We had to wait nine long years for a new David Morley album, a top release. After the release of Tilted, his last contribution for R&S Records, David disappeared to the background of the electronic music scene. For sure he continued making ambient music and he produced a lot of tracks with or for the ambient diva Andrea Parker at the end of '90s but those tracks were always released under Andrea's name.

I contacted David two years ago because I had a recording of a show he did in 1995 or 1996 on a brussels radio station. Most of the tracks he played during that broadcast were unreleased at that time. Some of them were released later on in 1998 on the Stardancer EP but still two tracks remained unreleased. I asked David more info about them and sent him the recording of the broadcast. He was very pleased with that because he complete had forgotten it. One of them was "Trampling Gently", a very smooth and subtle analogue ambient masterpiece. David promised me that he would release the track if he could find the DAT-tape back. Luckily he found it back and he made my wish come through.

This album is a compilation of tracks he made between 1990 and 2000. In 2007 he finally decided to edit and to remaster them (maybe because I pushed him a little bit to release some stuff hé hé).

It's the "crème de la crème" of melodic ambient music. As no one else David can manipulate, sync and control his old modular synths to achieve an excellent combination of simple, complex, arpegiatted and lushed vintage sounds. He models them into such beautiful melodies that you can feel living the synths. They are no cool, static and clean electronic machines anymore but warm, soulful, living extensions of David's mind and heart.

39 mysterions is definitely my favourite Audela track, a long journey into space.

I pushed the start button and knew immediately that this would be an overwhelming experience. A smooth sound faded in. It came far behind me and surrounded me. After a couple of minutes my body became weightless, my bloodpressure felt off ... A voice said: "heartbeat 108" ... my brains disconnected ... "heartbeat 79" ... I closed my eyes ... "heartbeat 63" ... where am I? ... "heartbeat 47" ... what is this all about? ... "heartbeat 39 ... 39 ... 39 ... you're ok now". I opened my eyes and was completely astonished by the beauty I saw. I was transported some lightyears away from earth to a new unexplored world. A magenta fog covered the stars. On my left an ocean of comets passed without making any sound or noise. Behind me appeared a tunnel of light. Then the sound came back, very loudly. The wave pushed me some lightyears further into a big fireball. What an experience! I heared a drone spinning from left to right. Deep blue gasses exploded from the fireball. I felt a pressure in my chest. The explosion blew me back into darkness for a couple of minutes.

I was laying on my bed and heared a snoozing sound. I opened my eyes and took a look to the digital clock near my bed. It indicated "39:39". Someone had put a cd case on my night table. It was from an artist I never heared before: Audela - 39 mysterions. I pushed the start button.

What a brilliant record! "Living In A Fantasy" is pure Detroit style. Perfect melody, heavy lead sound and a great climax. A vocal remix of it would have been a big succes. "Nightshift" is an ode to the TR-808. But the best track on this record is "Intens", a true masterpiece. The track begins with some compressed beats and a low synth pad. Then a harder beat comes in followed by a clap and a harder clap, rolling toms,congas and broken snares while the synth pads grow in the background .... Oooh man, I shiver every time I hear it .... Maarten Vandervleuten mixed it all so perfectly well to a beautiful climax. It's a pitty for him that this record just has been released on Outrage and not on Transmat. It would have been a classic. (for me it is)

Fantastic release from discogs user "BomberOne". Although it was released in march 2006, this is a real oldskool record. It sounds like the Hardbeat records from 1989 on Complete Kaos. Even the sleeve has that oldskool look.

The first track "2006=1989" refers to Edwards and Armani's "Acid Drill" with a strong military shout in the intro.

The second one "2006=1988" is a very dark new-beat track with some heavy basses.

"Acid Reprise" is just brilliant! It's a pitty that it's so short. Please BomberOne, make some long version of this.

The first time I heard these tracks was during an ambient dinner party that was organized by R&S Records in septembre 1994. This party was one of the many activities that Renaat had organized to celebrate the 10 years of existing of the famous label. Renaat Vandepapeliere invited many people of the techno and ambient scene (like Derrick May, Juan Atkins, Mark Bell, Alex Patterson, CJ Bolland, Colin Dale, Robert Leiner, Carl Craig, Mike Dredd, ...) and some journalists in the garden of Electric Island in Ghent, the villa with the R&S studios. Mixmaster Morris and Renaat were the dj's and David Morley did a live act with Andrea Parker. Later on I found that the ambient tracks they had playing live on this party were released on this record.
Four brilliant and very dark ambient tracks. My favourite one is "After Dark". This track drag you down to an abyss that's never been explored by human beings. Really shivering but also so very beautiful. Andrea and David in top condition!

This is still one of my favourite oldskool records. After looking for it during many years I finally found the white label of this release. Great stuff that had that typical power and hard sound of the early nineties. This record was a big hit in Belgium and was played many times on local underground radiostations. JUMP IT!

First release from CJ Bolland after a silence of five years. He was under contract of Internal during those five years. He made two complete albums for Internal after the Analogue Theatre record but they refused to release them because the tracks weren't commercial enough. They wanted that CJ Bolland made more hitsongs like Sugar is Sweeter.

After five years of hard combat he was finally lost of this contract. He put up his own label "Mole Records" and brought out the "See Saw EP". You can hear in the mean track "See Saw" all the frustations and the madness of CJ Bolland about all the things he went through with Internal. "See Saw" is a big F*** YOU to the majors and to the commercial music. The track begins with a 3 minutes during crazy drum pattern that is constantely broken but each time on a different way. Suddenly the beats stop and a very hard and low bassline blows out the speakers. WHAOW !

The b-side is a bit calmer. "Fractal" is a bit disappointing. It's too straight ahead certainly after you've listen to "See Saw". "Dark Angle" is a very good and original techno-electro tune. CJ sampled the voice of MC Screen who imitates some beatbox sounds. Very well done.

As CJ's oneliner says: "If you wannit from the underground, you gotta dig deeper!"

What do we have to say about this fantastic release? It's just a brilliant recording of CJ's live act on The Universe party in 1993. Five excellent, fast and typical CJ tracks full of nervous drum patterns, hard claps and great melodies.
CJ Bolland told me that he did this live act with Cisco Ferreira. CJ was playing the drum parts and some midi patterns and Cisco was mixing the hole thing. At a certain moment they had a power failure and there was no sound at all during 15 minutes. Once the power came back they played on a harder way than before and everyone got mad.
The fading between the tracks was done in the studio and was just for the record.

Forget the A-side but listen to "Ion (Boccaccio Edit)" on the B-side of this record: a unique, very dark and strange new beat track. The sound doesn't fit at all with the other releases of R&S: it's something totally different but for me this is the best R&S track ever! I had this track since 1988 on a tape but I ignored what it was. It never came to my mind that it could have been released on R&S.
To all the new beat lovers: look straight for this record and buy it immediatelly. It's a must for your collection! GRRRRRRR ...

Pure classic tunes from Brooklyn here. This record inspired many people in Europe involved in making techno music. Renaat Vandepapeliere, boss of R & S Records for example. As Frankie Bones told himself in the forum, Renaat was interested in some tracks of Frankie Bones, especially the tracks "Just As Long As I Got You" and "Call It Techno". Because there were offers from Deconstruction and XL for both tracks, they had to wait on signing these records.
Renaat did not want to wait so he did release cover versions of both records. The first was a cover version of "Call It Techno" that was released under the artist name of Space Opera (cat# RS 89014). The second was a cover of "Just As Long As I Got You" that was released under the artist name of The Project (cat# RS 89015) and had the funny track nam "Can Batman Escape?". The belgian group 101 also covered "Just As Long As I Got You". It was Nu Groove that bid the most and released the original versions on this record.

The track "Another Place Another Time" also inspired Renaat and his friends cause they used the same riff melody from this tune in "Space Opera 3001 (Part 1)" released on R & S Records under the cat# RS 911. Listen to both tracks and you'll see what I mean. Listen also to the b-side of Jambo!'s Drumattack on Wonka Beats. Koenie and Sven Van Hees used the same vocal but they changed the words in "Another Day Another Time"!

The last track of this record "Halfway To Seven" has to be one of the strangest techno tunes ever made. It begins with some TR-808 drumpatterns and suddenly a guitarsample comes in it. Bones and Dee sampled the guitartune and cut it in pieces. So the guitarsample begins short and as further the track goes as longer the sample. Finally you hear a complete guitarsolo on a very techno drumpattern base. Pure Rock&Roll techno!! Very weird.