Sweet Exorcist ‎– RetroActivity

Warp Records ‎– WARPCD218
2 × CD, Compilation


When Everything's Ready On The Dark Side Of The Moon
1-1 Testone 7:14
1-2 Testtwo 5:26
1-3 Testthree 4:31
1-4 Testfour 5:48
1-5 Testfive 7:44
1-6 Testsix Toneapella 4:07
1-7 Clonk Freebass 7:47
1-8 Clonk Homebass 7:47
1-9 Per Clonk 5:42
1-10 Samba 7:58
1-11 Bonus Samba 5:07
1-12 Testone Early 6:38
Play The Five Tones
2-1 Mad Jack 10:33
2-2 Track Jack 6:23
2-3 Jack Jack 4:31
2-4 Trick Jack 6:58
2-5 Kick Jack 6:04
2-6 Psych Jack 8:32
2-7 Clonks Coming 7:42
2-8 Clonk Bonus Mix 3:52
2-9 Mad Jack Alt. 8:27
2-10 Clonks Coming Early 8:03
2-11 Per Clonk 6 Alt. 4:30

Companies, etc.



1-1 to 1-3 Originally released on Testone WAP3
1-4 to 1-6 Originally released on Testone Remixes WAP3R
1-7 and 1-8 Originally released on Clonk WAP9
1-9 to 1-11 Originally released on Per Clonk (Remix) WAP9R
All ℗1990 Warp Records Ltd
2-1 to 2-7 Originally released as CC EP / C.C.C.D WARP1
℗1991 Warp Records Ltd
1-12 and 2-8 to 2 11 Previously unreleased
℗2011 Warp Records Ltd

This compilation ©2011 Warp Records Ltd
Warp Records PO Box 25378 London NW5 1GL UK
Warp.net Warp Logo / Made in the EU / MITDR TM

(Tracks 1-4, 1-5 & 1-6 remixed at Fon Studios)

Info on sticker: "When everything's ready on the dark side of the moon play the five tones" (1.01 – 2.11)

Barcode and Other Identifiers

  • Barcode: 801061021825
  • Label Code: LC02070
  • Matrix / Runout (CD1): CA WARPCD218CD1 @@
  • Matrix / Runout (CD1): 10/11/2011 11:30:27 AM 0000763160
  • Mastering SID Code (CD1): IFPI LY88
  • Mould SID Code (CD1): IFPI 1284
  • Matrix / Runout (CD2): CA WARPCD218CD2 @
  • Matrix / Runout (CD2): 10/10/11 11:02:12 AM
  • Mastering SID Code (CD2): IFPI L039
  • Mould SID Code (CD2): IFPI 126E

Other Versions (1 of 1) View All

Cat# Artist Title (Format) Label Cat# Country Year
none Sweet Exorcist RetroActivity(23xFile, MP3, Comp, RM, VBR) Warp Records none UK 2011


Reviews Show All 2 Reviews

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July 30, 2015

With RETROACTIVITY, we now have the Warp Records' complete output of Sweet Exorcist tracks, groundbreaking at the time. "Testone" exemplifies the whole bleeps 'n' beats ethos of early techno, and "Testtwo" and "Testthree" go slightly deeper before the bleeps creep in. The remixes from early Warp founder Rob Gordon alters the rhythms on his set of remixes, but not in any significant way, either from the original or from one another. "Clonk Freebass" has a more spare approach, relying on a deep bassline to carry it, but "Per Clonk" adds in a short soul sample and keys to keep things interesting. "Samba" has almost no Brazilian content, but instead a sharp tone to squeak out its tune, but the sudden cut off of "Bonus Samba" and "Mad Jack Alt" are very off-putting, while "Testone Early" skips the higher tones altogether for a growlier track. On the second disc, "Mad Jack" introduces some more ethnic percussion, while "Track Jack" initially focuses on the beat, introducing the other elements gradually. "Trick Jack" emphasizes the kick drum, and "Kick Jack" even moreso, but in all honestly, one Jack sounds like the next. But with "Clonks Coming," we get back into bleep territory for a well-needed palate cleanser, while "Per Clonk 6 Alt" leans in a house direction with its sample. It's a good historical document, but not an album that's really suited for contiguous listening.


November 29, 2011
edited over 8 years ago

Absolutely seminal stuff here. In a time when there was really only one thread to the scene, and maybe only a dozen or so key releases each week, "Testone" was a standout - a dramatic minimal track with forebodeing atmosphere and those harsh bleeps, that had everyone going mad about it in the clubs and the shops. The remixes beefed it up and made it even better. And the tracks still stand out as radical and minimal. "Testfour" is probably the epitomy of what everyone remembers of the WARP "Bleep" sound and the foundation of the "Bass and Bleeps" craze that was a forerunner to the development of UK breakbeat hardcore.

The "Clonk" and "PerClonk" set probably had slightly less impact, but notched up the weirdness factor a bit, (attempting to start a new "Clonks" craze post-"Bleep" was probably more of a marketing diversion than anything serious), and the incredible loose wobbly bass of "Freebass" is still outstanding. CCEP takes an almost classical "Theme and variations" approach (albeit with the "Theme" efffectively being "Samba" off "Per-Clonk"). The experimental approach here with strange new sounds, odd samples and astonishingly funky grooves was highly influential within the nascent UK rave scene, and the echoes can still be heard 2 decades later - particularly in the UKG/Funky scene of late, but also in the minimal scene of the mid-2000s, in earlier "electro-house" and in D&B.

I used to have a tape in my car that I made off my vinyls, which was in effect the content of this CD reissue, minus the archive bits, and it's great to re-live that, driving to work 20 years on, listening to these extraordinary trax. And yes, I still have all the vinyls.