A very solid (if now a little dated) covermount from Oct 2000. The title is a little bit of a misnomer, being a largely progressive house related affair, but was a fair cross section of what was being played at the time. The mix opens (and is later bookended) with Lovesky's Ella Fitzgerald sampling, beatless, ambient offering "New Dawn" before chugging off in a housier direction with some of the biggest names of the day (Miguel Migs, Lexicon Avenue, Hipp-E and Way Out West). From here in, as the title suggests, things get somewhat more European, the mix eventually climaxing with Humate's seemingly omnipresent mix of Schiller's "Das Glockenspiel". I think it's a good introduction to Kleinenberg's style at the time and stands up next to his commercially released "Nu Breed" mix of the next year.

Dead A's is a bit of a departure for the old fightin' dog DJ Hype, being a dubby slab of hip hop paced downtempo. It's got a proper booming bottom end though, and a sample of John Cleese as Death in "The Meaning of Life", which can't be bad. One wonders whether the tracks name being "Dead A's" rather than the "Dead Americans" that are mentioned in the sample was decided based on the political climate of the time (the release coming out around the time of 9/11). "Casino Royale" you doubtless know, being caned in the clubs in original, and later (poorer, if you ask me) remix versions. Proper jump-up Hawaiian Vibes in effect. (Even better if you knock two copies out of phase and go mad with your cutting).

A classic dancefloor moment from the No U-Turn refugee's Fierce and Ed Rush, and the latter’s more recent production partner and ex- Spiral Tribe affiliate Optical.

Compared to most of the 'Darkside' tracks round at that time 'Cutslo' positively thunders along with a quick, cutting two step break, and a tremendously warm, flowing bassline.

Apparently the bass sounds on this, and a great many other of Ed Rush's tracks, were achieved by running the synths through old guitar distortion pedals to fatten the signal.

Whatever the method, the outcome is clear. This track is a classic, not just of the scene, but of the entire drum & bass genre.

Rather than opting for the then 'des rigeur' bleak, hollow, industrial edged noise, reese bass and needle sharp snares, (which they and the rest of No U-Turn’s crew jointly pioneered) the trio have created a sound, still bone rattlingly hard, but as warm as uplifting as any supposedly "Euphoric" dance.

Still being played in big clubs as late as 2002, this tracks stands up tremendously well when compared to any current material by leading producers in the Drum & Bass scene.

The drop is a fine example of why the phrase "rewind" was initially coined.

A good overview of the more melodious end of the UK Drum & Bass scene, mixed by the horrifically underrated DJ Addiction (who's own offering - 'Feel It' with Twisted Angers Danny C, is bewilderingly one of the few low points on the album).

Ably starting with the chiming guitars of Die’s aptly named ‘Autumn’ from ‘98’s “Planet V” compilation on V Recordings, the mix cuts a swathe through past and present dancefloor classics before bumping to an abrupt halt with LTJ Bukem’s heart-stopping “Horizons.”

The programming errs on the poppy side, (with maybe a few to many tracks by Movement residents), but for a free covermount, this is a godsend.

Why aren’t they all this good?

A true breakbeat pioneer from Bristols highly regarded Full Cycle collective, who perhaps unfairly, has totally eclipsed long time collaborator Krust’s profile and reputation, in a sycophantic media.

Early and mid period material by Roni Size is pretty much essential for any electronic music lover.

An absolute studio professional, his tracks are superbly engineered and balanced for maximum dancefloor impact. Size's tracks flow and pace belies their heavyweight nature.

Although made famous by jazzier offering with his Reprazent project, Size’s formidable reputation stems from his fearsome darkside offerings on Bryan Gee’s ‘V Recordings’ label early in his career.

However, despite his production pedigree, the great man has gone totally off the boil lately, with very, very samey recent offerings.

(For example, see 'Playtime', Scorpio's remix of "LK" by Marky and XRS, and "Appreciation" by Three Way for Roni's lazy new 'One Size fits all' bassline.)

Extended suggested discography: Try "It's Jazzy", "Brown Paper Bag", "Snapshot" & "26 Bass".

- And nothing off the disappointing "Touching Down" LP.

Nice little bootie of FSOL's classic 5am moment "Papua New Guinea".

It's great because of the original rather than any particular new elements added by the Welsh Wunderkind himself.

That's fair enough tho', I suppose.. Remixing a track this well known, and this well loved, you'd be well advised to tread carefully and not change to much..

A good re-rub, nicely bringing a classic up to date.

This track sits mid way between liquid soulful drum & bass and more jump-up dancefloor styles. Like all High Contrast tracks, the production is clear and cutting and it's very musical in content..

Kinda like a more tuneful version of Snapshot by Roni Size.

Good quality stuff on both sides from the reliable Mathematics crew.

The A side has a big breakdown with a memorable synth that sounds a lot like, but isn't "Terrordrome" by Ray Keith.. It also features some nice 80's sounding electro washes towards the end of the track, which add a nice individual element to a mix.

The B is more of a low key roller with some nice liquid styled horn parping.

Both are quite feel good tracks and have nice rolling breaks and are a synch to mix..

A solid addition to anyones box.

Very, very poor for a Full Cycle release..

I don't know which side is which to be honest, one kicks off with cliched two steppy full cycle beats and features a dirty Krust-esque bassline and is at best, alright, the other is so poor that it's not worth mentioning.

Further evidence that the A/R policy of this once great label has gone totally out of the window..

A totally formulaic release in the nature of Roni Size's recent lack lustre output.

Full Cycle seem to be insulting the intelligence of their audience by releasing cuts such as this.

No doubt the Full Cycle sycophants will buy it in droves and make it a 'club hit' and we'll be subjected to it three times a night for the next sixth months.

Frankly, rubbish.

A breathtaking track production wise, warm liquid bass, a great vocal sample and walls of almost orchestral strings..

Symphonic drum & bass?