Field Gentian [Import]

Field Gentian [Import]

Track Listings

1. Maillot Jaune

2. Breakaway

3. Buzzin

4. Nu England

5. Wavelength

6. Parallel Fifths

7. Quick Step

8. Push On

9. Criacao

10. When Lights Are Low

11. Show Me the Way

Tracks:

Over The Ice
A Paw In My Face
Good Things End
The Little Heart Beats So Fast
Everday
Silent
The Deal
Sun & Ice
Mobilia
From Here We Go Sublime

Customer Reviews:

From Here We Go Sublime.......2007-06-07

The Field mastermind Axel Willner came seemingly out of nowhere to do the impossible: up the profile of the already do-no-wrong Kompakt Records and keep the label's sound intact while giving it the twist nobody wanted to admit that it needed. In the same vein as (and on par with) Luomo's Vocalcity, From Here We Go Sublime could go down in history as the album that makes minimal techno accessible, without the need to add vocals or pander to a lower common denominator. But while Sublime is far from "stupid music," it's a refreshingly simple and aerated take on textural techno at a time when too many electronic musicians trip over their own mixer cords, and it thrives on thrust and clarity rather than on strained beauty. Pop music has always been about taking a few key ingredients and flying them to the moon. By looping only crucial elements--sometimes from his own machines and sometimes from others' (who knew that bits of '80s adult-contempo cheese could sound so wondrous?)--over basic kickdrums that highlight what's really important (the melodies), Willner has reflected the joy of pop on a record that doesn't sound like it's trying to win the gold medal, but unbelievably, undeniably does.

For once, believe the hype.......2007-05-16

The music press has gotten into a phase in which it seems like every single critic showers a band/artist/genre with accolades galore only to see them "lose it" an album or two later (anyone remember the VU-inspired garage band revival of a few years ago?).

This album is the best-reviewed album of 2007. This says alot about the music press and the music world in general...it is rare/nonexistent to see an album from the still rather obscure (I use that word lightly) genre of ambient techno be rated "best album of the year".

As for the album itself, do believe the hype. This album is both listenable and interesting when it comes to hearing what The Field (Axel Willner) can do with the deceptively simpleton beats and bleeps. The album is trance-inducing and well worth your attention.

simple or subtle?.......2007-05-05

Hate to admit that I'm one of those just a little baffled by the wondrous reviews this disc has received. It consists of the steady, and rather conservative, rhythms that are used in creating the foundation for basic club music. Nothing more. It is hilarious when one track rapidly fades out just as a guitar starts to be introduced into the mix. If this stuff was public domain, it would be perfect for someone to use for home recording along with whatever lead instruments or vocals they might want to add. But on its own it takes shoe-gazing to a level of serious introversion. I don't know.

Stunning minimal dance debut.......2007-04-16

As I mentioned recently in a review for Gui Boratto's Chromophobia album, it's sometimes difficult to distinguish the exact reasons why one minimal electronic release is better than another one, due to similarities in production and overall sound. Of course, in the end it usually comes down largely to personal perceptions that can't be explained, but other defining characteristics (because of the constructs of the music itself) are nearly always very, very subtle in and of themselves.

From Here We Go Sublime is yet another release on the Kompakt label that is nonetheless completely stunning, and for reasons mentioned above, it's difficult to explain why. The debut release from Sweden's Axel Willner, it drifts somewhere between minimal dance music and repetitive ambience, with beats that clomp along fast enough to fuel movement, but with enough ethereal qualities that you could simply put it on and trip out on the couch with it easily enough as well. Essentially, it's trance music of the highest quality, veering completely leftward of the cheeseball Global Underground crowd, and falling somewhere between the work of Kaito (also on the Kompakt label) and Wolfgang Voigt (aka Gas).

Willner actually has a few things in common with micro-sample sculptor Akufen, but instead of trying to wow you with his cutting ability and a frantic hand, he has pulled out hundreds of little heavily melodic snippets and stutters and scatters them across gorgeous expanses, building tracks slowly and letting them peak subtlety. The release opens with "Over The Ice," a single that was released last year to great acclaim, and for good reason. The piece is a perfect introduction to his sound, with micro samples of vocals that flutter over a relentless 4/4 thump, building basslines, and all kinds of subtle spacial effects.

With ten songs running nearly exactly an hour in length, it's also a remarkably consistent release. "Good Things End" is constructed as many other tracks on the release, with jittery vocals samples over a rambling, rolling beat and some sudden bursts of tweaked noise. Even though the aforementioned "Over The Ice" got his foot in the door, there are actually a slew of tracks on From Here We Go Sublime that are even better. "Everday" is a perfect example, again building with spiraling upward beats and slippery programming while bright, overlapping vocal samples push things higher and higher until the stunning ending.

At ten minutes "The Deal" is the longest track on the album, but doesn't feel a bit weary as it pushes forward with devastating low-end bass and sprays of overdriven noise. It's the closest thing to Gas (who was supposedly one of his biggest musical inspirations) on the release, and manages to sound both hazy and clear as day at the same time. An outstanding debut, From Here We Go Sublime is yet another excellent album from the Kompakt this label and a release that has gotten some of the most play of anything I've heard this year. If you like minimal electronic music at all, you must seek it out.

(from almost cool music reviews)

Average customer rating:

Idealism
Digitalism
Manufacturer: Astralwerks
ProductGroup: Music
Binding: Audio CD

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ASIN: B000N87X4U
Release Date: 2007-06-19

Tracks:

Magnets
Zdarlight
I want I want
Idealism
Digitalism in Cairo
Departure from Cairo
Pogo
Moonlight
Anything new
The pulse
Home zone
Apollo-Gize final mix
Jupiter approach
Jupiter room
Echos

Album Description

15-track debut album. EMI. 2007.

Average customer rating:

"As we jam, the rhythm gets stronger."
It always remained close to me, and always will
discover this
A quiet, peaceful explosion
I love this album!!!!

Discovery
Daft Punk
Manufacturer: Virgin Records Us
ProductGroup: Music
Binding: Audio CD

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Homework
Human After All
Daft Punk - Interstella 5555
Daft Club
LCD Soundsystem

ASIN: B000059MEK
Release Date: 2001-03-13

Tracks:

One More Time
Aerodynamic
Digital Love
Harder, Better, Faster, Stronger
Crescendolls
Night Vision
Superheroes
High Life
Something About Us
Voyager
Veridis Quo
Short Circuit
Face To Face
Too Long

Amazon.com's Best of 2001

The French twosome behind Daft Punk, Thomas Bangalter and Guy-Manuel De Homem-Christo, get away with an awful lot. They go around impersonating aliens and robots in their interviews, they put records out only once every three years, and they make music that evokes a million other artists--while not really sounding like any of them. The keyboard noodlings of Jean-Michel Jarre are in there somewhere, along with the otherworldly imagery and giant hooks of '70s rock icons like Boston or even Electric Light Orchestra. There are dashes of 1999-era Prince and oodles of new wave and disco cheese, from Harold Faltermeyer and Gary Numan to the Bee Gees, all set off with efficient house beats. So how have they managed to position themselves as electronic music's next great crossover artists? On Discovery, the follow-up to the 1998 worldwide smash Homework, the answer is obvious: they have no shame, and they know how to make us dance.

Starting off with the irresistibly hummable "One More Time," the record blows through a head-spinning array of styles and samples, creating a pop-culture stew of funky loops and dance-floor anthems. "Aerodynamic" eschews breakbeats for an Yngwie Malmsteen-ish guitar interlude that somehow ends up meshing in a crazy blend of stomping bass lines and hyped-up harmonics. "Digital Love" starts off silly and gets sillier, but the monosyllabic lyrics lull the senses just right, allowing the song's summery groove to grab hold with authority. "Harder, Better, Faster, Stronger" is a resounding standout amidst the retro/Vocoder deluge that transpired after Cher's Believe turned the kitchy disco device into a worldwide pop music trend, spinning a clever groove around an ever-escalating string of computerized seduction. Everywhere on the record, gigantic beats are dropped with pinpoint precision, giving songs a momentum that transforms repetitive melodies into sudden revelations. The record's only misstep, the aptly named "Short Circuit" utilizes a keyboard riff that is nails-on-a-chalkboard awful, but it can't keep this from being one of the best records of 2001. --Matthew Cooke

Customer Reviews:

"As we jam, the rhythm gets stronger.".......2007-07-01

I don't listen to much electronica/dance/house/techno/whatever you want to call it, so it takes quite a bit to make me actually pay for an album of it. But Daft Punk is too good at not just cool computery noises, but also just making music, that it's hard not to like. Unlike some artists whose work consists of the same basic riff or melody over and over again for an insane amount of time, Daft Punk makes actual songs with structure and points, and their instrumentals are a lot of fun without being too long. They do a fair amount of sampling of music from some older songs, some credited and some not. But they're not lazy with the samples, they usually work them around and integrate them into a song, making it their own.

The album starts with "One More Time", and it's a perfect opening, throwing you into exactly what the band is and making you feel really good. "Harder, Better, Faster, Stronger" is maybe the most recognizable song on the record, and for good reason I guess. It's really catchy and sticks in your brain, although I've heard it a lot before and I'm not sure how well it fits with the rest of the tracks. The album has a good variety and vocal and instrumental songs. The vocal ones are more instantly memorable but there's some good stuff in the other tracks. I really like "Superheroes", which samples "Who's Been Sleeping In My Bed" by Barry Manilow but changes it to make it sound completely different. "Aerodynamic" has a really cool guitar solo part that maybe gets repetitive but it's just a fun song to listen to. That describes pretty much the whole thing, on which every song, excepting one filler track, is unique and enjoyable. If you can get into something different at all, it's worth it.

It always remained close to me, and always will.......2007-04-27

Sometimes, you will listen to a really great album, then when you're done listening, you'll wonder, "Wow, that was great! How do those guys write songs like that?". That may be a question to ponder about Daft Punk. While their music contains an element of minimalism (and there's nothing wrong with that), there's just something about their songwriting that captures me. Now for those of you that haven't read any of my other reviews, I listen to a wide variety of music (which is not only fun for me, but a great thing to do as I am a musician and should gather aspects from various forms of music), and no matter what, I think that Daft Punk's, "Discovery" has something for everybody.
I bought this album when it first came out. Granted, I was younger than and, like my other friends that loved Daft Punk, I thought of it as very entertaining. However, I still do now, and I love these guys even more for their talent and creativity.
"One More Time": A great way to start off the album, this song being just about infectious as you can imagine. I love that mystical, spacey break in the middle with just a swirling synth note and Romanthony's digital voice. This is endless fun and I'm sure you'll love it.
"Aerodynamic": The energy that this song displays lets you know that it's all right for you to let loose, as well. The speedy riff and Yngwie Malmsteen-esque guitar solo make this another great song. As a guitarist and guitar aficianado, this is especially a great song.
"Digital Love": Picks off right where "Aerodynamic" left off, with the ringing bell, progressing into a lush riff and lyrics that kind of remind me of those arena rock/hair metal ballads of the '70s and '80s. This a very beautiful, happy, and overall wonderful song that will leave you feeling great. And you gotta give it up for the outstanding guitar solo! I printed the tab for it and am currently trying to perfect it, even if it takes some time. Great song and an essential part of the album.
"Harder, Better, Faster, Stronger": Definitely a great song, and the interesting part of this song is the lyrical flow. At first, they seem to be just short passages of words, but eventually flow into each other to create one awesome groove, complimented by the cool, digital vocals. Believe me, you'll love this song.
"Crescendolls": A funny keyboard line that I would probably wanna learn (yeah, I'm a keyboardist, too!), and a crowd shouting things like, "Hey!", and "Whoo!". Just goes to show how good Daft Punk will make you feel.
"Nightvision": Bring out your lover, it's time for a love-making session! Love the airy synths on here and the electronic percussion. As one reviewer previously started, this is quite a sexy number. "Nightvision" makes for a great love-making song, but then again, the whole album ironically does. Just another thing to love about "Discovery"!
"Superheroes": Starts off with some snare drumming, then a heavy, throbbing bass drum, and some vocals that seem to be purposely recorded backwards. Love the keyboard work here, this would be another song I would wanna learn on my keyboard. This song basically displays the aura of "superheroes" as best as possible in four minutes. From the previously mentioned, heroic vocals, keyboard work, and the sexy, feminine vocals, this is one awesome song!
"High Life": Don't really listen to this song much, but it has more feminine vocals, if I recall correctly.
"Something About Us": A very romantic song with lyrics that could be used as words in a movie with a dramatic romance scene. The interesting part of this song that should be noted is the gutteral bass and keyboard combo. Very interesting, although somewhat unusual, it works.
"Voyager": Man alive, these guys can do it all! In just 3:45, Daft Punk combines funky guitars, throbbing basses, danceable drumbeats and techno keyboards into a fantastic, epic, spacey and just about perfect tune! This takes me on a space voyage, and always makes me think of just drifting out in the distant galaxy. You're gonna love this one!
"Veridis Quo": Don't really listen to this song as much as some others, either, but it's got some nice flute work.
"Short Circuit": The first minute and a half is all right, but the rest of the song kinda declines from there. Don't worry, the first, 90 seconds is enough, as it's got some amazing electronic keyboard usage. The main riff is kind of goofy, but enjoyable, and the soloing is quite on the freaky-naughty make-out side of things. Very cool.
"Face To Face": I love the guitar riff, and the opening drum rhythm really works. More purposely recorded backwards vocals are here, along with some interesting lyrics that could mean a lot of things, depending on where you stand. If you listen closely enough, you'll hear distant, background violins in the second use of the chorus in this song. It just adds a lot of meaning to this song and along with the rest of it, it's just so good.
"Too Long": Aptly titled name, with this song being at ten minutes, but it's terrific nevertheless. This song has probably the most vocal usage of all the songs, I love how it becomes muffled towards the end and adds pumping, keyboard lines.

Overall:
This album has something for everybody, with its fourteen songs running at about 61 minutes. I still listen to it and am really glad that I got it. This would make a great album to listen to while cruising in the nighttime, chilling out in your room, or makin' love with your lover. It's great for all of these things, and I hope it makes a great addition to your musical library. See you later!

discover this.......2007-04-23

My friend left 'Discovery' in my car a few months ago and I still haven't returned it. I was a fan of Daft Punk's singles but never heard a full album by them until now. I had NO idea how talented this duo is. This cd gets better and better with each listen. Every song is solid gold, these are some serious beats! Whatever mood you're in, you'll find a song that fits it. I couldn't tell you my favorite track on this album because it changes everytime. Pick this cd up today, it's truly a work of art and music at it's finest.

A quiet, peaceful explosion.......2007-03-04

In a word, unforgettable. In a sentence, profound electronica with strong beats and fine melody.

In a paragraph...

Daft Punk is special. They're a synth-rock (A.K.A. "electronica") band that takes a little noise for a long ride. They do so much with so little, an oft-forgotten necessity of music production. With an ear for attention-getting tone and a razor-sharp sense of rhythm, an artist can whisk you to the moon and back while keeping you on your feet, stomping out the explosive beats. It's easy to see - or rather, hear - that the Daft Punk duo possesses this profound ability. Powerful two-chord progressions and a bridge are pretty common here. Raging, well-engineered rhythms (Aerodynamic; Harder, Better, Faster, Stronger; Crescendolls; Short Circuit) mix delicately with well-groomed romanticist fare (Digital Love; Something About Us; Veridis Quo; Face To Face) with a fine selection of kickin' noise in between.

And don't forget to check out Interstella 5555, the zero-dialog 60-minute "Japanimation" music video crafted around this album.

I love this album!!!!.......2007-03-04

This album is probably the best album in the last 10 years. Aerodynamic and Superheroes are my favorite. Absolute masterminds behind this album!

Average customer rating:

Pop culture lesson.
AMAZING
Very Different, but Good!
it's a good one...
Sounds of the Last 3 Decades

Night Ripper
Girl Talk
Manufacturer: Illegal Art
ProductGroup: Music
Binding: Audio CD

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ASIN: B000F9RLXA
Release Date: 2006-05-09

Tracks:

Once Again
That's My DJ
Hold Up
Too Deep
Smash Your Head
Minute By Minute
Ask About Me
Summer Smoke
Friday Night
Hand Clap
Give And Go
Bounce That
Warm It Up
Double Pump
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Peak Out

Album Description

"A fusion of Tigerbeat6's pop destruction and 2ManyDJs' mainstream mash-ups." -URB

"Girl Talk...accelerates beats, distorts textures, pitches up flow, and sets up strange juxtapositions to render absurd the sexed-up aura of hip-hop and dance pop." - CLEVELAND SCENE

"In a time when kids can barely sit through an entire album by just one artist, this A.D.D. mix will keep them sedated and/or spastic." - XLR8R

Girl Talk (a.k.a. Gregg Gillis) is back with his third album on Illegal Art! With each release getting closer to his notorious semi-naked live show, Night Ripper is focused less on beat-fuckery and more on bringing heat to the party. It bangs as a continuous mix packed with wildly disparate Top 40 genres and eras. Current hip-hop hits, soft rock radio standards, party classics, grunge masterpieces, R&B singles, glossy club-shakers and rock anthems are all layered and pieced together into one nonstop celebration of pop and excess declared "a plunderphonics party record" by Mark Hosler of Negativland.

Girl Talk tours regularly and actively participates and collaborates with other "on the verge" Midwest and East Coast artists such as Grand Buffet (Fighting), Drop the Lime (Tigerbeat6), Chris Glover (Interscope) and Hearts of Darknesses (Schematic/Asphodel).

Customer Reviews:

Pop culture lesson........2007-07-05

Night Ripper is a dance album both unlike any other and just like every other. That is why it is so good. It reminds me of what Warhol did with consumer goods and pop icons. Night Ripper is Pop Art at its best.

AMAZING.......2007-01-14

Gregg Gillis dazzles with his rythmic genuis and starts the party that you won't want to end.

Very Different, but Good!.......2007-01-09

This is one of the more different DJ mixes that I have ever heard. The only down side to this CD is that most of the tracks leave you wanting more. Track 5 is so good, that it was worth buying the CD, it is a mix with Notorious BIG and Elton John, it will blow your mind.

it's a good one..........2006-08-30

It's not as good as the ones from 2ManyDjs but it's real close. The same idea is going on here though and it does have it's moments. The only reason I give the nod to 2manydjs is because their mashes and mixes had purpose behind them. The obvious example is mixing Dolly Parton's 9 to 5 with Destiny's Child's Independant Woman.

The mixes here work because of timing, pitch, and kitsch. The only other complaint I have would be that's it packed (imo) with too much rap.

With all that said, I haven't sat still since its been in the player. Very well worth the money to own.

Sounds of the Last 3 Decades.......2006-08-10

I love those late night infomercials for CD packages from Time-Life, you know like "sounds of the seventies" or "AM Gold." I love those infomercials because I don't have to sit through the entire song, I just hear the best parts and it gives me a memory from my childhood. This CD takes that idea a bit further. Not only do I get snippets of songs from the 70s, but there are songs included that were popular last month. All of it is swirled together and it don't stop. I've been facinated with "mash-ups" for quite a while, but this fills all of my want to hear any others. The pace of this disc keeps my attention the whole time. I have been listening to it so much I am a little afraid I'm going to memorize it and it will become predictable. There are some highlights: Notorious B.I.G. mixed with "Tiny Dancer," and my favorite, 2 LIVE Crew "We want some P****" playing over Pavement and Paul McCartney "Silly Love Songs." I love hearing Neutral Milk Hotel counting off at some point. I love hearing Ciara mixed in. M.I.A. sounds great in there at some point too. I don't know who does the song "Kryptonite," but on here it's great. I really hope to hear more from GIRL TALK and I hope it doesn't get popular enough to get pulled, maybe I shouldn't even be writing a review. Maybe I should give it a crappy review, but it rocks!

Average customer rating:

A Classic
Great Stand-Alone Album
Not gonna lie, i love it, but there's a disappointment if u own the orignal... 4.6 stars
The Red & No Games situation
Near flawless re-release. Why remix perfection?

Champion Sound
Jaylib
Manufacturer: Stones Throw
ProductGroup: Music
Binding: Audio CD

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Welcome 2 Detroit
Popular Demand

ASIN: B000OHZJZK
Release Date: 2007-06-19

Tracks:

L.A. to Detroit
McNasty Filth, feat. Frank-n-Dank
Nowadayz
Champion Sound
The Red
Heavy
Raw Shit, feat. Talib Kweli
The Official
The Heist
The Mission
React, feat. Quasimoto
Strapped, feat. Guilty Simpson
Strip Club
The Exclusive, feat. Percee P
Survival Test
Starz
No Games
Raw Addict - previously unreleased on CD
Pillz - Bonus Track

Tracks:

Da Rawkus (Sir Bang Version) - previously unreleased
The Official (Rap Circle Mix) - previously unreleased
Heavy (Chronic Mix) - previously unreleased
Optimos for Dilla (Interlude) - previously unreleased
Survival Test (Rasta Dub Remix) - previously unreleased
Champion Sound (Remix)- previously unreleased
The Mission (Stringed Out Mix) - previously unreleased
One for Dilla (Interlude) - previously unreleased
Strapped (Four-4 Mix) - previously unreleased
McNasty Filth (Instrumental)- previously unreleased on cd
Nowadayz (Instrumental)- previously unreleased on cd
Champion Sound (Instrumental)- previously unreleased on cd
The Red (Instrumental)- previously unreleased on cd
Heavy (Instrumental)- previously unreleased on cd
Raw Shit (Instrumental) - previously unreleased on cd
The Official (Instrumental) - previously unreleased on cd
The Heist (Instrumental)- previously unreleased on cd
The Mission (Instrumental)- previously unreleased on cd
React (Instrumental)- previously unreleased on cd
Strapped (Instrumental)- previously unreleased on cd
Strip Club (Instrumental)- previously unreleased on cd
The Exclusive (Instrumental)- previously unreleased on cd
Survival Test (Instrumental)- previously unreleased on cd
Starz (Instrumental)- previously unreleased on cd

Album Description

Jaylib consists of J Dilla & Madlib. The Detroit - Los Angeles collab that brought two icon hip-hop MC's & producers together. This deluxe 2-CD reissue features 11 previously unheard bonus-tracks & remixes alongside 15 instrumental tracks never before available on CD. The album features special guests Talib Kweli, Quasimoto, Guilty Simpson, & Percee P.

Customer Reviews:

A Classic.......2007-07-12

This album is a classic. You can listen to it all through. It has the greatest production hip-hop has ever seen.

Great Stand-Alone Album.......2007-07-09

Now like most other reviewers of this re-release, I bought this album cause I loved the original & this release seemed packed with extras. Now naturally I think the whole feel of the album has been drastically changed due to the 2 already mentioned tracks and if you liked letting the original just ride, then this might mess up your listening experience, but without thinking of the beautiful beats of the original cuts, I have to say Madlib does an incredible job of producing something, although not what we were hoping for, beautiful just the same. The remixes are great as well, to be honest I wouldn't have any complaints other then the fact "The Red" is one of my favorite beats of all time in it's original form, In my honest opinion it's a must have.

Not gonna lie, i love it, but there's a disappointment if u own the orignal... 4.6 stars.......2007-06-30

bought for the instrumentals and B-Sides. then i heard they produced a new beat for No Games. I also had heard something about the beat changing on the song "The Red". One of my favorite beats of alll time. one the reasons i got the deluxe edition instrumentals, to hear The Red in it's original glory. now there's a new beat. not even considered a remix. not a bad beat but not at all like the original "Red". but if u don't own the original, this 1 is still good, u'll only b missing the original "No Games" (which is dilla over the "One Beer" (by MF DOOM) beat. this new 1 is one is better in my opinion), and "The Red"(download it off itunes or any P2P software). these b-sides are nasty too!

The Red & No Games situation.......2007-06-25

Stones Throw was served papers over the samples used for "The Red" and "No Games." That is what caused this release to be pushed back once, from May 8th, to June 19th, and the new instrumentals for "The Red" and "No Games." The versions you hear of "The Red" and "No Games" are the new instrumentals. All Jaylib releases except for this one are being recalled, and may be repressed with the new versions.

Near flawless re-release. Why remix perfection?.......2007-06-20

I love most everything that comes out of Stones Throw, but this album is a breakaway standout classic. Two top performers at the height of their game collaborating like Monk and Trane, only you don't need to wait almost fifty years to hear them together (Discovery! doesn't count anymore since the Carnegie Hall concert; I digress). It's great to see this album get much-deserved respect in an extended package, complete with instrumentals and all new remixes from Madlib; at this price you can't afford not to pick this up.

Now the bad news: "The Red" is different - radically different - from the beat to the incredible vocal chorus by Cris Williamson (from "Shine On Straight Arrow"). This new track isn't bad, but it's not the one I loved from the original release. "No Games" also has a new backing track, and this time I might call it an improvement. These differences are also reflected in the instrumentals on the second disc. The initial pressing had a minor track called "Ice" featuring Medaphoar which is not featured here in the original version or the extended (by one verse) version from the 12-inch vinyl of "Ice" b/w "Raw Addict," which thankfully was included. I hate to diss such a great collection, but most anyone picking this version up would want to know what they're missing.

Still, don't let that stop you from getting this incredible album from Jay Dee and Madlib. If you don't have it already, you're sleeping on a hall of fame release from the underground. Pick up the original "The Red" from the Stones Throw Ten Years compilation (also must-have), and "No Games" from P2P (after you BUY this album), and you're all caught up.

UPDATE: I just found the Stones Throw website lists these two tracks ("The Red," "No Games") as "Remix (Prev. Unreleased)" but this info isn't in the liner notes or here on Amazon. They should have moved these two remixes onto the bonus disc (it's only 66 minutes long), included "Ice" and left the original album intact. Much respect to PB Wolf, but there are enough missed opportunities here to call for a do-over. Oh, and I want a pony.

Average customer rating:

Only a provisional four - could well become five
PERFECT.
Broke The Rules
I have no words.
I'll Sleep When You're Dead

I'll Sleep When You're Dead
El-P
Manufacturer: Definitive Jux
ProductGroup: Music
Binding: Audio CD

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Sound of Silver
We Were Dead Before the Ship Even Sank
Human the Death Dance

ASIN: B000MM0KXS
Release Date: 2007-03-20

Tracks:

Tasmanian Pain Coaster featuring The Mars Volta
Smithereens (Stop Cryin)
Up All Night
EMG
Drive
Dear Sirs
Run the Numbers featuring Aesop Rock
Habeas Corpses (Draconian Love) featuring Cage
The Overly Dramatic Truth
Flyentology featuring Trent Reznor
No Kings
League of Extraordinary Nobodies
Poisenville Kids No Wins/Reprise (This Must Be Our Time) featuring Cat Power

Amazon.com

When a hip-hop album opens with a collaboration with modern-day prog-rockers the Mars Volta, you know to expect the unexpected. That's pretty much what Brooklyn's El-P (born Jaime Meline) has been delivering since day one, first as a member of now-defunct indie-rap heroes Company Flow and later as founder of the maverick New York label Definitive Jux. Trent Reznor and Cat Power also show up on his first new release in five years, but El-P remains the one to watch, rattling off his typically complex rhymes about the state of the world (and the bedroom) over the cling-clang of industrial beats and frenzied noise. It's dense and weird and sometimes even scary, all of which makes it a marked improvement over the usual Saturday night boom-bap. --Aidin Vaziri

Customer Reviews:

Only a provisional four - could well become five.......2007-07-09

I'm at the stage with this album whereby I think it's pretty much a classic but I could end up losing interest soon. The real test is whether I get that hit a couple of months in where I listen to it once at find something even more spectacular about it.

So far I love it: the extended, prog-rock beats and electronics/noises of all descriptions. My favourites are probably the first track, last and many of the others in between. It's a lot easier to say which tracks I don't find 100% great. Flyentology has a slightly monotonous and boring beat which doesn't quite seem as dark or deep as some of his other tracks but it's still pretty good.

I bought this quite soon after getting Fantastic Damage and am currently in a sort of EL-P mode which could mean I'm a little biased but this is definitely worth a listen.

PERFECT. .......2007-06-16

this is one of, or the best of the year. Everything is put together so well! it has some famous stars on it, but you don't notice them/they don't distract as often happens. It's all just layred together perfectly. Don't miss.

Broke The Rules.......2007-06-14

This album can make you smarter.

this album gets deep into the darkside within.

I have no words........2007-06-10

I don't really like rap. Like, at all. This album made me rethink everything. As I said, I have no words, this album left me breathless. If there's one album you buy this year, make it this one. You won't regret it. Simply amazing.

I'll Sleep When You're Dead.......2007-06-07

Hip-hop was becoming a tired institution when El-P, Bigg Jus and Mr. Len (under the moniker Company Flow) recorded one of the most stunning hip-hop albums of the '90s. Bleak, raw, and verbally devastating, 1997's Funcrusher Plus provided a real alternative to G-funk as the three fireball emcees rapped about war, corporate greed and extraterrestrial evil over bargain-basement beats and unsettling ambience. Over the next few years, El-P built up his Definitive Jux label and released a stream of high-quality recordings by some of the most vital emcees in the game, nearly all of whom used Funcrusher Plus as a blueprint to varying degrees. The label had gone quiet in 2007 when rumors of a new El-P record finally surfaced, sending excited twitters through the underground community. Some questioned the rapper's intent when they found out that the album would feature collaborations with Trent Reznor ("hmm"), The Mars Volta ("uh..."), and Chan Marshall of Cat Power ("are you serious?"), but most were fairly certain that it would pulverize in typical El-P fashion.

And pulverize it does. I'll Sleep When You're Dead feels absolutely ferocious; it's the roaring, heavy metal counterpart to Funcrusher Plus's skeletal hardcore punk, and it takes no prisoners from its galvanizing start to its death knell of an ending. Songs are packed to the gills with weird, ungodly noises, melodies appear and disappear like holographs, and dense yet nuanced rhymes roll atop percussion that could have been created by actual weaponry. Indeed, there's so much violence on this record that it should be traumatic to drink in, but El-P's skill and insight on the mic, his studio perfectionism and his flair for idiosyncratic drum programming keep the proceedings as gripping as a 13-car pileup.

Deeper listening reveals that Sleep thrives on a couple of paradoxes. First, the album maintains its focus and cohesion even as it spins off in many different directions. The doomy atmosphere of "Tasmanian Pain Coaster" doesn't sound much like the Brooklynese bounce of "EMG" or the almost operatic "Poisenville Kids No Wins," but even with the diversity (which is inevitable, what with the hundreds of sounds being employed), it's clear that there is a particular aural agenda at work. I'll Sleep When You're Dead sounds uncannily like a comic book, which isn't to knock it; after all, comic books these days attain a level of darkness and extremity that filmmakers are often too risk-averse to attempt. Imagine swarms of robotic flying insects in the Invader Zim cartoon from your worst nightmare raining down machine gun fire and you're getting close.

The second paradox has to do with El-P's lyrics, which attend to personal and universal problems as though they're both part of the same sick plan for humanity that was doomed from the very beginning. While Clipse's Malice and Pusha T believe that a worldly issue (coke dealing) affected their personal states (thickly obfuscated misery), El-P flips the algorithm: He views every act of savagery--from speeding cars to sexual abuse--as indicative of the world's endemic evil. Though it's clear that he doesn't want any part of it, he admits has no choice. He calls himself the "son of urban confusion hatched in a pit where brutes live" and "half a robotic monkey ugly born of a viral agent." Like Nas on his classic Illmatic, El-P simply speaks about what he sees and uses his observations as a form of social protest, reinforcing the idea that the most affecting hip-hop finds a middle ground between slouching back in the seat of a flashy convertible and trying to change the world. His raps have slowed down a bit from his previous work to become part of the rich milieu and to let us latch onto every grim metaphor he hurls our way, but don't worry; El-P's flow will still knock you out of your chair.

And the collaborations? They're all excellent, probably because El-P isn't concerned about flattering his guests, writing his songs his way and using Reznor, Marshall, Rodriguez-Lopez and Bixler-Zavala purely as filigree. The Mars Volta caps off the blitzkrieg "Tasmanian Pain Coaster" with an a funereal trudge, Marshall lends her emphatic torch singing to the chorus of "Poisenville Kids No Wins," and Reznor's sinister cackle seems form-fitted to the electronic torture chamber of "Flyentology." Though they do seem like unorthodox choices, especially compared to Def Jux labelmates Cage and Aesop Rock, all of these artists deal with depravity in their own music (albeit in different ways), and after a few listens, their additions on this album click oddly into place.

I'll Sleep When You're Dead is an utterly urgent recording, something that (unfortunately) feels appropriate for our perpetual state of emergency. Nas once famously spit, "I never sleep, 'cause sleep is the cousin of death," to which El-P eventually paid tribute: "The timepiece must've read early morning at least, so I laid death's cousin, woken by the silence of the peace." The title of this record, then, seems like less of a threat and more of a helpless prayer to a deaf higher power. Something tells me that, deep down, El-P wishes that there wasn't any need for him to enter the rap world and do what he does. But as long as we live on Earth, this record is as good a warning as any to sleep with one eye open.

Average customer rating:

party time
Aussie Awesome

Sneaky Sound System
Sneaky Sound System
Manufacturer: Edel
ProductGroup: Music
Binding: Audio CD

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Other Peoples Music
Black Fingernails, Red Wine
Pocket Symphony
Year Zero

ASIN: B000HXDSDG
Release Date: 2006-12-08

Tracks:

I Love It
Thin Disguise
UFO
Pictures
I D E W 2 L U
You Should Have Told Me You Were Gonna Change
Goodbye
Hip Hip Hooray
It's Over
You're Hot
Tease Me
Maybe [Instrumental]

Customer Reviews:

party time.......2007-04-18

I have seen this band countless times in Australia. If Sneaky are playing a party you know it is going to be a hot time in the city. From funky beats to sexy lead singers, these guys know how to give it up to the crowd and keep the place moving. This, their second album is a blast. They never loose their sense of fun, while avoiding self-indulgence or silliness. Put it on and party down.

Aussie Awesome.......2007-02-20

Possibly one of the best dance albums for 2006. Why they haven't hit the pop radar in the USA is a mystery. They are very well worth the price for an import, waiting for a US release of the album will just kill anyone who craves good dance music.

Even if you don't like dance music, this album is bigger and more intellegent than that. It is also a fun album, a pick-me-up better than any psychotropic drug.

CHEERS!!!

Average customer rating:

Hear It.
This CD is ridiculous
Hottest House mix of the year!
Funk.... groove... soul... House...

Balance 011

Manufacturer: EQ Recordings
ProductGroup: Music
Binding: Audio CD

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Renaissance Presents the Masters Series, Pt. 9: Satoshi Tomiie
One + One
Global Underground: Taipei (GU31)
Balance 010
Global Underground 030: Paris

ASIN: B000NI3F1U
Release Date: 2007-04-24

Tracks:

Voom Voom - Vampire Song
Rich Medina ft. Sy Smith - Can't Hold Back (King Britt Instrumental mix)
Bioground - Late Summer Nights
Wamdue Project - Home Planet
Hypnos - Red Light
Mitsu - Serene
Acca - Rain (Gravity Dub)
Delgui - Highlights (Charles Webster mix)
Julien Jabre - War
Tiger Stripes - Amphytrion
Kinka - Burnin'
Robag Wruhme - KTB (Ruhig Brauner mix)
Vernell Long & Hebegebe - I Go Now (Awaaz mix)
David Holmes - 69 Police (New Alluminists Soixants-Neuf Dub)
Heroes For Hire - Our House Music
Nightriders - Getaway
Tom Novy - Unexpected (Instrumental Edit)

Tracks:

Alexander Kowalski ft. Joris Voorn - She's Worth It
Francois K - Time And Space
Tamara's World - Trampoline (Akabu mix)
Timewriter - Booty Song (Ian Pooley mix)
Dusk and Prayd - Playing With Fire (Elextroworld mix)
Elektrochemie LK - Lay Here
KLMNT - Zouin (Tiger Stripes mix)
Schwab - DJs In A Row (Tom Middleton mix)
Lissat and Voltax - Footlovers (Da Fresh mix)
16 Bit Lolitas - Difficult If Not Impossible
Jordan Rivera and Ferry Nice - Africando (Shik Stylko mix)
Klement Bonelli - Ethna (D'Malicious mix)
Marnix - Fire (Jamie Anderson mix)
Subtech - A Beat Like This
Michell - Need To Know
Humate - Curious

Album Description

EQ Recordings continues the tradition of premium quality electronic music with its next edition of the Balance series, a top choice for discerning music lovers who have a taste for cutting-edge music mixed by the world's best, but not always recognized, DJs. On Balance 011, Canadian DJ/producer Luke Fair works his magic, grabbing listeners with his diverse music and taking us on a funky, tripped-out journey featuring tracks and remixes from Charles Webster, Humate, Timewriter, Francois K, Ian Pooley, Joey Negro and more. Fair has carved quite a reputation as a producer and passionately experimental DJ. His music can be described as groovy, funky, housey and techy all at the same time.

Customer Reviews:

Hear It........2007-06-14

Very few times i think in my head "I'm gonna love this" just by hearing the first 10 min. of a set; but a little of these few times i say,"I really love it" in the last 10 min. of it. With this release It happened.
Incredibly there's more than one style of house music in this one, but it still sounded like a whole (You would say this is the job of any dj, but it doesn't always happens this way). The upgrades made to the tracks and layered sounds fit flawlessly. For the sake of your electronic Knowledge. Don't Think it, just hear it.

This CD is ridiculous.......2007-04-28

This CD is absolutely ridiculous. The compilation really brings the fun back into house music. Luke's programming and mixing are top quality...definitely the best mix CD of 2007 thus far in my ever so humble opinion.

Hottest House mix of the year!.......2007-04-25

The quality Australian EQ label has released their 11th in the Balance series, and it may very well be the best yet. It is certainly the most consistent line-up of tracks through both discs. Luke starts off with a few progressive house tracks early on, then takes us on a groovy journey through deep house on disc 1, and into some higher energy electro vibes for disc 2. There isn't a dull moment on either disc, even from the first listen. No warming up, no second listen to enjoy, this one hits you right from the start. Amazing melodic tracks on both discs, this is a true house gem. A must own mix this year.

Funk.... groove... soul... House..........2007-04-24

"Balance" keeps its musical see-saw at equilibrium with equal doses of quality progressive trance and progressive house. The better of the trancey Balance acts include James Holden and Anthony Pappa; Luke Fair, however, places precisely the correct amount of weight on the other side of the proverbial see-saw, creating a thumping house music journey whose merits outshine even the likes of Desyn Masiello's Balance 008. In fact, words from the man himself speak volumes: "Hey all...finished my Balance CD last week. The mood of this mix will capture the sound of an entire night at a club, a full set from open to close. Every track will be heavily edited to personalize the mix a bit more, with lots of layering to make the whole thing as colorful as possible." ~Luke Fair

He could not have preached a truth more profound had his hand been on a Bible when he made the statement.

This is the most colorful house release I have heard in quite a while; possibly ever. Disc one begins with sensible track sequences like Voom Voom's "Vampire Song," Rich Medina Feat. Sy Smith's "Can't Hold Back (King Britt Mix)" & Bioground's "Smooth Summer Nights"; with this three-song-sequence, I found what is rare in most EDM sets -the instantaneous feeling that the mix is liable to outshine others of its kind with ease. Luke Fair spins an airy, funky and wholly danceable first set with the delectable influence of jazz. Sounding nothing like his "electro-disco fiasco" on OS_3, the aura brings to mind images of radiant multi-colored disco balls spinning from the ceiling of a vibrant night club. Though the whole first disc is enticingly consistent, Luke seems to have developed a knack for inserting absolutely perfect three-track sequences which segue into different styles of house, while still maintaining the mix's deep and saturated color. Further examples are found in Julien Jabre's "War," Tiger Stripes' "Amphytrion" & Kinka's "Burnin'." The mood thus far has been so consistently uplifting and beat-reliant that this section of tracks was a surprise... a pleasant one, because the last section of disc one contains arguably the best selection of tracks on the first disc. To cite examples, David Holmes' "69 Police" and Heroes for Hire's "Our House Music" shine like sapphire gems. My favorite track on the disc is the sixteenth track, "Gateway" by Nightriders, whose shimmering saxophone chords bring undeserved pleasure to my ears. Closing with Tom Novy's "Unexpected" (a fitting title, for this track deviates from the melody set forth by Nightriders in many ways), I cannot help but suggest that disc one of Balance 011 achieves the status of the most addictive and most superb house album I have ever heard.

That is not to say that disc two bears no merit by comparison. On the contrary, it should be argued that the second disc is just as good as the first; such a statement may be too bold in lieu of the first disc's astonishing composition, though. The second disc ups the ante with a sense of housey "grittiness," which is in sync with Luke Fair's personal description of the album: "The mood of this mix will capture the sound of an entire night at a club, a full set from open to close." Beginning with the same eerie and sexy bass grooves as did "Vampire Song", "She's Worth It" slyly breaks through the initial ambient barriers into infectiously throbbing house. Luke finally nails the electro-house vibe he went for with earlier releases that ended up falling short when the adds Francois K.'s "Time and Space." Undulating synthesizers ensnare the headspace of the listener; by the second track of disc two, there simply is no going back, folks.

The drop of Timewriter's "Booty Song" illustrates the late-night club atmosphere being fully realized. The liveliest moments of disc two can be found between tracks four and twelve; some particular highlights include "Playing with Fire," "DJ's In a Row," "Footlover" by Lissat & Voltax, yet another astounding 16 Bit Lolitas track "Difficult If Not Impossible," and finally Klement Bonelli's "Ethna (12th Floor Mix)." And with such a provocative title, one would expect Marnix's "FIRE!" to continue the uptempo set forth by so many of the mid-disc tracks; in actuality, it marks the beginning of the slide into downtempo and piano layered tracks suitable for catching one's breath after such an intense ride into previously unexplored dimensions of house grandeur. "Need To Know"'s wailing synths mourn the closure of this fantastic set; it is a jubilant mourning - the final recognition of what has transpired during this sonic journey. Humate's "Curious" is precisely that; a curiously uptempo song at first, finally relenting to the early morning hours with surprisingly articulate and enjoyable piano chords.

Within the last forty seconds, the echoic female vocals usher out the second disc of what is perhaps the liveliest, most colorful, most purposeful and most addictive progressive House release in YEARS. Luke Fair's name has arisen in other locations in the world of EDM; he commandeered the third installment of Bedrock's Original Series (a marginal success at best) and decently collaborated with Desyn Masiello on Yoshitoshi's "In House We Trust Volume 3." Even his superb live set with James Zabiela at the WMC Delta Heavy Boat Party in 2004 firmly cemented his name in the scene. In my mind, however, Balance 011 is undeniably Luke's best effort yet and will likely go down as the best house release of 2007, despite being so early into the year. To say that Luke Fair fares well would be a gross understatement. I challenge anyone to drop the headphones or mute the subwoofers in the midst of this incredible album. Perhaps the best (house) Balance release to date, Luke Fair is one disco ball doesn't stop spinning until the brilliant colors have blinded the listener with the ecstasy of genuinely sensational house music that connects the world.

Star Wars Episode III: Revenge of the Sith - Original Motion Picture Soundtrack

Average customer rating:

Star Wars: A Musical Journey (2005) (V)
Not one of his bests, but very close
John Williams' finest work
A Great Conclusion to the Prequel Trilogy
Williams is slumming it

Star Wars Episode III: Revenge of the Sith - Original Motion Picture Soundtrack

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Star Wars Episode II: Attack of the Clones - Original Motion Picture Soundtrack
Star Wars Episode I: The Phantom Menace - Original Motion Picture Soundtrack
Star Wars Trilogy
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Star Wars: Episode IV - A New Hope

ASIN: B000850IS6
Release Date: 2005-05-03

Tracks:

Star Wars and The Revenge Of The Sith
Anakin's Dream
Battle Of The Heroes
Anakin's Betrayal
General Grievous
Palpatine's Teachings
Grievous and the Droids
Padme's Ruminations
Anakin vs. Obi-Wan
Anakin's Dark Deeds
Enter Lord Vader
The Immolation Scene
Grievous Speaks to Lord Sidious
The Birth Of The Twins and Padme's Destiny
A New Hope and End Credits

Amazon.com

John Williams' lovely and moving score for the sixth Star Wars film brings thirty years of collaborating on George Lucas' beyond-popular intergalactic franchise to a close. (Is this really the end of Star Wars? Can't Lucas and Williams work together on a prequel to these prequels? Let us hope so, and that Jar Jar Binks is nowhere near it.) As this music accompanies the most exciting Star Wars film in many a moon, the soundtrack itself is more fun, more evil, more nasty and bumpy. Many of the heroic, anthemic themes woven throughout Episode Three: Revenge of the Sith will necessarily be familiar to any fan of the series, from the "Imperial March" to the main theme. It's remarkable how stirring the latter can be, no matter how many times you've heard it, and even for those who do not have all their money invested in S.W. memorabilia. There is a lot of new music here, and the lush, extensive range of both Williams and the London Symphony Orchestra is on display, most notably in the menacing, percolating "General Grievous" and the rousing "New Hope" end theme. --Mike McGonigal

The Force Is Also with:

Star Wars Trilogy soundtrack box set
Star Wars Episode II sountrack
Star Wars Episode II, Attack of the Clones

Star Wars Episode I, The Phantom Menace
Star Wars Trilogy on DVD
Star Wars, Episode III - Revenge of the Sith

Customer Reviews:

Star Wars: A Musical Journey (2005) (V).......2007-06-21

product: Star Wars: A Musical Journey (2005) (V), included as bonus disc in Episode III soundtrack.

The bonus dvd with this soundtrack was the reason I purchased. I enjoy film soundtracks, and science fiction, but this dvd was a real highlight for me. I got the soundtrack cd out of the local library. The cd was missing from the case, but I found this wonderful dvd instead that I went out to purchase later.

With optional segments of dialog from Ian McDiarmid, this film is a stunning visual and musical overview of the full epic story of episodes I-VI of Star Wars. For those of us who felt that eps. IV-VI fell short of our expectations, this film presents them well as parts of the whole story. The Musical Journey also stands as a summary of the entire SW opus for someone who is not familiar with the Star Wars characters and plot. Highly recommended.

Options: no subtitles or other options.

Not one of his bests, but very close.......2007-05-21

The Episode III soundtrack is very good. Not great, but very, very good. You can tell that Williams is getting old, but he still manages to weave together a very memorable score.

My favorite tracks are "Battle of the Heroes," "Anakin's Betrayal," Palpatine's teachings, "Anakin vs. Obi-Wan," and the "Immolation Scene."
The others are very good as well, but these are especially nice. "Battle of the Heroes" is Dual of the Fates for Revenge of the Sith. "Anakin's Betrayal" is a very sad track that is, in my opinion, one of William's most powerful pieces. "Palpatine's Teachings" is really, really neat. It's very dark and moody, a perfect piece for the evil emperor. The only weird thing is the end. "Anakin vs. Obi-Wan" is the action piece that plays during the battles of Anakin and Obi-Wan, and Yoda and the Emperor. Finally, "The Immolation Scene" is another sad piece, even more so than "Anakin's Betrayal."

Although I really like this CD, there are some things that are missing (as usual). First, the whole sequence where the droids are looking for Obi-Wan after he was shot. You see Obi-Wan in his ship with Senator Organa on the Hologram (or whatever it is), and Obi-Wan says that his clones turned on him. That was some pretty awesome music that OF COURSE was left out of the CD. Then there was Dual of the Fates in the movie, but completely absent from the CD. And probably the most annoying was that whole piece of music before Obi-Wan and Anakin fight. It was so touching and sad and I CAN'T BELIEVE THEY LEFT IT OUT! Absolutely amazing. Also, did anyone notice that some little bits were cut out? For example, in Anakin vs. Obi Wan, they cut out about a second or two of choir. What?! What the heck is with that? It's when Anakin is running on the long thing and jumps on the droid on the lava. Also, there was some pretty cool drumming when you see Yoda and the Emperor fighting, and you can see the whole stadium (the big room). There's also drumming in "Enter Lord Vader" that is muted in the soundtrack.

Oh well...if I'm going to collect movie scores, I'm going to have to get used to the fact that in almost all cases there's not going to be every bit of music. I've experienced this in both Pirates of the Caribbean, Jurassic Park I (there was very little left out on this score), and almost everything else. At the moment, I'm just waiting for the 22nd, for the Pirates of the Caribbean 3 soundtrack. It's gonna be amazing.

See Yu

John Williams' finest work.......2007-04-20

There is little more I can say that hasn't already been said about the soundtrack to Episode 3, especially what Amazon contributor Dan Mohr wrote in his review of the soundtrack on 2/2/2006. His review captured almost all the thoughts, feelings, and emotions I had when I first listened to the soundtrack, and was, IMO, the best review of John Williams' greatest masterpiece.

Having said that, I will say that few soundtracks have ever so perfectly captured the underlying emotional currents of their respective movie; in the case of ROTS, the contemporaneous tragedies of Anakin's fall to the Dark Side, the extermination of the Jedi, and the rise of the oppressive Empire. The listener is confronted with the depth and totality of the evil that has beset the entire galaxy to a degree that the film could not reach in only 2 hours.

Bravo, Dan Mohr, and BRAVO John Williams!

A Great Conclusion to the Prequel Trilogy.......2007-04-07

This is a great work of art. I rank it 4th among Star Wars soundtracks after A New Hope, The Empire Strikes Back and The Phantom Menace. I had a hard deciding which I thought was better, The Phantom Meance or Revenge of the Sith, but I decided that The Phantom Menace lays the foundation for so much that is in this soundtrack and is thus the more masterful work. But that doesn't mean that this score still isn't great. Every piece is a thrill to listen to and pace never lets up. "Battle of the Hereos" is an amazing piece and the rendition of the "Funeral Theme" from Episoded I captures the film's tragety magnificently. Also I do not think John Williams could have portrayed the Jedi's extinction more perfectly than he did in "Anakin's Betrayal". This is without a doubt the best score of 2005 and one of the best of the decade.

Williams is slumming it.......2007-04-01

Williams's score for Revenge of the Sith is almost entirely overbearing, lacking any emotional subtlety. The music is overcomplicated and even a bit confusing, especially in the tracks that correspond to action sequences in the movie. His overuse of choral tracks and vocals is too bombastic and irritating to be listened to without the explosions and laser blasts of the soundtrack to soften them. (Yes, this music is actually softened by the sounds of warfare.) Worst of all, much of the music has simply been lifted from earlier scores. At times his self-imitation was so blatant that I actually wondered whether the editor who had complied this score had made a mistake and I was listening to The Empire Strikes Back or A New Hope. Also suffers from not including the entire score, in some cases cutting out musical segues in obvious and awkward ways.

Average customer rating:

DJ Kicks
Hot Chip
Manufacturer: K7
ProductGroup: Music
Binding: Audio CD

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Sound of Silver
The Warning
From Here We Go Sublime
Mirrored
The Reminder

ASIN: B000NKHS8O
Release Date: 2007-05-22

Tracks:

Nitemoves/Grovesnor
I Got a Man/Positive K
Like You/Gramme
Persuasion/Subway
Untitled/Soundhack
Cademar/Tom Ze
My Piano/Hot Chip
Short Road/Wax Stag
Bizarre Love Triangle (Shep Pettibone Extended Mix)/New Order
Jiggle It/Young Leek
In the Basement, Part One/Etta James & Sugar Pie DeSanto
On Just Foot/Black Devil Disco Club
Der Buchdrucker/Dominik Eulberg
Film 2/Grauzone
24 Track Loop/This Heat
Far East/Wookie
Miracel Whop/Gabriel Ananda
You Got Good Ash/Marek Bois
The Stone That the Builder Rejected/Lanark
The Man's Got Me Beat/Pete Um
Love Affair/Noze
Just F**cking (Roman Flugel's 23 Positions In a One-Night Stand Remix)/Audion
Steppin' Out/Joe Jackson
Mess Around/Ray Charles

Amazon.com

Asking a DJ to produce a mix record isn't the most revolutionary idea in the world, but the DJ Kicks series offers a slightly different spin. Contributing artists are tasked with delving into the deep recesses of their collections and challenging listeners with unexpected combinations. Past entries have landed somewhere on a continuum from "interesting and insightful" to "excruciating, hipper-than-thou obscurity." Hot Chip's entry in the series manages to stay on the good side of that scale. Of course, Hot Chip are barely DJs at all, as records like 2006's The Warning veer wildly between indie rock and tweaked pop-dance hybrids. That freewheeling instinct serves them well here, creating stylistic whiplash and rattling the listener with a fun, herky-jerky flow. The first 25 minutes or so are especially good, with a quick snip of Positive K's "I Got a Man" up against the fat bass sound of Gramme's "Like You," eventually peaking with "Bizarre Love Triangle." You'll want to Google some of the music in this batch, especially Soundhack and the standout track "B1." Later, the record loses its nerve and devolves into more or less a straight dance record, with only occasional sparks like Wookie's "Far East." But they finish strong, following up Audion's "Just F***ing" with Joe Jackson and Ray Charles. While it's not perfect, this DJ Kicks manages an unforced cool and a healthy unpredictability that stops just short of random, making Hot Chip seem both hip and unpretentious. --Matthew Cooke

Product Description

For Hot Chip's installment of the legendary DJ-Kicks series, the boys deliver an eclectic mix that features everything from German minimal techno to classic pop, hip-hop, grime and garage. This is a mix that covers an unbelievable broad range of styles and truly pulls it off. To top off the mix, they threw in a brand new, exclusive Hot Chip track entitled "Piano Song," which takes their sound to an entirely new level.

Music Review:

Music Review

music review

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