A perfect remix,completely rewires the original and invents a new genre in the process,for is this not one of the earliest examples of ambient jungle? The orignal was a classic,one of my personal faves,that tuneful deep bassline always gets you. Who would have thought the remix could be even more uplifting? This record has a touch that is so light,so delicate - yet never wishy washy in a way that say someone from the Good looking label would have made it. The effect is to quote Simon Reynolds 'one of the most far out alien slices of artcore'. Must be amongst shadows most worthy releases (it all went rather down hill after that eh? rather bukemesque!),and sadly Foul plays last good record.

I won't bore you with a note by note description,as I'm sure your all familiar with this ultra sought after hardcore monster,but is this not the best hardcore tune - ever! Well its the tune in my (not by any means exhaustive) collection that when I play it I just can't follow it up with anything as good. Its the sheer rushiness of the tune that does it,massive 'dark & dangerous' hoover sounds,hard poinging beats,and a general rhythm,pull,thats always heading vertiginously upwards,into space? This tune perfectly represents the euphoric E buzz,with its rushes and dreamy blissed out plateaus. From the 'drifting through the galaxy' sample at the opening to the great hand drawn label,the idea of space perfectly encapsulates the abandonment and escape of recreational drug use. In general an anthem to letting it all go! If you don't own this record then don't EVER worry about spending the 80 odd quid it generally costs to obtain a copy - you'll get your monies worth - I play mine at least once a day!

Another hardcore track with an overated classic status. I bought this tune on the strength of hearing it purely from soundfiles,but once I got this tune on vinyl and spun it a few times,my interest soon waned. The track never really builds into anything significant,its just that whirring motif over and over again,this record is less a complete track,more just one idea,one hook,and not a good one at that. Some tracks with just one hook work well,but they have to be kept really simple,like Kevin saundersons KMS work. The track finally lets rip in the mid section breakdown, 'kiss another high hat' or some such annoying sample,but the excitement doesn't last long,before resuming to that whirring motif that is pretty much what we get on the b-side aswell. This outfit were obviously short on ideas! For how do to simple one motif tracks like this refer to Danny Breaks,'Higher',a track which he relegated to the flip of his classic first release, 'Far out'.

To me,a non-producer,both sides of this record sound very simple,'the lover' for instance - its just that tubular bells sample,that hip-hop vocal sample,and a wicked bouyant,fluid, bassline. But the urgency of that bass with the superb use of samples makes this one hell of a track. This is one record that i keep on coming back to again and again,'who rocks who' isn't quite so kick ass,but its the smaller parts that make this tune,when the record stops 2/3s towards the end and a sound erupts as what can only be described as one of those boards that Rolf Harris(!) used to flip back and forth, but this sound,non-musical,out of nowhere,its amazing - it picks up in rhythm,then stops and the track resumes with a kick,this must have gone down like a bomb at raves.One in the eye for those artbiters of good taste who condemn hardcore for being sample theiving music-by-numbers ,So the Turk - whoever you were! big-up ya'self,one of the most 'hardcore' hardcore tunes I've heard,

The first of many excruciatingly boring records by this outfit. The only good track I know by them is 'the core', and thats great. But this and 'Terminate' are both,to my ears, woefully overated. They seemed to be aiming for a sort of bukem sound (that other great drum and bass bore), only couldn't make their minds up whether they wanted to be down with the hardcore or not. Hence the beats on this tune are'nt sophisticated enough to be entertaining in a drum and bass fashion,or hard enough to be exciting hardcore. When I had this tune first I waited in vein for it to change,to kick off,to do something! some cheeky sample or whatever,but no,the same boring sample goes on and on and on. Terminate is the same. Don't be fooled by that deep organ,it's very old fashioned for a hardcore tune,it would be more at home on an acid jazz record. They seemed to have found their muse though with 'the core',an altogether stronger darker sound, marking a move into drum and bass,clearly what they were destined for.

One of my fave hip hop lps,not being a connoiseur,i find this lp endlessly listenable. Clean, sparse, and bouyant beats underpin keiths superb and often hilarious rapping,my fave being the put down to 'gangster rapper' wannabes 'sly we fly' - 'we look out car windows/ we pull the panties off girls'!! brilliant! - and so refreshing. What really makes the lp of course is the music - dark spine tingly and often jarring sounnds,a true one off.

Dillinja manages to turn what was a clunking,dull,and overrated hardcore tune into a drum & bass classic,i gave this tune a whopping 5/5! partly due to its puzzlingly low 3.8 rating. dillinja weaves sophisticated micro beats and ambient sounds around the barest remnants of the original tune. Whats left are the 'johny!' refrains - stretched into harrowing screeches,followed by crisp scuttling beats,dillinja displays his rare quality of understated yet dark and bustling production, similar to a guy called gerald,a FAB rmx of a mediocre tune!