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Mostly only a noteworthy release because it contains "Just a Matter of Time...", a song/video not featured on any other official Massive Attack release (nor any bootlegs that I'm aware of...) This black & white short film features all new Massive Attack music with 3D & Daddy G vocals, some spoken dialogue, and additional Shara Nelson vocals. The film is essentially a strange, fictionalized account of a few hours in the life of Massive Attack and their compatriots. We see 3D wake up at the soccer grounds, and Daddy G getting ready to leave his pad (check out all his stacks of vinyl!) and searching for Tricky Kid. Shara Nelson writes music in her apartment, and Mushroom gets a haircut while 3D watches, amused. Eventually, after various other events, they all sit down for an elaborate candlelit group dinner. Tricky makes a special appearance at the very end, looking very much the creepy intruder at the door. To be honest, the video reminds me a great deal of the old '80s video for "Ghost Town" by the Specials, only if it were directed by David Lynch. Yep: it's weird, eerie, and beautiful. I like it a lot.

This is a guy to watch for in 2010. Dark and sedated, similar to Levon Vincent's sound, but more acidified. Most promising artist on the current Turbo roster.

Hailing from MONTREAL, CANADA, will a guy like him help build a acid-house scene in the city? I sure fucking hope so.

http://www.multiupload.com/ZZB1MXHHB8

Those expecting the original 1993 "Live at Parkzicht" version be warned: Although the title on B1 "Oldschool Live mix" would suggest this is what you get, it is actually a totally different track.

The Da Emperor remix is a pretty basic hardstyle-by-numbers track, but credit to the "Beat Is Vaag" mix for retaining some of the original feeling.

Wisdom to the wise by Mr Clarke Possibly the most memorable techno track ever recorded EVER.

It's difficult to know where to start with Steve Roach's huge back catalogue, spanning every type of ambient and world music. Mystic Chords is a two-part instalment in the space ambient genre and it really shows off Roach's huge skill that has been honed over years of producing beautiful ambient music.

Disc 1 contains extended pieces which sometime build up to an intense level. This isn't just like floating through space, here you really get involved especially with mystical tracks like "Oracle". "Palace of Nectar" is a shimmering, droning work full of atmosphere. "Vortex Ring" sometimes sounds foreboding, but ultimately becomes uplifting and ubiquitous, ending a magnificent album in the best way possible.

Disc 2 (Labyrinth) is more chilled out and empty than the former whilst also remaining mysterious and somehow tense. "Wren and Raven" is a beautiful introduction, with heavenly chords permeated by occasional birdsong. You drop into complete darkness after "Otherworld", the old English Pagan term for life after death, until the elevating undercurrents of "Threshold" suddenly rise and lift you up into higher realms. "Dream Body" begins, a staggering track full of enchantment and enlightenment. The atmosphere slowly wanes and you are brought back to Earth during the course of the next few tracks, once again finding empyrean especially in the sparkling "Worldless".

This album is the best work of space ambient that I have ever heard. It's beautiful, abductive and soft. After having listened to any of the tracks my heart is slowed and my mind floats. This is one of Roach's very best.

For those who were introduced to Selda via her self titled debut and desperate to hear more, this compilation released in 2005 might disappoint a bit. While the power of her voice is undeniable, you won't find any funky drums or psychedelic guitars here. Rather, most of the album focuses on her earlier efforts in Turkish Folk. Expect somber moods and gentle guitars.

Stand out tracks are Utan, Utan and Karaoglan which can be found as bonus tracks on her self titled debut. Bundan Sonra stands as the one real gem here for those hungry for more psych funk (it can also be found on the Love, Peace, and Poetry series). Aside from that, Maden Dagi is also noteworthy for being the most soulful, emotional ballad ever recorded by Selda. You can just picture her recording this track in the studio with tears streaming down her face.

This compilation is for die-hard Selda fans only, those who care more about her haunting vocals and less about the psychedlic funk intstrumentations that made her self titled debut so addictive.

"Switch On Your Brain" is one of the hardest and most wicked songs of Brain Recordings catalog. The TB-303 sequence is brutal, and when it reaches the maximum level that the synth can archieve, you can feel the rush flowing through your veins when you hear it loud!

A pure dancefloor killer (Guaranteed)

This is a very well-made record with a unique & surprising style of TB-303 & TR-909 Acid Techno. Both sides are excellent, and create an outstanding groove that build up very nicely.

I agree with the YouTube user "cajjer" that commented in the video samples displayed here. This masterpiece can be described as:

"Madness On Vinyl"

Fantastic from top to bottom!
Pure genus chop tactics.
Great dialog, smooth beats.
TIGHT

Before buying the single, I only knew of Cari Lekebusch's remix and mainly since that was on a Swedish goa-trance compilation (where it really stood out due it not being anything trance related). So when I copped this, I popped the cd in and gave the versions a good listen and it was quality through and through. But with heavyweight players behind these versions it's really no surprise.

The original starts with a slower atmospheric section with pads and sparse tribal drums it builds up a groundwork for the meatier second part of the track starting three minutes in. Where it kicks up the tempo and introduces a driving bassline and additional synth work. The drums are also expanded and right around 6 minutes an acid line is brought on to back up the bass. I like the track a lot but what bugs me about it is that right around where it gets really good, it just dies down.

Robert Leiner goes for an techy trancer that builds a firm foundation and then introduces the lead halfway in. Where it slightly filtered and it is used to add another layer to the driving drum-rhythm. After it's faded out, the bassline which sat deep in the mix is given some boost and drives track forward till the end.

Cari Lekebusch uses the original sounds quite sparsely and goes for a wonky techno excursion with a subtle electro influence. The distorted lead halfway in is a nice touch and the twittering synth-sounds are a nice addition to the mechanic background. Lekebusch did his thing with the remix and did it well.

Last version is by LPC's own David Österberg which reduces the track from it's trancy influence and does an acid house workout. It's quite compact and doesn't go for extravagances in it's acid line but it is a solid track and it's very nice.

Classic of Italo Disco Underground, i prefer the Instrumental Version because it focuses the sound space-disco/hi nrg.

1982, the good old days of Italo Disco, when the genre had not yet been marketed by incapable such Den Harrow & Co.

Pratap goes minimal. A far cry from the ritual-industrial darkness of his one-of-a-kind Mankind 23 release, and pretty far removed from the club-tech of Aranea / Process etc. This sees that club-tech vibe stripped down, even less melodic, and even less produced. And therefore less to recommend it, there's no power any more, just huge drums, simplistic bass throbs, and blippy bloopy sound effects.

Shame, really, Tobias had a good style going for a while.

As sick as the B-side of MD2 is (I've wanted it ever since I heard Dehnert's Live at Nature One mix), I'd have to say quietly releasing a bomb like this is a great approach to losing a lot of your loyal followers and quickly killing off the last vestiges of the vinyl record medium. I have almost every single Dehnert release, follow all the latest output with updates on Juno, etc., but there's simply nothing I could do to get this, which seems like a total flaw. I know it sounds like I'm just disgruntled because I don't want to pay 55 Euros for it now, but that's not true, it's this whole mentality and way of reasoning that irks me. I'm not even adverse to paying the hoarder's price, I've done it on the flipside to support my own vinyl obsession, but frankly this just pisses me off.

Basically, if you couldn't go to the Hard Wax or Clone physical record stores, you're out of luck. Thanks so much! Maybe you have no aspirations to play or have your music played in other continents, but surely this is a shortsighted way to release a great track in the 21st century. I was just about to buy Dehnert's Dico, but now I'll take a pass and support an artist that cares about the music more than anything, like Omar-S, not about having an excuse to charge 3 Euros more for a limited record. That's all I can do to express my disappointment, and write this of course.

Enjoy your little European boys club. I hope it's worth it. This just inspires me to increase the spectrum of techno's roots. That is America, where mostly everyone can have access to records at a reasonable price without this stupid limited hype-machine price-markup bullshit. God, I hate limited releases. I used to like them, but now I realize my mistake. It's for the love of the music, not the love of money or exclusivity. It's not like we don't have this limited crap here (I'm thinking of CC's recent Legendary Adventures of a Filter King in particular—that's just an insult), but it's certainly a lot less common. I'd much rather 150 000 people had this than 150. I know that number is unrealistic, but it's especially unrealistic if you do something retarded like this. I used to want to "Be Like Mike". Not anymore. Techno is about dissemination, not restriction and limitation.

I know a lot of people will disagree with this, most likely having succumbed to the cult of the DJ. It's sad really when you look at how the scene started, but here's some food for thought: of all the recent releases Dehnert's put out save for his work on CBS, this is by far the best. So the message is he'll peddle the rest en masse and save the best for the fewest and for others to make massive markups. Logic at its finest! I hate when electronic music artists forget who it is that buys their records and pretend to be rock stars. It's not corporate CEOs buying this stuff, it's other artists themselves. Shame on you.