CROSSFADE GRIMOIRE
ISSUE 6.0
This is one of the last Crossfades to be purely on Myspace. Shortly, the ‘zine will be on its own website, and as a column on The Impious Digest’s site (links in an upcoming bulletin.) So, let’s get to it!
Electronica: Daniel Masson, Film Noir World, Goku.
Hard Electronica (d’n'b/jungle/IDM/dubstep): 4 eva blesst, Kone-One,
Jennacide, Koga Ninja, Bass Diplomat/Isabelle G, Goku.
Hard House/Hard Trance: Dark Oscillators, Express Viviana, Daniele Mondello & Krash “Mid-Town”, The Prophet, and Davide Sonar/Julian DJ/Analogic Disturbance.
ELECTRONICA
Daniel Masson
Topkapi 6.0
France’s Daniel Masson specializes in the kind of electronica pioneered by Enigma, Kitaro, and Deep Forest: spacious, jazzy cuts filled with atmospherics, fine playing, and exotic cultural references. Featuring the pristine vocals of Mayada Bselis, “Topkapi” is best described as jazzy, Buddhist electronica. After a stunning exploratory bridge, Masson adds depth and elegance to his work, utilizing strings and eclectic instruments to the already sinewy and mysterious rhythms, becoming what sounds like a 21st century electronic version of the Nonesuch Explorer. Add a wild sitar solo break, and “Topkapi” is the musical equivalent to a chilled-out zen koan. Brilliant!
Film Noir World
And They Danced [new] 5.0
Something Dark [2007] 5.95
Last issue, the Nottingham, UK-based Film Noir World took many honors, and deservedly so. FNW’s sound is almost unlike any other dark electronica outfit out there today: dark, symphonic textures overriding and intermixing with state-of-the-art beats and synths, all rolled up into an ominout pop format. “Dark”, from their 2007 debut LP, “It’s Here…”, is a blockbuster instrumental. Gorgeous Howard Shore (”Lord of the Rings” composer) symphonics glide into a funky and beat-heavy electornica brew. The Mix of cinematics and electronics is extraordinary. “And they danced”, a non-CD offering,” takes a different course. Using the symphonic brittleness of pizzicato strings, “danced” weaves a journey through odd nursery rhymes that manages to sounds both like “Days of Future Passed” (the 1967 Moody Blues classic) and trip-hop. Dense fx at the end add to the weirdish proceedings.
Goku (& Skittle)
Elivish Lullaby 5.8
A complete departure from Goku’s usual drum’n'bass/dubstep musings, “Elvish Lullaby” is an enchanting slice of hypnotronica that soars and grooves with the best of the elecrtonica genre. Jettisoning their usual spiky rhythms for lush synths and half-time drum beats, the track, is by turns, slinky, spacy, and hypnotic. The song features loads of melodic development, and the transitions between chill-out and slightly more aggressive hypnotica is masterful. A radically different and welcome ide-turn for this talented performer.
D’N'B/JUNGLE/IDM/DUBSTEP
4 eva blesst
Acid in my Head [2008] 5.15
iLL OUt [2008] 6.25
Logic [2008] 5.25
You have to wonder what’s in the water in the New York City metropolitan area. This man has virtually dominated every hard EDM category except for hard house/hard trance since Issue 3, and he shows no sign of slowing down. One only hopes that this magazine or someone else (preferably both) will get a compilation disc out so the rest of the world can hear this.
“Acid” takes a rolling jungle groove and spikes it with messed-up synthy and (very) heavy bass, so heavy it will bounce the shingles off your roof. Then the track takes off for a colorful journey through many dark EDM alleys, including drum’n'bass and darktronica. Sound effects and production are creepy, but not evil. The track has a great loopiness to it, but really, one of Blesst’s lesser works. “iLL Out” is a different matter, however. Opting for a far streamlined approach, Blesst incorporates spacy, almost jazzy electronica over house rhythms and a purring bassline. The rhythms and programming are varied and awesome. “iLL” shows, in spades, that a state-of-the-art elecrtonic masterpiece need not be a balls-out shriekfest with thunder and lightning in the percussion and Mt. St. Helens in the bass. Great track and great club potential, as well.
“Logic” goes the other way, into brutal percussion, uberdistorted bass, and intense loops. The track is well-executed, hard-as-a-dimaond jungle with industrial sequences: sort of what Alain Jourgensen might have sounded like had he not gone hardcore with “the Land of Rape and Honey.” It does getr a little old towards the end, although there are enough hyperbreaks and effects to keep all but the terminally attention-deprived happy for days.
Bass Diplomat
Isabelle G- I Like (Bass Diplomat remix) [2008] 5.7
“I Like”, with Isabelle G handling vocal chores, is tight anbd enjoyable track that may appeal to more than just d’n'b fans. The track is wound-up IDM with bits of trippy drum’n'bass/jungle woven into it, and some very odd features as well. The slam breaks feel very strange in a song so propusive, and at times, it reminds me of the late great speed garage invasion of the mid ’90’s. As the song progresses from trippy garage to almost psychedelic jungle (NOT the Crammps album, but wouldn’t THAT be brill?), the rhythms become furious but never too fast; everything here feels measured and maximized for pleasure. An exceptional IDM/jungle track with great acid and garage overtones.
Goku
Oh No, She Didn’t [new] 5.05
Dairy Milk {xc} 4.32
Insect {xc} 4.59
Oddly, Goku’s best track this session, “Elvish Lullaby”, is neither d’n'b not dubstep, which you can peruse in the ELECTRONICA section. “Oh no” is fuky dubstep with a cool and hyper-rhythmic lead and oddball samples that sound like they’re straight out of “In Living Color.” The mix morphs into very catchy and oddball dubstep, further defining the genre. Really different, really cool, but ultinately,not really essential. The remaning two clips are from (older?) tracks that point to other directions. “Dairy” is a foray into experimental electronics that slides into d’n'b/dubstep. Hooky but definitely not your standard-issue dub tune. “Insect” is better, taking a cool digital montage into a dubstep workout, Mars Attacks-style. The bass programming, particularly the later one, is melodic and inventive. Really neat side-step from the UK Dubsteppa.
Jennacide
Time’s Up (Grandad Remix) {xc} 5.58
This clip is welcome news from the Chicago drum’n'bas artist. Her last track, the DJ Browsa-remixed version of “Sick Phuck”, was a highpoint for both artist and remixer. While Browsa hasn’t come close to that awesome track, this remix proves that, at the very least, Jenna’s tracks are still vital and worthy of ace mix-ups. This time, the remix is more creepy than metronomic, edging into the darker territories that Geevious and CerealKila usually wander. The bass and fx have been, at times, radically altered and the beat is wonderfully off-kilter. If Jennacide’s output seems smaller than other artists in the genre, it should noted that she is also an avid promoter and one-half of SickoDubz Recordings, the other half being the excellent New Jersey artist, J-Dub. Looking forward to unveiling the full version in 7!
Koga Ninja
Get Me Out 4.125
Muzik 5.15
Night Time 4.35
featuring That Hunter- Ha 4.65
Birmingham’s Koga Ninja (aka Leandros Ioannidis) is a self-professed “drum’n'bass vinyl purist” and member of the Bass Slaves collective. These four tracks are but a sampling of his prolific output to date; look for a full, honking profile on this character in issues to come.
That being said, there’s nothing wrong with any of these tracks; they have an artsit’s skill and a purist’s joy to them…and the latter is ultimately what keeps all but “Muzik” from shining. The problem with purism in any genre is that it sometimes acts as a smothering agent rather than an invigorating one. While none of the tracks are awful, and most are modest floorbangers, there’s a sense that something could have been added or expanded upon. “Get Me out” doesn’t technically fall into this category, as it is an excerpt. The tune is hyper but dancey d’n'b with standard-issue bass buzz, but a good time all round, and serious floorkilling potential. “Ha”, with That Hunter, another Bass Slave, is massive buzz and slightly sunken-under drums; the mix on this track is almost too much bass, as the lower register throbs everything else away. Still a good dance tune and the sample is funny.
“Night” features off-kilter drum’n'bass with heavy bass (naturally) and a good, almost trancey, groove. Again, only a ckip, but something feels mising, even to the clip’s production. “Muzik”, contrary to aforementioned purist intentions, is not pure d’n'b at all. Amid the hyper-percussive proceedings and basslines lies harder-edged jungle rhythms, odd smaples, and a killer riff and groove. Of course it gets heavier; come on, one Bass-head knows another, and it’s expected, more or less. Instead of the bottom dropping out, register-wise, the mix becomes a hot dance track with a fine overdrive section after the 2nd drop. So much for purism (just kidding), but the point is there: The best way to further a genre authentically is to elevate it exotically.
Kone-one
atypical [new] 5.55
sun interlude [new] 4.7
Kone’s new tracks are as firmly experimental as his previous entries, but with different emphases. The Austrian drum’n'bassalist mixes more styles, genres, and rhythms together than a Doctoral Musicx candidate with ADD. The aptly-titles “atypical” mixes hyperbreaks with ambient synth, sounding like Brian Eno dropping breakcore. The track’s experimentalism is elaborate and sophisticated with mind-melting “everything but the kitchen sink” rhythms. After an earful of that, pulsing bass with lush synth take over then dissolve into head-spinning editing workouts. The tape/electronic/rhythm work is profound and unlike anything I can even describe, including Product 6’s mega-montage marathons. Definitely ahead of its time.
“sun interlude”, at 1:03, is very short, but I expect that kinbd of eccentricity from this bizarre and talented artist from Salzburg. Usin spacy elecrtonica and a martial cadence, the “tune” is small on length but long on ambition, and wouldnt be out of place .. anbd After Science.” Kone-one (or Kone-Lumpenpack, or Kone Lumpzug, whatever his name is) could be the Captain Beefheart of drum’n'bass.
HARD ELECTRONICA (hard house/hard tranced/hardcore)
Analogic Disturbance (see Davide Sonar)
Dark Oscillators
Nasty Jungle [2003] 5.08
Hardstyle Hell [2004] 5.875
Nobody is Perfect [2004] 5.75
Stereophobia [2006] 5.475
Nero (original mix) [2007] 6.225
Super Star DJ [2007] 5.475
[all of these tracks are downloadable on their Myspace site; original 12" releases on BIg Records, Italy]
Members: Antonio Dona, Luca Antolini, Cristiano Guisberti, and Mauro Farina.
The Dark Oscillators, practicioners of pounding hard hosue, trancem and techno, are more famous for who they are outside of the unit than for being in it. Mauro Farina is a legendary DJ whose career spans over two decades. Dona and Antolini have achieved success both in their own names as well as countless recording units, and Guisberti is much better known as the Master of Italian Hardstyle: Technoboy. With this kind of pedigree, you expect their work to be almost legendary in quality…and that is exactly what is delivered.
These releases, all downloadable on the Dark Oscillator’s MySpace site, represent pretty much every 12″ release by the DO’s, except for 2005’s “Ethereal Sound Machine”, and 2006’s “Food for Woofers.” Their discs have been spun by many European heavyweights including DJ Luna, Daniele Mondello, and Technoboy himself.
Every one of these releases are must-haves for hard trance and hard house aficianados, with “Hell”, “Nobody” and “Nero” being the absolute best. Rather than diving into blathering fandom by describing the awesome beats and riffs in these grooves, get off your ass, hit their site, and see for yourself. Start with the aforementioned three tunes, though. They are simply fantastic!
Express Viviana
Hardstyle Attack (demo version) 5.22
With “Attack”, Viviana equals, and at times, eclipses her husband’s (Daniele Mondello) trademark hard trance roar. Using a classically-derived trancey opening, the track segues into a cool hip-hop build into more-danceable-than-expected hard trance. While some of the harmonic underpinning is pretty standard, she employs a really nice downtempo electronica break that is refreshing. A track worthy of any of the Q-dance events.
Daniele Mondello & Krash “Mid-Town”
Frequency 4.85
Gladiator 5.15
These new mixes by the Sicilian master DJ and 1995 Technics DJ Grand Champion epitomize what is so-so and what is better than average with European hard trance. With the assistance of Krash “mid-Town” (I dunno..you tell me), “Frequency” is all poundy/trancey goodness that is better than average hardstyle fare, but only so-so Mondello. “Gladiator” is a solid tune that harkens back to his best records (2002’s “Kamikaze” and 2005’s “Commander” come to mind.) The resulting miox is good-to-very good acid hardstyle with solid riffs and builds. No rave should be without one.
The Prophet
Big Boys Dont Cry [1995] 6.5
The Masochist (Kill the remix) [2005] 5.6
The Prophet & Marc Acardipane- Stereo Killa [2005] 5.8735
The Prophet vs. Deepack- Stampuhh! [2006] 4.725
OG Pimp [2006] 5.0585
Cherry Moon Trax- Acid Dream (Prophet Remix) [2008] 5.125
{Big Boys- orig, released on Pengo Records and re-relased on ScantraxxL; Masochist, Acid, and Stampuh! all released on Scantraxx Records; OG- released on Scantraxx Specials; Stereo Killa- released on Cloud V Blue Records as part of MixCD}
alias: Dov J. Elkabas
career: 1983-present; recordings/mixes: 1993-present
Dutch-born DJ/artist Dov J. Elkabas, legendarily known in Europe as, among other things, The Prophet, has been a titanic figure on the hardcore European electronic scene, nearly since his professional appearance in 1993, as part of the Dreamteam. After a break from making some of the Netherlands’ seminal hardcore recordings, he switched to hardstyle, and the rest is history.
To date, he has over 66 releases, over 130 remixes, and over 25 DJ mixes to his credit, as well as launching Scantraxx, one of Europe’s hottest hardstyle/hard house labels.
“Big Boys” is the only example of The Prophet’s incendiary 90’s hardcore style on the ‘Space, but, god, what an example it is. It is impossible to describe in print how many genres, how many styles, and how seamlessly he weaves them together: hard techno, house, drum’n'bass, jungle, happy hardcore, rave, the list goes on. And smack in the middle of it all, is a wonderfully fucked-up sample of the 1975 10cc hit, “I’m Not in Love”, where the single gets its name. Trivia: in the creepy 10cc hit, there is a weird/creepy section where the words “big boys dont cry” are intoned over and over. This song must have been indescribable in 1995, as it is now. One of the most important hardcore recordings of all time.
The post-hardcore era is represented by enormous hits (”Stampuhh”, “Stereo Killa”) and some less so (um, the rest). Most, if not all of these, have received European airplay and widespread rave/event play around the world…except for America, it seems. Summary: “Stereo Killa” is an amazing, fist-pounding anthem, and is considered classic Prophet hardstyle, by turns, acid-drenched and minimalistic, with signature breaks and editing. “Masochist” takes the melody from “Strangers in Paradise” (yeah..from “The King and I” of all things) and weaves it into echoey hard house. The synth work is more or less standard hardcore lead, but the song is hypnotic and the “cover” of the King and I song is one of the weirder ones out there.
Footnote: “Stampuhh!”, made with the talented Deepack duo (”Prophecy”, “Here’s Johnny”) was a gynormous success, both at the Q-Dance/Sensation events and at their own gigs. The song itself, though, is nothing to write home about, and both Deepack and The Prophet have done considerably better work. Still, the tune is one of the sounds of 2006, and should be remembered as such.
Davide Sonar & Guiliano Capello
Analogic Disturbance
The Second Chase EP [xc] [2001] 6.0
Wait a Second [2003] 6.15
Pray for your Future [2007] 5.7
Julian DJ & Davide Sonar
Techno Noise [2002] 5.05
YRML: You are my Life [2006] 4.8665
(with Erik T)- Mad World [2008] 4.8585
Davide Sonar
Techno Boheme [2006] 4.9085
Reactor [2007] 5.65
Sarabande [2008] 4.95
Davide Sonar is, in reality, Davide Cardilli, an Italian DJ, producer and recording artist, but is most often seen/heard in combination with Guilano Capello, alias Julian DJ. Between the two of them, they have been present on the European hardcore dance scene since 2002, in various outfits and recording monikers. While a future big honking profile seems imminent in these pages, let’s focus on these tracks, past and present.
Many people I have talked to that know this pair’s music have said that their work as Analogic Disturbance is their best work, and although I have not heard much of their work beyond this, it’s awfully hard to dispute the point. “Second Chase” is pre-2002, most likely 2001 [circa the same scene as Derb], is riveting and rock-hard with its off-kilter slam breaks, rhytmic precision and strange “frogs on acid” noise. At 6 minutes plus, “Wait” is better: a fantastic hardstyler firmly rooted in rave tradition. Weaving between atom-bonb hard trance sections and more traditional trance builds and fades, the track is relentless, well-executed, and influential in its endless propulsion. “Pray” is more recent, and while the track is rife with jackhammer bass-kick and digital effects, its tendency to grow faster and faster until ridiculously fast sets it at the extreme edge of hardstyle. Still, a great workout on the floor.
With the exception of the classic “Go Go Go” which I didnt have the chance to hear, their work as Sonar and Julian (or vice versa) isn’t as inspired. “Noise”, from 2002, is no-frills hardstyle: not bad, and cetainly guaranteed to make you sweat, but not nearly as absorbing as the Analogic work of the same period. “YRML” is standard hard-house, but with an annoying synth lead and Wagnerian orchestral textures with a little pseudo-carmnia burana thrown in. Interesting, but not as great as it could be. Good breaks, though. The recent cover of Tears for Fears’ “Mad World”, is a cover of a cover, for its more a remake of the haunting, near-perfect Gary Jules cover than the original. As a cover/remake of a very un-hardstyle song, it’s not a bad attempt at all. Maybe it’s because this song has such a deep place in my heart that while the cover is good, it’s just not what the doctor ordered, and comes off feeling like a cash-in; guest vocalist Erik T’s almost-copied vocal performance doesn’t help either.
On his own (allegedly…those two are almost inseperable), Sonar remodels two classical themes into trance anthems and creates a potboiler of his own. “Techno” is a revved up version of Puccini’s “La Boheme”, and the synthesis, while not perfect, isn’t bad either. It does fade into rather samey acid-trance at the end, as does “Sarabande”, his remodeling of Handel’s Sarabande in D minor. “Sarabande” is nicer, though, as it stays truer to the form covered longer than the Puccini makeover, and the harmonic modulations of the piece are really cool.
“Reactor” takes on Wagnerian strings, Howard Shoer choral parts, a classical gigue in the piano, and a trance lead all at once to stunning effect. After a bit of dramnatic building, the track is truly a gem. It, too, fades into crossfadeable acid-techno at the end, but the track overall is hot, and one of his (their) best since the Analogic days.
Part Two will feature the rest of New and Used Tracks, including:
Hardcore, Hip-Hop & Reggae, House, Mainstream/Indie, and Techno/Electro/Trance.
end CG 6.0.1
bouncy
