ultrasound

Name: Ultrasound
Home Page: http://www.bleep43.com
Member Since: Mar 17, 2003
Rank: 98
Average Vote Received: Correct (4.00, 5 votes)
Rated 1136 releases, average: 4.27
Location: United Kingdom
Profile: I'm a music lover first and foremost and that extends to almost all types of music. But I suppose there is a bias of electronic (rhythmic) music in my collection. The URL above doesn't belong to me, but it's important to my friends and I. If you click on it, you can find out more about what we do. Most especially you can find out how you might hear some mind-expanding electronic music, mostly (but not exclusively) which you can dance to. You can also learn about the rich history of the music which we like and about the culture which is associated with that music, from the past, to now.
If you have something from my wantlist and you want to do 'business', I'm not averse to this, but please note, I NEVER do eBay. My real collection lags behind the version you'll see here, so if you like what you see so far, maybe check back sometime. Isn't that what it's (discogs) all about? I hope this note is less pretentious than it used to be!

Buyer Rating:

100.0% positive (3 ratings)

ultrasound's groups (6)

Reviews:

In Sync - Storm - 01-Nov-09 06:21 AM
Two swigs from a bottle of vintage nectar, from a master vintner. These tracks are now about 17 years old. Nevertheless, in my view, you will find more intrigue, idiosyncracy and just foot-awakening magic in each of them than resides in the entire 50 or so clicking, whip-cracking f**k-and-forget European house tracks which are released every week. The titles Storm, Warm are evocative but not much more than a wry reference to the first Gulf War which raged at the time of the first release. Apart from that, both tracks are exceedingly warm sounding yet at the same time stark in portraying that essential minimalism of back in the day, which had as much to do with the limitations of hardware technology, as any deliberate gender-squatting. Storm and Warm embody the principle of simplicity which comes from the heart and hence remains in tune with the heart.

Diego - Open - 30-Oct-09 10:41 AM
An odd mix - albeit nothing much that pushes the mold to the point it might crack. Its just that its a hodgepodge of styles which arent usually lumped together: jazz funk, disco, balls-out rave and techno. Dont get me wrong though: I really dig and respect this LP. Also, to be fair, the styles are worn reasonably lightly - theres nothing here that is impeccably authentic to those genres, and I dont take that as a fault. That brings me sort of neatly to the idea that there *is* a common factor linking all the styles: this LP is of course very, very digital sounding. Apart from the myriad synthesizer parts in each track - each one pretty articulate in itself - its pretty clear that the sessions behind the album happened mostly, if not completely, inside a computer, or two. So anti-digital fascists avoid, but the rest of you might like to check out an excellent collection of tightly put together techno rendered in various styles of funk and dance of the last three decades.

Robert Hood - Nighttime World Volume 2 - 04-Aug-09 01:54 PM
In fact, dont expect the typical minimal line, although do expect Detroit Techno. Do expect that you will need to have re-defined and widened your view of what you regard as techno perhaps many years ago. I have the idea that most people who are aware of the typical Robert Hood record, would most likely be surprised that 14 years ago, he released an LP which mostly contained lush downtempo melodic pieces. And yes, I am correct in stating that he released such a record 14 years ago. I was not referring just to Nighttime World Volume 2. Nighttime World Volume One was released in 1995. Both that and this really ought to be seen as a pair. Actually I believe ideally, the pair ought to be taken as one very long LP. Both contain tightly composed but smooth electronic mood enhancers, each with a quirky edge or two: a hint of in your face compression there, a deliberately faux saxophone patch there. Volume 2, like volume 1, has a few more recognizably Hood-like techno tracks. Despite that, mostly, its about the chilled, slightly melancholy, surprisingly elaborate - surprising that is, if you think Robert Hood is just about minimal techno - hip-hop and IDM flavored tracks.

Robert Hood - Minimal Nation - 18-Jul-09 06:46 AM
The year was 1994. Something was mutating in the music from the Bladerunner-esque city at the top of the Mid-West: the hitherto string-laden albeit abstracted futurism of techno was corroding down to something which was closer to the frame of its chassis. It was this LP - and it became a marker of a turning point in techno music at least. In the context of a new millennium some newish things become apparent: 1. Some of it is not very minimal. [Internal Empire is actually a lot starker and sinister than this LP, not to decry Minimal Nation for *not* having those qualities to any great extent.] Also, dont be surprised by the odd lush pad sequence to well up over the trackiness. 2. Its _extremely_ funky. If you know the theory of on-the-one, Test it here. This is black future Funk with a capital F. 3. Even though it doesnt really sound dated in 2009 - its very evidently from a different era: the analogue atmosphere is very palpable. You can almost smell it. [You can certainly hear the hum of the cheapo recorder this was finished on]. And theres circumstantial evidence everywhere of the VCOs and diodes used to make this LP - one track is titled SH101. In my view, this remains a milestone - dont miss it [again].

Robert O'Dell - The Elite - 26-Dec-08 05:12 AM
A heady mix of inner city Detroit ghetto life, party pills, cynicism; and of course the gay undertones are there too, all across a low-res, insistent break. Not exactly a mold breaker, but somethings going on here in this understated oddity, even with its slightly dated pad samples, which is darker than the sum of its parts and has alerted not just my ears, Im sure, to listen out for other release by this artist.

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