a darker, more evil noise in the driving beats. A chill down the spine while you're dancing. (June 1997)

This is the second independent release from the Toronto-based group, whose core consists of David Neelin and a number of fluxional others (until now?!). Exovedate produces a sound which defies categorisation, but if one wanted to try, the music has a definite gothic, electronic, ethereal quality. But unlike much gothic music, the vocals are not distorted - they are the pure, clean female voice of Simon, who adds a sultry atmosphere to each composition. And for those of you with a bent for the historical, the theremin (considered the very first electronic instrument, and the source of the spooky, high-pitched sound in old sci-fi movies) renders it presence in a couple of tracks. Definitely an unique sound - and if you have the chance to see them live, I would definitely recommend it. (February 1997)

After the release of the masterful Wipeout XL compilation, I waited with baited breath for the first full-length releases from both Photek and Fluke. You can witness my full digust with Photek within its review... Fluke, on the other hand, wins wild raving and praise. To begin with, the CD itself (designed by the kings of 90s futuristic graphics - the Designer's Republic) is a work of art. And it lends itself well to what is housed inside - a energy-filled listening experience with many rich sounds to compliment the vocals. The CD as a package is wornderful - each track works from one to another beautifully. My only concern is that Fluke develops it style such that the next release shows further development rather than seeing the group flog a single sound to death. (October 1997)

You could describe most of this work as wistfully sad, hauntingly beautiful. It definitely has a different feeling than previous FSOL CDs - ISDN has a real moveable beat - like a CD that struts confidently; Lifeforms sounds like the insolent introduction of dozens of new species to earth. All of the works have in common a definite feeling that puts you into a musical trance - but you must choose according to your mood. With the exception of "We Have Explosive" (which, in my opinion, doesn't belong here), Dead Cities leaves you with a sorrowful yet beautiful feeling towards this expression of the imperfections in the world. (October 1996)

An interesting off-the-cuff release from the electronic gurus. There is very little new material here, which leads me to believe that this item is more for the collector than for mass release. But what is notable and what makes it worth hearing is that pieces are taken from the entire spectrum of FSOL's history. They are arranged and mixed in such a way that each track makes sense and fits together as a piece to a larger puzzle, showing us that despite a different approach in each CD, there is an underlying theme that makes each sound intrinsically that of the Future Sound of London. (May 1997)

Looking at the Synaptic Paradox Top 100 of 1997 list should be evidence enough of my opinion of this group. I've been thinking for a while about this release and trying to come up with a way to describe why I enjoy it so much. For some reason, it has been difficult! The sound is simple, but melodic and a little quirky, and it must hit some place within me which makes me feel a little better. And it is that sort of thing which separates good ambient and electronic music from mediocre. (November 1997)

If you have listened to my radio show for the past few months, you will recall that practically every time this CD was introduced I could not resist a comment about how beautiful the case is - black matte with silver and shiny black on top. Gorgeous. Especially with ambient electronic music, the case is important to initiate the atmosphere which the music should carry on. This works wonderfully. Juno Reactor creates a modern spiritual feeling which seems to incorporate diverse cultures with acceptance and harmony. (August 1997)

A shiny effort from our local digital playground. Just one look at the glossy CD case, and you'll understand exactly what I mean....Super Nice Hippy Pants comes as a double CD - "Super Nice" lies on the extremely quiet chill-out ambient side of things, while "Hippy Pants" takes on a more up-tempo sound, incorporating the occasional drum-and-bass and even jungle component. But even the latter CD could not be described as harsh by any means. Probably would be best prescribed for those who want to medicate themselves with something trippy to accompany a relatively relaxed but groovy evening, puntuated by bursts of energy. (March 1997)

Electronic manipulation at its best . . . experience a constant change of tempo and attitude from track to track as well as within each segment on the CD. LOGM incorporate clips and sampling from all over, but manage to synthesize all pieces into a coherent package. They seem to understand what is pleasing to the ear, how to keep up the beat, and have a good feel for metamorphosing from one loop to another before one gets annoyed with the repetition. Music that makes you move. (July 1996)

This CD doesn't contain music which is "all new", but instead is a refurbishment of tracks from many Meat Beat releases of the past. One track was first released as early as 1988. All is remixed and even more "found sound" is incorporated into each track than usual, to produce an upbeat, moving 1997 version of some of their favourites. Check out "Helter Skelter '97" in particular ... (May 1997)

One of the very few all-woman electronic groups. Paying attention only to the elecronic sounds brings out a rich and highly textured feeling. It entwines perfectly into the the deep, rich-sounding vocals (mainly rhythmic spoken word), which together conjure up vivid imagery. The irony is that they invoke images of decay, unglamourous animals and other unpleasant things: much different topics than women are usually expected to deal with. And that is precisely why I like it. (November 1997)

If the title itself doesn't give it away, the Milton Bradley game-style CD cover should alert you to the fact that this work is not to be taken seriously. This theme of the Aphex Twin / Mu-Ziq collaboration persists when you look at the track titles: "Mr. Frosty" . . . "The Sound of Beady Eyes", etc. Everything upbeat and each piece, well, with a catchy tune, all the while rich with electronica. Definitely worth picking up - if only for the sleeve artwork. (January 1997)

Coming soon!
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A recent effort from the group with the most misunderstood name (for those of you who don't already know, the name is written when possible with the Greek letter "mu" followed by "Ziq". But the confusion arises in that the Greek letter looks like a "u".... so it's mispronounced and misfiled, etc. etc.). Anyway, Mu-Ziq has always taken the hard and fast line in electronica, and this CD is no exception. But the sound has changed - you can definitely perceive a drum-and-bass infusion, and while the sound of many tracks appears literally muted, this comes in contrast with a high speed pulse rippling through the work. Due to the style of the CD cover, and due to the almost experimental nature of some tracks, I get the impression that this is something still rough-around-the-edges; almost like midnight musings which were thrown together onto a CD for the hell of it. But that's not necessarily a bad thing....just different. (March, 1997)

This new effort from Noise Unit (yet another side project from Leeb and Fulber of Front Line Assembly) is a good solid electronic CD. But in my opinion, it falls short of previous releases, and the tracks don't really stand out in my mind as being mind-blowing. There's nothing wrong with it per se, but it is not outstanding. I have a great respect for the team that is Leeb and Fulber and think they are unbelievably talented and masterful in the electronic domain, and perhaps I'm being too harsh on them, because from another source, I might like the CD more. It's just that you learn to expect a lot from these men, and this falls short of their usually outstanding products. Check out the new Delerium, though.... (April 1997)

The CD artwork is cool. The track titles are imaginative. The web site(s) for the CD are artistic. Those are my definite opinions. However, I'm still not quite sure about the CD itself. To be specific, it's a matter of whether I just think the CD is good and deserves to be played on my show, or whether its great and deserves a place in my personal CD collection. I have rather high standards for music on my show. There is the occasional exception, but for the most part I need to really like what I play - otherwise, I'm no longer enjoying myself and cannot be enthusiastic about it on the air. But to make it into my CD collection, it has to be outstanding. If I'm going to spend my meagre earnings, it's going to be worth it. I haven't yet decided into which category the Orblivion CD belongs. I'll let you know. (April 1997)

An aptly named CD, Primitive ties in with a group of recent works which incorporate the sounds and feelings associated with Africa and the Middle East into an electronic odyssey. Maybe this sounds like an unlikely combination, but it can work well. You can almost smell spices emanating from the disk.... This release would best fit as a richly image-provoking background accompaniment to a Middle Eastern-style dinner or when viewing some ancient Mesopotamian artwork. (April 1997)

Ugh. After the incredible sound found on the Wipeout XL soundtrack, I was looking forward to the first full-length release by Photek. Well, what a waste of time. A full disk taken up with uninspired tracks all sounding like bad remixes of the other. A total disappointment after a brilliant start. Were my expectations too high? Maybe. But I still dislike the CD. (September 1997)

This is the debut release from a new Canadian electronic talent - something which is always welcome, from my point of view! This CD may not be for everyone, but it definitely gets my vote. Many of the electronics are subtle and more experimental, although they lapse into a clear beat and melody in some tracks. As such, it's not the danceable type of electronic sound, but rather mature and pleasing all the same. I would describe it as sounding perhaps like the soundtrack of some bizarre documentary on "Robots Turned to Evil".....Check out more info at the Spider Records website . (February, 1997)

The concept behind the title of the CD is interesting - that there is some mystical meaning behind the number seven. Some of the track titles are evocative, and one or two tracks are pretty decent. But I cannot be much more enthusiastic about the CD .... I found it to be a rather pedestrian techno-style CD with high, pulsating BPMs, but no real merit. It might be good for dancing, but it does not transfer to listening (and being able to just listen to a work of electronic music shows you its distinction). (May 1997)

A wonderfully evil and dark piece of work. Soma is also known as the groups Black Lung and Snog - all possess the same evil atmosphere, but each has its own way of approaching this. Black Lung and Snog are more aggressive (on the industrial side of things), while Soma takes the ambient approach. This is definitely worth picking up if you like darker ambient, but you might have a hard time finding it around Toronto - the CD is on the Extreme label, and Soma itself is from Australia. Amazing stuff - definitely worth spending time seeking it out! (February, 1997)

I was enthusiastic about their Inner Cinema release, but quick on its heels is Stygian Vistas, which has cemented my admiration for these newcomers. This pairing from Australia has managed to create again a rich, evil, textured piece of work which perfectly complements the first CD. I feel more as if this is an accompaniment rather than a separate disk, especially considering the quick succession of their release. Some wonderful track titles, such as "God brings the meat, and the Devil cooks (...and cooks)(...and cooks)" add to this sequel to the ongoing Soma story. Definitely worth buying as a follow-up to the first edition. (June 1997)

Hard to describe this work as anything but "masterful". If you've never heard of Speedy J, don't be confused by the pseudonym or the unfortunate title of the CD. Each track with its highly layered electronic atmosphere gives a depth to the sound which is utterly satisfying to the ear and leaves you feeling comfortable rather than unsettled. There are at least several tracks on each of the first CD as well as the Live bonus CD that are memorable. It is one of those creations which can be used as either the focus of attention (for raving) or for background sound. Very few works are capable of doing both so easily. (1996)

Pay careful attention if you're interested in purchasing a Speedy J CD: this latest release is very different from G Spot! I would be more inclined to compare its sound to the latest Autechre release - both have a harsh, aggressive edge to them. You'll hear a much more experiemental sound to this work, some of the noise bits have a definite personality which cannot be described as pleasantly tonal. But that is the purpose. I cannot honestly say I prefer Public Energy No. 1 to G Spot, but I don't dislike it. It will keep you going on a late night, and I can guarantee it will be massively successful in clubs. (May 1997)

Not to be confused with DJ Spooky (comparing a few seconds of each should convince you immediately!). This music has an extremely crisp and pure sound to it - something that is unusual in ambient music. As the CD title suggests, many of the tracks sound as if they are aural arrangements of lead pipes and other construction site materials. But what makes it impressive is that you can hear they are being played with precision by someone truly talented. And be sure to check out the booklet imagery - technological art at it's best! (February, 1997)

A CD with the unique distinction of sounding up-tempo and danceable in some circumstances while being mellow in others. The most talked about part of this work is that Underworld successfully manages to incorporate vocals into an electronic atmosphere without making it sound like the dreaded dance music formula. This may very well help to forge a path for other collectives looking to vocalise their electronic music (but hopefully they'll do it without trying to carbon copy the Underworld style). (1996)

This is the brightly coloured attempt by MTV to get their finger in the electronic pie. And this compilation is quite good, I will admit. It includes the likes of Photek, Underworld, Chemical Brothers, Orbital, etc. Does this lineup sound familiar? Well, in fact, many of the artists featured here are the same as the ones on the Wipeout XL CD, except Amp has been released about a half a year later. True, it's a good compilation, but it gives me no sense that the U.S.'s music network is actually venturing into new territories. They are just hanging on at the tail end, and not doing very well, at that. Despite all this, it is a good all-around mixed CD, although I'd recommend Wipeout XL above this. (1997)

A compilation whose name is a concept - 3 artists, each producing 3 tracks - a 3x3x3 CD - a perfect cube. Overall, a solid release of several Vancouver artists. But really, my desire to hear a follow-up to the amazing "Telekinetic" CD by Sect was the main cause of my excitement when I first laid eyes on this compilation. In truth, the other tracks are pretty decent, but the Sect songs steal the whole CD and make me even more excited about seeing another Sect full-length release in the near future. (September 1997)

I am lumping these three compilations (released in rapid succession) together, because really, they feature the same groups, remixing each other's work. Most of the electro-industrial groups on the Invisible label come together here - Not Breathing, FM Einheit (solo), Phylr, Pigface, etc. If you are a fan of electro-industrial stuff, this is one of the best compilation sets in a while. If you want to buy just one, get Drug Test Two. In my opinion, it's the best of the three. (June 1997 - January 1998)

If you are looking for an excellent all-around compilation CD of electronic music, whether as a way to begin your electronic collection or to draw together the best in the business, this is highly recommended. It is a double CD which manages to combine some of the best recent tracks (by people such as Fluke, Photek and Chemical Brothers)with some older "classics" (like "Smokebelch" by Sabres of Paradise") and some more experimental stuff by Brian Eno, David Toop and others who have helped to shape electronic music as a genre. (August 1997)

Several years ago, there was a compilation released by the name of "Trance Europe Express". This is a continuation of the concept into another hemisphere. The "Pacific" here primarily means groups from Australia and New Zealand, with a few exceptions. Overall, an impressive collection - mainly of groups that are not known to the North American public. If you're keen on expanding your electronic horizons towards the South Pacific, this CD is one of the best places to start! (August 1997)

This is the first major release from the new electronic music label coming out of Vancouver, Map Records. It is a compilation of local electronic groups, previewing the best of each as a prelude to releases of their full length CDs. If you are looking for a digital dreamscape, something with fairly fast beats which manage to hypnotise, then this is the CD for you. Despite the pace of many tracks, they provide a kind of heartbeat, a pleasant aural reassurance rather than a desire to dance. Hard to explain, but listening to the tracks gives me a sense of well-being; rather like the effects of some chemical substances, I suppose! Keep your ears out for a steady stream of releases coming from Map in the coming months. (March, 1997)

If you are looking for an active techno CD with tracks by a group of extremely talented electronic manipulators, pick this up. It seems rare that one can find compilations these days that are fast-paced without irritating vocals and amateurish dance-type beats. With the likes of Future Sound of London, Prodigy, Underworld and Chemical Brothers on the list, disappointment is remote. However, be forewarned that most of the tracks were not specially recorded for this cause. But you'd be hard pressed to personally record a better collection - and imagine . . . all this for the want of a video game soundtrack! (Expect to see this type of thing much more in the future). (October 1996)