Crossfade Grimoire

CROSSFADE GRIMOIRE

5.1.2

DRUM AND BASS (cont.)

Oracle
(2008) Last Laugh                      4.65
(n/a)
Welcome to Hell                       5.05
Wild Style                                  4.75
In Effect 5.65
Death Drop                               5.4

Seamlessly combining drum’n'bass with other EDM genres and influences, the UK’s Oracle have an original sound and style that sets them apart. Of the older tracks, “Effect” and “Death” are by far their best work. “Effect” melds expertly-manipulated electronica with eclectic beats and editing. After transitioning into d’n'b, the track trades superbeats for a killer technorave feel then settles into an almost trip-hop midsection. Song’s end finds the track awash in all-but-the-kitchen-sink rhythms and spacy atmosphere.
“Death” features uptempo club tempos with dark, squishy basslines over spare d’n'b beatmaps. Midsong is all spacy and ravey with plenty of space to groove and move and then back into the meat of the song. This tune in particular has great club potential, as well as being a great chill-and-listen tune.
The rest of their work, including this year’s “Last Laugh”, if not as inspired, is solid EDM with a variety of influences. “Hell” is very good EDM that also has decent dance chart potential. With this kind of originality and dance-smarts, Oracle is definitely worth keeping an eye on.

Skizzy-Beats Productions (a.k.a. Larth Fader)
(2008) Weedwalker  5.35
(n’a)
Lucky 5.5
Last Thoughts*          5.05
Battlefield Bielefeld*  5.1

[asterisks indicate tracks that have been issued as part of a 12" release, "Last Thoughts" the a-side, "Battlefield" as the b-side. Check Skizzy-Beats Productions' site for details.]
Bielefeld, Germany’s Skizzy-Beats Productionsl, alias Larth Fader, produces EDM rooted in drum’n'bass, but like Oracle, not exclusively belonging to that form. All of these tracks are worth hearing, and the 12″ single is defintely worth owning, whether you’re a DJ or just someone who digs well-produced electronic dance music. Like a lot of 12″ releases, this one is lopsided, awesome a-track combined with a b-side that is good but pales to the flipside. “Lucky” is an exceptional synthesis of European trance and techno laced with acid-edited vocals and effects. After segueing into a solid d’n'b section, it returns to prime acid trance; the cut is too acid to be considered dark EDM, though. Song’s end finds a return to riveting drum’n'bass mix and great vocal counterpoint. Recommended.
“Battlefield” is standard drum’n'bass accentuated by a weird analog siren section, a variety of cymbal manipulation, and later, a fairly frenetic hard techno groove. While not as slamming as “Lucky”, I really like the retro-meets-modern feel of the tune, which would have made great fight music in the movie “Tron.”
2008 shows Larth firmly entrenched in wild and weird drum’n'bass with “Weedwalker.” Highlighted by some really strange vox editing, the tune’s dark techno/d’n'b groove is killer; ominous and trippy, this is definitely a song stuck in the k-hole. Looking forward to seeing where Larth takes his signature hybrid sound next. Check ’em all out!

Trip Addict
(2008)  SoNotSquare         5.2

After a phenomenal digital CD release (Broken) and a less-than-great follow-up track (CaffineBuz), Wolverhampton’s Trip Addict is back on base with his newest track, “SoNotSquare.” The track shows Trip veering from d’n'b into the realm of dubstep, and has been included in this section because of its tricky rhythmic and synthesizer variations. Through solid builds, complicated variations and almost minimal arrangement, the track is sort of a dubstep/d’n'b cross. An interesting departure for Trip, and one that suggests that the UK artist may have found the new direction he was looking for.

Valvegod
(2007)
Power Trip            4.65
Black Rose [1]      4.9
Parasite [1]            4.95
The Dark One [1]   4.9
(2008)
Body Bag [2] 5.6
Devil Head [2] 5.95

[1]- tracks featured on the Valvegod EP. [2]- tracks on the unreleased (at press time) Devil’s Drum CD.

New York City’s Valvegod is a mighty presence in dark EDM: an unmistakable sound, mind-melting production, and a musical finesse to die for. Active not only as an artist but also an instrumental component of www.darkstep.org and many mix CD’s, I’m almost positive that the one-man-symphony will be a featured artist in the near future. Anyway, on to the music.
“Power Trip” features an early version of what is now Valvegod’s trademark sound: intense d’n'b/jungle rhythms, buzzsaw basslines, and cool mixes of digital synths and distorted guitar patterns. The track is solid if unexceptional dark EDM with elements of d’n'b, breakcore, and synth-metal, but important because it accurately maps where they’ve been and where they’re going.
The tracks from their eponymous EP are just this side of excellent, each developing the heavy atmosphere-n-beats into a new form. “Rose” takes the form and weaves a dark web of techno around the darkstep foundation into a rich cinematic sound. It tends to be on the repetitious side of things, but is also a very hypnotic and well-produced mix. “Parasite” throws funky beats and slinky synths into the works that culminates in an almost Bolero-like feel. Loads of multi-track layers and effects add to the track, but the eventual repetition keeps it from being truly great. “Dark One”, as the title suggests. is dark and creepy EDM that is more form than content, but the track begins to suggest a major change in the band’s attack and composition. Still a good track, nonetheless.
The first two leaked tracks from the in-progress “Devil’s Drum” CD are mind-blowing examples of truly awesome EDM. “Body” features production that is light-years ahead of the EP, and a synth/guitar pattern that rocks so bad it hurts. Gone is the endless repetition that marred the earlier tracks; instead, massive varieties of mix, programming and effects transform a killer riff into an awesome, and essential, EDM track. “Devil” is even better, a migraine-inducing mix of hardcore guitars married to a vintage Atari Teenage Riot-like beat. Reminiscent of Ministry and Front 242’s harder-edged material, the track is both intense and highly danceable. The power riffing of the guitars and the synth programming suggests Motorhead techno, and the mix is too fucking die for. The progression from “Power Trip” to “Devil  Head” is nothing short of spectacular and should be witnessed by anyone interested in the evolution of dark EDM.

ELECTRO/TECHNO

VS23
(2008) Uber Rough Draft of New Shiz   5.1
(2007)
Nausea                                                 5.1
A Choice of Weapons [original mix] 5.45

Philadelphia’s VS23 ["Deadlights"] finds them in eclectic territories in 2008, building on an already airtight sound. 2007’s “Nausea” and “Weapons” take electro into a new level of sophistication, introducing it to both trancey sectors and the jet propulsion laboratories of techno. “Nausea” favors a more post-rave, Josh Wink apporach applied to a very Kraftwerkian groove. “Weapons” sounds like an upbeat Chris & Cosey track then becomes interstellar electro through layers of hypnotic synth and production. Nods to Plastikman in the minimal but driving rhythm and the song’s ending groove is absolutely trypnotic.
“Uber” is one of the more colorfully-named demos I’ve ever listened to, but it’s a perfect description of the track, which is like a sketchbook of things to come. Taking their polished electro/techno sound, they mesh tense synths, electrotrance chord progressions and dubsteppy percussion into a really fine EDM hybrid. The song’s second drop is eclectic and brilliant. If VS23 ever recovers from their Coachella experience, they might just find themselves headlining the event in the near future.

ELECTRONICA

Bjork
(2007) Wanderlust (Matthew Herbert mix)   4.9

The latest remix from “Volta”, her watershed recording in 2007, finds singer and song recast in a completely different sonic universe, which is no mean feat considering it’s a Bjork tune, The album version of “Wanderlust” is much like Iceland itself: austere, mysterious, beautiful, and a little strange. Herbert’s remix is, by contrast, almost tribalistic, with crunchy, doctored percussion intoning under stabby synths. The track builds into a good mix and Bjork’s vocal has a great jazzy feel to it, one of the best Bjork vocal tracks of her career. The downside? Quite honestly, it’s a great experimental electronica track but it’s not very danceable..at all. A very different take on a very different artist with good but not exceptional results.

Merrick
The Happy Death March           4.05
Midnight Dreams                     4.65
Electric Reflections                5.15
Rings of Saturn                          4.3
Desert Rain                             5.25
Groovy Machine Conspiracy  5.05

When I say Merrick’s music harks back to two distinct periods in the history of electronic music: the so-called “Kraut-rock” period spearheaded by Tangerine Dream, Jean-Michel Jarre and, to an extent, Can, and the ambient electronica of the early ’90’s (the Orb, Cloud Symphony, even some of Kitaro’s work). “Happy” stakes simple synth progressions over a middle-Eastern influenced beat. Completely environmental in nature, the track feels like SSQ with a Tangerine Dream vibe. “Midnight” sounds like it could have been a bonus track for Brian Eno’s amazing 1975 album, “Another Green World.” Like that album, the track features static piano/synth combinations with a good pop hook. The end result is Eno filtered through Mike Oldfield. In a similar vein, “Saturn” takes ballad-inflected synth/piano and, in the track’s second half, minimalist melodicism into the realm of early Windham Hill releases; as previously stated, melodic but could be a little more harmonically evolved.
The other tracks suggest a more refined approach, both in composition and arrangement. “Electric” is Tangerine Dream-styled electronica with a cool drum loop that feels more live than canned. A boogie feel permeates through the track, along with some inspired Frippertronics touches and a heavy avant/pop influence. “Groovy” takes digital funk and atmospherics intro a solid electro mix, again with a great live feel. Combining moves learned from Jean-Michel Jarre, T. Dream, mid-1970’s Jan Hammer and more modern interpreters such as Juno Reactor and Psykosonik, this track is old and new all at once. If that wasn’t good enough, “Desert” takes an almost direct Tangerine Dream quote (”Green Desert”) and mixes in prime electronica and techno flourishes. Great track from an artist who should be heard more of.

MAINSTREAM

Ella Blame
(2007) How Things Have Changed [Ineffable Desire] 5.65
(2008) Incurable [Bitter Tears]                                    5.0

I’d like to begin this review by saying that, ..r inspection, the vocal and songwriting talent of Miss Ella is actually far more mainstream than I had previously thought. Her own particular soundscape is nothing less than elaborately-arranged pop and art song, sculpted into an exotic and pristine veneer that sometimes transcends either musical categorization. With that mouthful out of the way, these tracks made me re-evaluate “Ineffable Desire”, her 2007 avant/pop album, and ”Things” must surely be the masterpiece of that moody and exotic CD.
Using funky, phased-out electronica as a base, the track is both jazzy and spacy: kind of like seeing a Carmen McRae gig on Saturn. Ella’s voice is nothing less than stunning, and if her style is occasionally still a little startling, what she lacks in convention she makes up for in invention. The tune also features an awesome improvisational section that is very rare in modern pop and in EDM. The psychedelic edge adds to the proceedings. Fan-fucking-tastic!
The lead-off track to her 2008 follow-up, “Bitter Tears”, has crisper production and Ella’s vocalising is much more assured. While not as jaw-droppingly weird vocally as the previous album, Ella is still not what you would call your everyday female vocalist; her range and collection of voicces and characters is still amazing. The tune ends up sounding like a multi-dimensional 12-bar blues with a jazzy bridge and an experimental sophisticate’s touch. Looking forward to hearing the album!

Control
(2008)
Transnaistra         4.9
Late Last Night    5.3
Log Jammin’         4.85
(n/a)
Common Denominator    4.5
IGS, Part 1                      4.6
IGS, Part 2 6.1
Abilities [live]                  5.1

Boulder, Colorado’s Control belongs more to progressive rock and modern jazz fusion than to EDM, technically, but their brand of open-ended jamming and live genre-flipping performances assure them a spot in both electronics and in jazz/rock circles.
“Common” sets the tone for many of their excursions: guitar and organ-driven psychedelia with a d’n'b pulse riding underneath, courtesy of one of the hottest percussionists in the business. There are also punk sensibilities in their music, as most of the songs are three- and four-chord jams. The tune stretches out into atmospheric rock and roll with a great fluid guitar solo. “IGS” is a masterful electronic fusion jam that clocks in over 13 minutes long without sacrificing power or nuance. Using a full band arrangement that veers from “Stratosfear”-era Tangerine Dream to funk fusion that recalls the late, lamented band, Material, the track morphs into a prime psychedelic workout worthy of early Pink Floyd (think “Careful with that axe, Eugene” or “Echoes.”)
Without resorting to posturing or copcyatting, “IGS” neatly sums up the art rock, prog. rock and fusion genres from the 1970’s, and is absolutely sublime, top to bottom.
“Jammin” takes uptempo late 70s electronic jazz and grafts it to a bassline that screams Bootsy Collins and mid 70’s Styx-like synths. The song is more freeform in layout, veering from Paul Hardcastle electronica to the space-funk of Funkadelic’s less hysterical moments.
“Abilities” takes an Eno quote (”Golden Days”), adds some brilliant live d’n'b drumwork and even some digital breaks to the proceedings. It’s tunes like this that it amazes me that they can pull this kind of sound off live. As a performer myself who is known for occasionally doing the impossible, I admire and envy their chemistry and skilled arrangements.
2008: “Transnaistra” finds Control a tight funky live band that manages to sound like Funkadelic meets Electric Skychurch. After a dose of disco funk that doesnt suck, the band spreads into Mahavishnu Orchestra/Be-Bop Deluxe territory. “Night” takes the funk and layers it with art-rock synths, early progressive rock eclecticism, and classic arena rock power. The visual component that accompanies this band must not only be amazing, but must also elevate these tunes to damn near pants-wetting. If they come to a dance hall or arena near you, you can’t afford to miss this kind of live magic!

Film Noir World
(2008)
(featuring Lisa Rider)- Lost 5.55
(featuring Noel)- I Will Follow You   5.3
(2007)
Intro to FNW                                        4.8
Something Dark                                   5.0

Nottingham, UK’s Film Noir World crafts exquisite dark electronica with quality club mixes that, if they haven’t already, will consume the club world whole, and deseervedly as well, I might add.
Taking the seductive and atmospheric feel of classic Enigma, FNW’s songs are simply some of the most well-written pop songs I’ve heard in a while.
2007’s “It’s Here” features “Something Dark”, a darkly orchestral tune that could very well be 21st century electronic Joy Division. The choral and orchestral textures confirm that not only is FNW a superior EDM artist but a significant modern classical composer as well. (Note to FNW: These are the kinds of compositions I have and am performing as a 21st century classical musician and composer. We need to talk..) The tune also made an appearance in the film, “Higher Ground.” Also from that time period is the instrumental track, “Intro to FNW”, which suggests Alan Parsons Project filtered through Enigma and worthy of standing next to “No Leat Clover” on Metallica’s influential S&M concert album. “Intro” also has a grand feel one usually finds in Richard Strauss or Carl Orff works (”Elektra” and “carmina burana”, respectively.)
2008 finds FNW with a new release, “Dark Earth”, and the two lead-off tracks are classics of electronic dance music, though on completely different levels. “Lost”, featuring the amazing vocal talent of Lisa Rider, is dark electronica that recalls “Coming Back” by Crystal Method and the dark soundtracks that accompany the movies “Dark City” and “Gothika.”The song is classic pop structure and arrangement, a brilliant synthesis of Enigma and Massive Attack. The song’s builds are especially amazing. “Follow”, starring the wistful but still powerful vocalist, Noel, takes a more downtempo ballad feel and features some fantastic string arrangements. The song is inspirational, but also haunting, as if the focus of the tune is positive but not without regret or loss. An amazing artist who deserves the stardom and acclaim these songs demand.

What’s next? 5.1.3 will finish off new tracks and old, featuring tunes by Express Viviana, Daniele Mondello, Dj Nolche, Hot 2 Go, 20Mile, Louis Brains, SELF, Jonny Details, BLY, and a look at the newly-released VS. Compilation on Norotek Records.
After that will be the Alphazone feature, Recreational Chemistry (featuring mizes by 4 eva blesst, Dj Brian S, and the Verdugo Brothers.
A little later: exclusive mini-feature on the UK’s latest hot band, the Fake Lazy Supernovas, with 2 exclusive tracks found nowhere else (well..except for their upcoming album) and a featured album review of a digital release, “The Slip,” by a little-known band called Nine Inch Nails. Fill up  your glass and get ready to be rocked out of your fucking skin!

end CG 5.1.2