Nightmares On Wax
Smoker's Delight
WAX TRAX/TVT

Constructed from smoothed-out soul, funk and hip-hop samples, Smoker's Delight is a huge leap ahead from the experimental brew of A Word Of Science. Where the first album reveled in it's 'anything goes' experimentation with musical styles, this is a return to the roots of NOW's original inspiration -- the groove.

Pared down to one member, NOW, a.k.a. George Evelyn, is back. The music here is like a history lesson in black sounds of the last three decades. From Motown strings, to 70's funk, and jazzy hip-hop breaks, this transcends hipness for anauthentic, refreshing, street-level soul. The opener, "Nights Introlude," is late-night strings over smoky jazz breaks, that helps set the album's laid back tone. "Pipes Honour" gives us nine minutes of funky guitar strumming and phat organ fills; while "Bless My Soul" adds apleasing country-western lilt to the proceedings. Both "Rise" and "Stars" retain a senseof emotional resonance within their funked-up soundtracks; while "Gambia Via Vagator Beach," fueled by Goa-inspired percussion, percolates with life. All throughout Smoker's Delight, Evelyn discards the obvious for the subtle, and the music's subtlety proves to be its greatest asset. This is a release that easily transcends its title, and offers a multitude of rewards upon repeated listenings -- intoxicated or not. (Raymond Hovey)

T Power
The Self Evident Truth of An Intuitive Mind
SOUND OF THE UNDERGROUND RECORDINGS

Most producers of jungle create a few new tracks to throw in with remixes of tired, old, worn out songs that have long since lost their appeal. TPower's The Self Evident Truth of An IntuitiveMind, however, is a new testament to the potential of jungle that will to hold its own for decades. This album incorporates aspects from its contemporary origin of jungle, to ambient, to acidic white noise, and to even what sounds like channel surfing on television. The nine tracks of Truth... are masterfully mixed so that the two (or more) songs on each side flow together, yet still retain their own integrity as separatetracks. Tracks such as "Circle" and "Square" run through a gambit of instruments, effects, and feelings, and while most jungle producers over-emphasize the drum and bass sounds, TPower uses pulsing analogue noise, spacey synth, orchestrated strings, and a multitude of othersounds. The use of new rhythmic compositions and samples also make this an outstanding album. Rhythmsthat are familiar to older riffs are affected and restructured into ingenious hard-hitting jams.Truth... takes you on an emotional journey through ethereal sounds mixed with the drum and bass compositions we have come to call jungle, and is a futuristic masterpiece that will draw new listeners from every corner of the musical community. This album is a must! (MK2)

U. Srinivas/Michael Brook
Dream

Nusrat Fateh Ali Khan/Michael Brook
Night Song
REALWORLD/CAROLINE

Veteran guitarist/producer Michael Brook has been collaborating with a varied crowd recently. Combining modern electronic ambiance and guitar with the unique talents of the Indian mandolin prodigy U. Srinivas and world-renown Pakinstan singer, Nusrat Fateh Ali Khan, Brook helps add to the international variety of Peter Gabriel's Real World label.

Dream is a deliberate step beyond Srinivas' traditional mandolin style into the experimental, a "conversation" between Srinivas' explorations into the improvisational, and the contributions of a surprising roster of musicians: Caroline Lavelle on cello; Jane Siberry, vocals; and Nigel Kennedy, violin, to name a few. Late night recording sessions, coupled with Brook's creative production, managed to capture a dark, meditative quality that becomes the album's theme. Throughout the four pieces-"Dance," "Think," "Run," and"Dream" -- background atmospheres, samples, and effects, in addition to Brook's own commentaries on guitar, are tastefully added to the flow of notes from Srinivas' mandolin. "Dance" and "Run," close cousins in mid-tempo percussion, feature distant textures behind Srinivas' spiraling and sometimes insistent melodies that echo between the restrained expressions of violin and guitar. "Think" and "Dream," aptly named for their contemplative tone, move more slowly, leaving room for Srinivas and collaborators to make the solitary statements that define the mood of these tracks. The different instruments on Dream compliment each other well and provide an atmosphere that allows Srinivas to break from tradition and move freely from the frantic to the serene.

Night Song finds Brook sharing songwriting responsibilities with the world renowned singer of Qawwali, the devotional music of Sufi Muslims, Nusrat Fateh Ali Khan. Having worked together in 1990 to produce the widely acclaimed album, Mustt Mustt, Brookand Nusrat have worked to push the 'west meets east' creative scenerio to its most contemporary -- combining religious lyrics with pop-structured accompaniments. With rhythms, guitar, and soundscapes provided by Brook, Nusrat displays the remarkable versatility of his voice through mournful chants, hectic scats, and solemn affirmations. The pop arrangements on Night Song mark the difference between Night Song and Dream, but Brook has preserved aquality of evening solitude on both albums. (Andrew Monko)

Heavenly Music Corporation
Anechoic
SILENT

As the experiment begins, hear the waves of electronic noise that recede to reveal a shore lined with musical treasure. For the vast number of sounds you are able to identify, notice their position in the spectrum, their balance, how appropriately they are placed. The droning pedal tones, ancient human chants and computer generated spacewind reassure you that as far as heaven might be, we are living on earth right now. How can music float? Music is sound, which is vibrating air. As the CD's instructions indicate, listen to Anechoicon a pair of headphones,then get in touch with the atmosphere surrounding your own little planet atop your shoulders. Maybe you too will feel the subtle motion of a sensory deprivation tank holding you at neutral buoyancy in a warm saline bath as it eliminates all the hard edges. Or perhaps you will feel that sensation you sometimes get moments before entering sleep -- simultaneously shimmering, rotating, revolving in space. How can a synthesizer sound sad? In Heavenly Music Corporation's alien ghost town calledAnechoic. (DanaVallery)

Mu-ziq
In Pine Effect
ASTRALWERKS

Kid Spatula
Spatula Freak
REFLECTIVE

I've always thought of Michael Paradinas, like Richard James, as an overrated gear-freak, who's one need in this world was a strong dose of creative restraint. Well, everyone can be wrong sometimes.... Under two of his aliases, Paradinas has created two unique, emotionally-charged soundscapes that verge onbrilliance.

The first, In Pine Effect, is a rough-edged, dirty production, that whilesuperficially bleak, holds some of the most beautifully crystallized melodies committed to record this past year. The minimal, metallic percussion of opening track "Roy Castle" soon gives way to sunbursts of insistent brass; while "Old Fun #1" could be called chamber Mu-ziq, as it's noir-ish texture and mournful cello creep over an industrial beat-box. The stripped-down Detroit-isms of "Dauphine" bring to mind the best moments of Bandulu; while the trip-hop tones of "Funky Pipecleaner," with it's staccato rhythms and jazzy horn riff, are a groovy delight. The best moments come on the two tracks that hold the most emotionally resonant melodies -- "Phiescope," with its Kirsten Hersh-sampled guitar and cello; and the jungle-like "Iced Jem," its floatingeastern-tinged melody, over chattering percussives, sounding like a psychotic YMO. Things fall apart a bit after the unlistenable "Mr. Angry," a track that puts Arthur Janov's primal scream therapy to music, and is totally without merit. Overall though, In Pine Effect does manage to gel fairly nicely, and is highly recommended listening.

Spatula Freak differs in it's tone and production, but is otherwise recognizably Paradinas. Where the music on In Pine Effect was kitschy andleftfied, here things are colder and pristine -- more cleanly frozen, metallic and electronic. "Dance 3" opens with it's tumbling chords and blissfully bleeped-out melody, sounding like a Warp release. "Vampires" is soft-core Sabres, without the heavy dub elements; while the brittleness of "Chisholm," with it's spacious piano chords, is pure beauty. The best track,"Cough," is like staring with hope into a star-filled sky -- it's palatially somber melodyis gorgeous. Like In Pine Effect, Spatula Freak has its moments of ghastly dissonance, namely the terrible, yet aptly-named, "Metal Thing #1," but overall proves highly enjoyable. (Raymond Hovey)

Xylon
Mooncafe
CLEOPATRA

Ordering a double latte in zero gravity can be a challenge, what makes it enjoyable is the background music. Mooncafeis a collection of soundtracks originally composed for a successful European documentary about space travel and subsequently tailored for an album as an afterthought. The first three songs -- "Prelude," "Bizarre Planet," and "Raumklang (Stufe1)" -- contain the best moments of Mooncafe which can only be described as...epic. Deep tones swirl, reflective melodies drift, and sad strings rise. Recycling the space-anthem approach ala Vangelis on the remaining tracks proves tiring, but funky beats and tribal percussion ("Funky Alienation" and "Rainforest") break the pattern with enough perk to leave a good taste in your mouth. (Andrew Monko)

Hardfloor
Da Damn Phreak Noize Phunk?
EYE-Q/HARTHOUSE

For years Hardfloor has been the most respected name of hard European acid trance, their trademark a relentless, pounding barrage of layered tb-303 sequences easily recognizable in DJ sets around the world. Hardfloor had a niche, but a niche in the confines of a fairly limiting sub-category of electronic music. AlbumsTB Resuscitation, Respect, the Funalogue EP, and a slew of12"'s are proof-positive that Hardfloor had comfortably mastered the acid genre. With their style defined it was in danger of becoming predictable, but no one could have predicted the degree to which Hardfloor would abandoned their world-renowned sound.

At the risk of being labeled bandwagon-hoppers, Hardfloor have taken their acid machines, vicious sense of rhythm, and their swing-beat sensibility and dropped their own distinct sound in the middle of the crowded and often incestuous world of triphop dub. As the astonished faces of Hardfloor fans after the first few notes of Da Damn Phreak Noize Phunk? can attest, it seems as if a constant in the universe has been altered. Unrepentent, Da Damn... is a metamorphosis of abrasive acid house energy into a six-track megadose of deep, ass-funky grooves. The first track, "Yimtrop," characterizes the new style: leading in with a long intro, rising in anticipation in a seemingly predictable Hardfloor build, but instead of rocketing into high-tempo madness, drops like a rock into a low and slow dub beat accompanied by overlapping wails of the 303. Most tracks, such as "Triple Pay" and "Drive Thru," are powered by funky-swing beats higher in tempo, carrying strange noises and gurgling electric squelches in loose arrangements that allow an appreciation of those quirky notes that usually scream by at 140 bpm. To the often copycat school of dub and triphop, Hardfloor's facelift is a welcome new twist. (Andrew Monko)

Stereolab
Refried Ectoplasm (Switched On Vol.2)
DUOPHONIC ULTRA HIGH-FREQUENCY DISKS

Leading the charge of a slew of oddly experimental bands born out of England's Too Pure label (Mouse on Mars, Laika, Seefeel, Pram, etc.), it can't be denied that Stereolab have breathed some interesting, if not fresh, air into the frequently stale world of indie music. Whatever one's opinion of their recorded output, the band is to be admired for stridently sticking to an aesthetic vision that will (seemingly) never pander to the lowest common denominator.

Refried Ectoplasm is a collection of 7-inch singles, B-sides, and unreleased tracks recorded by the group between 1992 and 1993. Like most compilations, this isn't a very cohesive collection, yet it holds its own unique charm. With their usually ever-present Moogs conspicuously underutilized, this is Stereolab in shambolic, garage mode. The music itself is all trance-like guitar riffs, farfisa organ fills, repetitive rhythms and hypnotic vocals melting into one almighty, melodic groove. The best tracks are the ones previously released as singles: "French Disko," "Lo Boob Oscillator" and "John Cage Bubbblegum," each containing the French vocals of Laetitia Sadier bouncing along sugary, hook-laden melodies. Other highlights include "Tone Burst (country)," a simple blending of voice and 'country-fied' guitars; and "Farfisa," with its dizzying wash of organ, Moog, voice and percussion. Overall this is pleasantly enjoyable, and definitely a must for fans.(Raymond Hovey)

Subtropic
Homebrew
REFLECTIVE

Attempts I've heard in the past to bring together the disparate ingredients of jungle and ambient/'intelligent techno' never inspired a second sip; but Homebrew goes down in big, frothy gulps. Jake Smith (not to be confused with labelmate, Jake Slazinger) has concocted the perfect recipe, presenting an album that sets sounds of 'intelligent ambient' such as Autechre and the mathematical syncopation of hectic drum and bass rhythms, not in awkward opposition, but interlocked in a unity of accessible sound. Smith avoids dragging the listener through tiresome jungle formulas, constructing instead lively compositions that keep the ears guessing. Hyperactive snares spatter past in a staccato stream of fills, suddenly drop to a break of half-tempo dub, then scramble back again to a variation on a previous rhythm -- waiting to hear what the drums will do next proves to be one of Homebrew's delights. Over the mutating percussion are sparkling analog sweeps, echoing droplets of notes, indecipherable samples, and on "Heaven," even sweetly sung lyrics. The appeal of Homebrew is also found in its production -- clever use of effects have notes in deep space one measure and in your face the next. On Hombrew, Smith takes advantage of jungle's versatility and gives it a brain. Serve chilled in a very large mug.(Andrew Monko)

Air Liquide
Red
Black
SM:)E COMMUNICATIONS

Since their two CD set, The Increased Difficulty ofConcentration, was released as Sm:)e's catalog debut, Air Liquide has amassed two separate albums worth of material in the form, not of elements this time, but of colors -- Red andBlack.Red, the first of the pair to be released, seems more a collection of random tracks than a cohesive album . While most of the tracks in the first half of Red meander, theremainder of the album finds some character and a glimpse of Air Liquide's true personality: minimalism, acid, and industrial weirdness. These acid and industrial elements for which Air Liquide is famed are better served in Black's cohesive theme of ominous psychedelia. The dark undertones of Black allow a variety of temposand creations to compliment one another while maintaining the singular purpose of keeping the listener in a realm of otherworld eeriness. As machines grind and foreign chatter echoes in the distance, static battles ambiance across a schizophrenic soundscape, and twelve Air Liquide tracks reveal the underside of an already disturbing color. (Andrew Monko)

Prototype 909
Live 93-95
INSTINCT

If you crave that hard midwest acid sound, then P-909's Live 93-95 is a mustpurchase. Live 93-95 is a compilation of new and old tracks mixed together into an acid frenzy. Tracks 1-3 are an analog roller coaster ride in which all those little knobs tweak your mind from the highest mind-piercing bliss down to the most guttural muffled grind. Tracks 4-5 are the defining quality of P-909 as they were on their earlier release Transistor Rhythm;whereas tracks 5-8 reflect their following release, Acid Technology. Each track is made up of what sounds like two or threesongs because of transitional tempo mixing which is sometimes smooth and subtle, other times gritty and rash. This album shows off the multitude of instruments that P-909 employ -- all very analog and vintage Roland. While listening to Live93-95, however, I couldn't help but think how similar many of these tracks sound -- like so many other artists who base their music around Roland equipment. For the sake of acid house's longevity, old and new producers better start seeking out new sounds. Those familiar with Prototype 909's work won't be disappointed, this is a summation of their story so far. Live 93-95 grabs hold of yourmind and soul, and takes you on a journey that forces you to embrace the future.(MK2)

Children of theBong
Sirius Sounds
PLANET DOG/MAMMOTH

Inhale: It is fitting that we hear again from Children of the Bong in this issue with a Banco de Gaia interview. Rob Henry and Daniel Goganian have gone from a one room college noise generation laboratory to playing Toby Marks' dinner parties to UK hydroponic knightdom. Wielding technical prowess the Children create their own sounds and stylessubtly comparable to acid, breakbeat, psychedelic, and dub. "Underwater Dub" is my favoriteflavor on Sirius Sounds, also included on the Planet Dub compilation released in 1995. Super low expando frequencies that hit this song should make High Times magazine's top 100 list. Load another and listen as these manipulators bust down your maoinhibitors. Enjoy the ultra Hz as it oscillates every loose object. Heavy and sticky with white andpurple hairs: Exhale. (Sean Mercer)

Brian Eno/Jah Wobble
Spinner

Audio Active/Laraaji
The Way Out Is The Way In
GYROSCOPE/CAROLINE

With the commonality of remix technology making it possible to deconstruct a myriad of releasable fragments, so-called collaborative efforts can be such without the two parties ever meeting or setting foot in the same studio, as is the case in these two new projects from the Gyroscope label.

Originally intended as a soundtrack forGlitterbug, a film by the late Derek Jarman, Eno's music is a sparse, metallic entity, that sparkles in its fragility. The tapes were handed over to Jah Wobble to augment in any way he chose -- but being a complete stereo recording, he couldn't deconstruct them. Wobble's input on the finished product ranges from non-existent (the untouched "Where We Lived"), to restraint (a single bassline on "Like Organza"), to all-out meddling ( "Steam," an entirely new composition); yet it never seems forced orcontrived.

All the tracks work on various levels, but the best are the more musically fleshed-out. On "Unusual Balance," Eno's foundation is augmented by Wobble's trademark bass, Justin Adams' guitar, and the eastern-tinged vocals of Sussan Deyhim; while the expressive drumming of Can's Jaki Liebeziet is featured on the criminally short "Spinner" and groovy "Transmitter and Trumpet". Overall, Spinner's greatest strength is that its two main catalysts seem to have a unique understanding of the other's musical thought processes, resulting in one cohesive entity of sound.

The Way Out Is The Way In is a less cohesive affair due in part to the extremely different approaches, musically, of its participates. New Yorker Laraaji is known for his deeply meditative music, music that borders on new age that he describes as "an energy, a color-pure space. "Japan's Audio Active, on the other hand, is the musical equivalent of a cultural melting-pot, taking in everything from hip-hop, to dub reggae and funky humor into their On-U Sound. Taking Laraaji's music and metaphysical rantings to the furthest extreme, this release occasionally sounds as if it will totally self-destruct. Yet, in places, it also seems relaxed, inspired and darn funny, too. The best tracks are the ones which could be easily classified as ambient dub -- "How Time Flies," "Laraajingle," and "Hither and Zither." Augmented by simple bass and rhythm tracks, the music here remains closest to Laraaji's original, calming vision. The other, more ambitious offerings often sound too cluttered -- like their disparate elements were pounded together in some violent studio ritual, still not quite fitting. The end result is an album that sparkles in parts, holding appeal for fans of both artists, once you get past the clutter. (Raymond Hovey)

2 Bad Mice
Kaotic Chemistry
SM:)E COMMUNICATIONS

These guys have been producing jungle since its beginning, and it's apparent by the songs included on this disk. The samples and sequencing of rhythms on most these tracks hold true to what junglists today would categorize as happy hardcore or possibly early darkside. Nonetheless, 2 Bad Mice: Rob Playford, S. O'Keeffe, S. Colebrooke, along with Moving Shadow records, have been at the forefront of modern jungle; however, this CD is not so much about the present as it is about the past. KaoticKemistry's tracks come from a time when there were no limitations,because standards had not yet been set. Kaotic Chemistry is an educational compilation of jungle's early years.(MK2)

DJ Food
A Recipe for Disaster

Funki Porcini
Hed Phone Sex
INSTINCT/SHADOW

The US release of DJ Food's A Recipe for Disaster and Funki Porcini's Hed Phone Sex from Shadow Records is another result of Instinct's steadfast pursuit in the past few years to find the best trip-hop and acid jazz European labels have to offer. The alter egos of Coldcut's Jonathan More & Matt Black, DJ Food's Recipe for Disaster serves up 16 nasty cuts of scratching, jazz loops, and trip-hop beats, from the slow n' drowsy to teasings of jungle. A satisfying mix of breakbeats for dancefloor mischief. Funki Porcini, in contrast, takes a route through ambient ineundo and slow, shuffling dub, hands you an Anais Nin short story and takes no responsibility for the stirring in your trousers. Hed Phone Sex is ablending of moody sexuality with slow motion funk that results in a surreal soundtrack for the bedroom, subliminal but not gratuitous. Also included is a second CD that compliments the original with a collection of uptempo percussive remixes. Funk with a capital "F" is what DJ Food & Funki Porcini have incommon -- one aims at your feet, the other at your knickers. (AndrewMonko)

Mantaray
Luminous Island
SILENT

Silent Records is a haven for the techno-spiritual. But as I waited for the music to meet the hype on Luminous Island, it left me wanting more. Actually, these pop-length songs aren't allowed enough time to develop, and samples are used without any discernable treatments so that, at times, I felt like I was previewing a tone module rather than music. Doubtless, everyone should be exposed to the music of other cultures, and you won't find a shortage of 'world' sounds on this disc. I just can't tell if these musical spices are necessary ingredients or just a garnish.

The music is not bad -- there are some glimpses of amazing originality which show the strengths Yukota and DJ Ray possess. This CD would truly be a great companion for a nature walk in the woods or an urban spirit journey. Many people will find nothing but bliss within the bits. To my ears, it just seems a bit contrived and generally geared for the short attention span. (Dana Vallery)

Slowly
Ming
INSTINCT

First issued over a year ago on the UK's Chill Outlabel, Ming is how all good acid jazz should sound. Resting on a bed of soft, lazy dub rhythms, the overlapping instrumentation -- ranging from guitar to flute, sax, vocals and decks -- injects a joyous, summery feel to each song. The pacing and tone of this album are just right, and we get none of the usual clichés associated with most so-called acid jazz (i.e. overcooked 70's funk workouts). The best tracks include the opener "Ming," with it's delicious brass; and the dubbed-out "Black And White And Red All Over" with its jazzy guitar and drifting flute. This release also includes a second disc of percussively-enhanced remixes that, while enjoyable on their own, actually detract from the flow of things. Featuring mixes by Pentatonik, Autechre and Drum Club among others, it's the mix by Slowly themselves that works best. (Raymond Hovey)

23 Degrees
Born of Earth's Torments
SILENT

Perhaps the most satisfying release in Silent's'95 catalog was 23 Degree's An Endless Searching for Substance -- a glide through discreet ambient textures and subtle dub rhythms, listenable as much for the absence of sound and structure as its presence. Born of Earth's Torments will be immediately recognized as a close sibling to An EndlessSearching... in tone and sound, but not a twin. Born... can be described as being quite similar to its predecessor as an album of tranquil listening of soft, slow dub shrouded in avague, exotic sense of Jamaican spirituality. What's different on Born... is an increase in density and tempo, the effect being that many of 23 Degree's delicate sounds and elements get lost in structure and repetition, eventually losing their distinction. Much of the first album, however, is here on Born..., as well -- the pervasivesense of peace and quirky child-like melodies, for instance. Spaciousness is here, it's just harder to find. (Andrew Monko)

Flowchart
Multi-personality Tabletop Vacation
CARROT TOP RECORDS

Combining all the personality of an old stereophonic test record without the socio-political commentary of a Stereolab, the melodic sensibility of a Pram, or the humor of a Mouse On Mars, Flowchart has arrived. The music, a combination of oscillating Moogs, wan farfisa drones, submerged bass and incidentally strummed guitars with a smattering of distant percussion and spectral vocals, doesn't make any effort to grab your attention with melodic distraction. What it does is mesmerize you with a powerfully hypnotic groove. For the pleasure of Multi-personality TabletopVacation lies not in the songs themselves, but in losing yourself within them. So sit back, close your eyes, and let yourself become tranquilized by the cool waves and subtle melodies of "Necronization of Igloos" and "Metro Survey." But be careful -- you could easily become distracted. (Raymond Hovey)