There's one thing wrong with this CD. That is that the tracks are truncated to fit the continuous mix format. The vinyl version with full tracks is the BOMB! And the CD version could have cut one track to fit an 80-minute CD while giving the full-length cuts. I could see maybe 86-ing In The Mix or To Do It. But leave the rest alone! Especially Here We Go, Tech Grooves, Trance, and Techfunk. I love this comp, but the CD is nowhere near as excellent as the vinyl comp. This collection of tunes is a real winner!

Edit 5 is a seminal piece of early-'90s-vintage acid techno! I love the changes that keep occuring throughout the track. Especially near the 5-minute mark when the far-out-in-outer-space synth kicks in. This is one of those rare tracks that stand just slightly above the rest of the track-pack. At least, it's got the stuff my psychedelic mind is looking for... Or shall I say "in search of"? Outpost 69 signing off... Live long and prosper!

Among the best! Though it would not be classified as techno by most, when I listen to the production in this track and compare it to all other electronic styles of music (hip hop, disco, synth-pop, house, and yes, electro) this one really fits in snugly into the vast realm of techno. And well let's face it - I feel this track is superb on all fronts. Extremely strong on all fronts... KILLER! Dig it.

Classic track for me. It always brings back memories of one of the "events" of 1995. I was under the impression it was late 1994, but I'll have to look at my collection of flyers from those big "events". These days, and even later in the '90s, "events" gave way to weekly and daily "club nights" and the epic scale of these "events" dwindled so as to alleviate their "specialness". This track was the highlight of the big "event" of that year (whichever it was - I could've swore it was '94!). Anyway, the big reason it was a highlight was because it used essentially the exact same sound that Keith Emerson used on "Hoedown" from ELP's Trilogy album. It amazed me at the time that perhaps .01% of the "rave set" knew that it was essentially an "already had been created and used" sound and I suppose that fact still amazes me. Don't believe me? Go to YouTube and type in ELP Hoedown - you'll hear it clear as day. Regardless of that fact, I still love hearing this one! Great fun from a better time in the history and evolution of a genre now known as "electronica".

Before submitting this, I checked my archives and indeed - the "event" I heard this track at was titled "Deep Freeze" by its promoters and occured on December 10, 1994. So I'd like to know the history of this track and how one of the DJ's got it in late 1994 when according to the information in this entry it was released in 1995... Hmmm - advanced copy white label?

After all these years I listened to this one again just to see how it sounded and I have to say - tastes DO change over the years! I thought it was fairly bogus back in '97 but now I listen to the KMFDM side and it's really not that bad! It was, by most accounts, the ultimate sellout approach to a techno track maybe in '97, well before techno (or later, "electronica") became the soundtrack of automobile advertisers, and perhaps although workout videos always used upbeat dance music, techno was still not "the soundtrack" per se for workout videos... This was when techno was still trying to survive as an "underground" movement, which at the time made this 10" extremely commercial, a "sellout" record. That was not popular with "underground" types like myself. But now, in the present, it's a decent, well-mixed and well-conceived piece of music, the KMFDM side at least. The Psykosonik side is a bit shorter and weaker and more minimalistik(sic). The KMFDM track has great use of 303/101, great riffs (a great pattern that comes out toward the end) and even a not-so-damn-overused drum pattern to build on. In other words, a pretty decent track. Still not up to Der Klang Der Familie standards, but decent techno nonetheless!

I've got the NovaMute version, which is essentially the same. Essential listening for sure! This album displays what the genre of techno was all about in 1992 and '93 - which was an unexplored universe of sonic possibilities. This album covers a few galaxies that no others covered, and likewise was only a fractional portion of what was out then and what was to come. The golden age of techno. I miss those days! Techno was new, fresh, exciting and I really didn't have much to complain about in the underground scenes of techno, but the commercial Hi-NRG and "New York club sounds" were rather ridiculous and un-essential! Thank God for Tresor Records and NovaMute (especially in '93) to bring us these cosmic tracks!

Sometimes I can't believe these groundbreaking comps have no comments on them! I mean, come on here - we're talking Underground Resistance has a track on this comp! You think they were just bystanders in the techno landscape at this time?

Onward. What can I say? This comp covers a few bases. You have some early versions of straight-ahead 909/303 acid tracks. You have some rarities like Green Buddha's "Psalm IV". Mine The Rhythm's "Alas" is equally unique. These two tracks kind of define this comp to me. Others may appreciate the straight-on acid cuts more, but being a veteran of the 1995 acid-wave that swept the Midwest USA, I rather tired of just acid. And these are not really that unique, just kind of straight-ahead formulaic acid tracks. Fun though, because they exhibit pure analog phatness that lifts them out of any funk they may otherwise wallow in.

The other side exhibits some of that "Rotterdam Sound" that came and went in the early days. QDT's "The Cool Tip" has a not-too-heavy hard sound that sounds great and refreshes my memories of the times before hardcore got too acidic and too hard. Remember Nasenbluten? Too hard. "I'm Going Mad" is still classic after all these years, and also reflects upon a time when Ren And Stimpy was the cartoon du jour! Even before Beavis And Butthead.

A great and classic comp EP. Definitely worth having to import to the blandish United States. Back in '91/'92, the only way I could get these tracks was to buy them on compilation CD's. I was decades away from having any interest in any kind of DJ'ing.