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Buyer Rating: 99.5% positive (213 ratings)

Elton John - Here And There - 29-Jan-09 10:22 AM
The live version of "Love Song" featured on this album, sung as a duet with its author Lesley Duncan, alone warrants purchasing "Here And There".
It is one of the most moving song Ive ever experienced. From the infinite wisdom of the lyrics to the shattering poetry of the melody, this track is a timeless call to the heavens and resonates with the deepest regions of mans soul. To be discovered at all costs.

B(if)tek - Frequencies Will Move Together - 08-Nov-08 12:57 AM
This release is worth a review because it is fantastic and poorly known.
I had initially bought this album for one of the more famous remixers on cd2 (Monolake) whose work here is not exactly memorable. I ended up being completely astonished however with most of the original versions and some of the remixes.
The liner notes describe the use of field-recorded low frequency bass in the making of the music, and for that reason I expected something much more difficult to listen to, and of an experimental nature, when in fact most of the album is absolutely accessible.

A variety of genres run alongside each other on this double-album of original versions and remixes: from experimental downtempo ("In Memoriam", "Convergence") to ethereal jazzy trip hop ("Faded Blue", "Projects For A Rainy Day") to delicate clashy electro ("Read To Me") to hallucinogenic waouh! ("Guide And Receive", "For Your Seventh Birthday" and "Scatter Frost Like Ashes").

All throughout a vast array of beautifully engineered sounds pepper the tightly produced tracks: from intricate watery bubbles to vast Saturnian layers.

"Guide And Receive" is a deep and powerful aquatic technoid hybrid piece, with infusions of lush inter-stellar travels and inverted waterfalls. Immediately, some of the deepest psychedelic progressive house names come to mind (Vibrasphere), but also (why not?!) Unkle.
"For Your Seventh Birthday" almost sounds like a precursor to Grey Areas "Iona".
In fact, the use of 1950s/70s TV commentaries/radio communications clips throughout the album is not without recalling the similar use that is done of those clips by so many well-defined psy artists.

Some of the tracks very much reflect the en-vogue style of 2003: electro in a revived 80s twist. The vocoded dead pan voices of the mighty fine "Read To Me", and (unfortunately unsurprising - an exception of disappointment on this album) "Unisex" (with lyrics on habitual early 80s themes of fashion and androgyny) bring to mind Felix Da Housecats productions of a year or two before the release of this album. And how about the Tom Tom Club-ish remix of "Hi-Fi" by Australia-based "Architecture In Helskini", or the remix of "Read To Me" by "The Emergency", with accents of Primal Screams "Some Velvet Morning" ? In that respect the music is accessible, lively, sugar-coated, and misleadingly superficial. But that, to me, does not constitute the cornerstone of B(if)teks ingenuity. Its more abstract and trippy songs do.

I thought "Convergence" was the first track of cd1 that hints more obviously at the low frequency elements. "Convergence" and "In Memoriam" have a devastating effect of paralysis on our mind and body (perhaps one of the conclusions of the intended study on low frequencies that this project is the fruit of). Give it a try! It is seemingly safe!

"Faded Blue" has accents of Ewan Pearsons remix of "The Diary Of A Lost Girl" by Christian Zimmerman, where a sensitive and fragile young woman shares her anxious and bitter-sweet feelings.

This album really is an exploration in electronica through various moods and styles. All in all, I am less keen on the nu-wave electro tinted tracks, too representative of the years 2002/03 and more easily doomed to age poorly, and am much more excited by the deeper, more serious and more universal ambient, experimental and downtempo pieces (the original versions of "Guide And Receive" and "Scatter Frost Like Ashes" and their respective remixes by Lawrence English and Dark Network are the truly grand highlights of the album).

The conclusion here is that "low" means "deep, spacious and imperturbable", and this gem of an album has managed to demonstrate that the low-end of the range evokes in us humans an uncanny connection to the murmur of the cosmos.

Kate, Nicole, who are you?! Come out in the limelight!!

Various - Yoshitoshi Artists - In House We Trust Vol. 1 - 28-Sep-08 11:49 AM
Ive been well acquainted with the work and sound of Deep Dish for many years, but had never heard this mix cd until today. As the first few tracks played on, I was disappointed... Had this type of house aged poorly? Was the selection just off? Or have I just gotten too old?!

In fact, I realized half way through that the mix is divided into 2 parts. And following the rather heavy, unpolished and tiring 7 tracks, the mix starts over again on the track Unplugged, which is nowhere else to be found it seems but on this compilation.

Unplugged by the Deep Dish boys, is deep 1995 New York house in the purest form with a definite Tribal America flair. What an elating track that is!

There is something reminiscent of the best Tribal America releases (namely, This Is The Sound Of Tribal United Kingdom mixed by Junior Vasquez, and After Hours mixed by Hollway & Eastwick) in the second half of this uneven mix compilation.

Reelin With The Feelin is equally deep and after hoursy, and stands among the best tracks of the compilation along with A Glass Of Chianti and Satori (XS Funk-in-yo-ass Remix).

Jephté Guillaume Featuring Daniel* & Marjorie Beaubrun - The Prayer (Priyè-a) - 24-Jun-08 05:17 AM
Fantastic groove, uplifting vocals and a distant wave/wind rumble with an almost transcendental feel, as if watching a sunset sitting on the cliffs over the waters in Negril ! Timeless spiritual music.

If you like "The Prayer", may I suggest checking out "Un Cafe!" by Magenta, which has a similar feel of live percussions, organs, freestyle vocals and electronic echoes in a wild natural setting of animal sounds.

Incidentally, "The Prayer" is absolutely reminiscent of Hugh Masekelas "Dont Go Lose It Baby" in the melody of the choruses.