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XL Recordings were right on the cutting edge to release this compilation in 1991, just at the right moment to celebrate what had become a brand new sound emanating from Belgium and Holland.

New Beat was too slow and had died. It did not make commercial sense in the UK. Ecstasy use was rampant, yet ravers were bored of similarly slow Acid House and north of London, breakbeats were too complex to be enjoyed.

So this new 130bpm techno sound from Belgium was embraced by UK ravers. This compilation highlights many classics from 1991, tunes that truly inspired a generation and cemented the 4/4 aesthetic in Great British raves.

From the obvious anthems such as Night In Motion and Rave The Rhythm through to the more underground likes of Fairy Dust and The Spirit, across to the multi-nation pollination of Frank de Wulf's remix of Gimme A Fat Beat, this is truly a time capsule of an era.

Granted, it's not exclusively four-to-the-floor. The Alley Cat mix of Charly, while not nearly as devastating as the original, is still one of The Prodigy's highlights, and the remix of Anasthasia by The Scientist actually manages to meld the original's groundbreaking satanic chorus ethos to an even more evil Caspar Pound-esque "Hardcore U Know The Score" style 'ardkore.

Alas the cd rounds up with the very weak Rave Alarm pop song where it would have been much more fitting to end with Injected With A Poison, but by this point the listener has been well and truly converted anyway.

Certainly a fitting tribute to the sound of European Techno circa 1991, only to be eclipsed perhaps by efforts from Belgium itself.

The UK had had it's first taste of HARDCORE.

Bruce Johnston and Carl Wilson show their flair for production on Hickey's "Bluebirds Over the Mountain". The second side is an odd collaboration of words from Charles Manson and Dennis Wilson's music. Both are solid tunes, with Brian Wilson nowhere in sight.

I have to start by saying that I love Terra Ambient’s “The gate”, its desolated yet warm landscapes of sound. So, I started hearing “Wanderlust” expecting something in that vein but the first track, “Myth”, turned be a bit cold with its epic electronics and tone. But then “Mudhoof” and “Visionquest” gave me some hope – dynamic, motion-like tracks that build upon layers of percussive sounds a nice constellation of subtle electronic and guitar tones. It’s no longer the peaceful and contemplative travel of “The Gate”, very far from it, but these tracks have a really compelling nature, reminding me some of the best that has being made in this kind of “ambient yet dynamic music”. At some point I start “seeing” people dancing around fire, there’s something warm again in these tracks, like if the contemplation of “The Gate” has given place to more action-based images and pulses. “Wanderlust” makes the linkage between the two worlds masterfully – the more calm flow of sounds of “The Gate” comes in, giving slowly rise to a more strong section with percussion, guitar and a very beautiful pattern of flute and keyboards. This is a great moment of this record and, at least for me, hits easily the “top ambient songs”. So, the expectation to “Mammoth” is great; the track starts quietly yet with some tension – like a wind blowing in the desert. Then the percussion comes in with some electronic sequencing just after. The whole sounds a bit like a cross between Klaus Schulze and Michael Stearns (that contributes to the album), the kind of “progressive ambient” – interesting but not too thrilling. “Epilogue” starts on a typical ambient ground, with subtle flute and electronics mixed with the sounds of crickets. And it stays that way for 8 minutes, just adding enough without getting too dynamic. A great balm of mental wandering after the more epic (e)motions of “Mammoth”. Very sweet. “The ghost in me” brought me back from wandering with its piano line. It’s a nice track but nothing too… Impressive I’d say.
So, what do I get from this record in the end? Being totally honest this record gives me mixed emotions. I think that I managed to get into its pulse and get away from “The Gate” – the dynamic tracks work very nice (“Mudhoof and “Visionquest”) and “Wanderlust” and “Epilogue” are great exercises of ambient music. But the more epic tone of “Myth” and “Mammoth” are a bit too much to me and this last track although being nice, it’s not so wonderful… So I think this is a great record at some points yet fails to grab my attention at others.

Somewhere, up there, the God Of Music has a very large wooden bench covered in all his notes, paperwork and things like Mercury Music Prize replicas. Upon this bench, from time to time over the decades, he has occasionally made a mark. A mark to remind himself of the moments when a recording arrived that made him get off his celestial bike and go back for another listen.

If you were to be able to see this mark you'd see it isn't just a simple cut that has been made. There's a kind of patina around it. Little tiny scratches, emanating from it like the mysterious crisscross patterns on the plains of Nazca. If, like Alice, you were able to shrink yourself down real small, then you could explore them. Some you'd have to hop over. Now and then you might trip. Like a dummy, you might just have to sit there in awe at the wonderment and complexity of it all. A benchmark that's well worth buying a ticket and taking a trip to...

"For The Dollar Bill" starts off with a gimmick that has aged rather badly: electro smurf vocals! Fortunately after about 15 seconds the down-to-earth voice of soul veteran Tommy Tate kicks such foolishness aside and the song develops into a fantastic modern soul dancer with a message: "for the dollar bill people will do everything" – even more true today than in 1981...
The flipside brings us an epic slowie with maybe a bit too many synth strings. Tate's vocal delivery, however, is flawless. What a singer!

do not buy this release! as this is not a pressed cd, but just an ink-printed CDr, it suffers from some kind of disc rot/destruction after being released seven years ago. all pieces i or friends of mine held cannot be played any more.

Where do I start I originally bought this albun on Vynil then Cassette then CD I also have copies on mini disc and mp3 and the Tracklist Close To The Edge (i) The Solid Time Of Change (ii) Total Mass Retain (iii) I Get Up I Get Down (iv) Seasons Of Man And You And I (i) Cord Of Life (ii) Eclipse iii) The Preacher The Teacher (iv) The Apocalypse and Siberian Khatru does not have a duff track its one of the perfect prog rock albums of all time I listen to this albun at least once a week it never fails to amaze me thank you Yes

Just listen to Sausalito oh man the coooolest Grover live ever

Miles Runs The Voodoo Down and the voodoo is still running and if this hasn't scared the shit out of you yet check it out it will When this first came out a lot of his fans said he had sold out but this was no sell out it was a birth

For such a young label, ZeECc has come out with such incredibly consistent top notch dub techno music you would think they've been around since Tresor. The "Backdrift To Sea" LP is another ZeECc release that must not be missed. I was fortuanate to get the limited CD edition, but digital downloads are available. Though this LP appears to be a compilation of remixes, the audible thread from track to track sounds like a cohesive regular album released by one, focused artist. Bringing in the big dogs like Fluxion and Marko Fürstenberg, and Kyoto-digital label veterans Xoki and Hieronymus plus others shows you how credible this release is. Dark, eerie, aquatic and dubby. This album is so worth it. Some LENGTHY cuts on it too! Check it out.

A very good album overall introducing us to the awesome sounds of Di-Bit and Boot of Fighters. Tracks that stand out are Boypop, Koi Monogatari, Stardust Ocean, Labyrinth and By Ur Side. ISOpussy`s Unbroken Circle is also great for those who like breakcore.
I felt that DJ Donna Summer and DJ A.Q.`s tracks were the only low parts of the CD (they sounded rather simple) but they too were still good tracks. I would say that this one of the best CD`s in the BPT series.

This is rather short for a review, but it's hardcore, no need to go into depth, you just need to know if it`s good or not, no talking about production/mastering/etc.

On May 14th 1970 two black students named Phillip Gibbs (21) and James Green (17) were shot by the National Guard, who stormed the campus of Jackson State University.
Tommy Tate's deep soul hymn "Let Us Be Heard" is a moving tribute to the 2 protesters. The royalties went to a "Let Us Be Heard" trust fund and to Jackson State college.
The song has a strong gospel touch and a spinetingling finale with choir and handclaps and the sound of shotguns at the very end.
Outstanding!

Famously using a very similar riff to Jam & Spoon's "Right In The Night" (which in turn was borrowed slightly from Toccatta, as made famous by Sky), "The Real Thing" was the lead single from 2 Unlimited's third album.

It still holds today as one of the eurodance classics of '94 (the golden year of the genre), but it is very easy to overlook a hidden gem on the release.

On remix duty as usual is Andy "X-Out" Janssens, and it is his "Tribal Thing" mix that really stands out.

Full of thundering percussion over a driving bassline with some very detailed synth work, it easily equals the original mix in terms of quality.

It was always a pleasure to buy a new 2 Unlimited single even if I already had the song on an album, because I was sure that there would be an X-Out remix to blow me away...

I think this is a pretty neat single/EP. The instrumentation is a bit different from the originals (excluding that of Kidney Bingos). The first two tracks are just great, two favorites of mine, and I couldn't enjoy them more; the third, however, I've never liked, too out-dated 80's alternative sounding, I think. If it means much to anyone, these tracks are not the same as on any other releases.

ohhhh so fresh song, classic of post-disco/boogie!