The Nighttripper aka Orlando Voorn ‎– Tone Exploitation - The Remix Album

Underground Liberation ‎– UL011
2 × Vinyl, 12", 33 ⅓ RPM, Album

Tracklist Hide Credits

A1 Tone Exploitation (Ken Ishii Remix)
Remix – Ken Ishii
A2 Tone Exploitation (Suburban Knight Remix)
Remix – Suburban Knight
B1 Tone Exploitation (Ritzi Lee Remix)
Remix – Ritzi Lee
B2 Tone Exploitation (Ben Sims Remix)
Remix – Ben Sims
C1 Tone Exploitation (Planetary Assault Systems Remix)
Remix – Planetary Assault Systems
C2 Tone Exploitation (DJ T-1000 Re-Interpretation)
Remix [Re-interpretation] – DJ T-1000
D Tone Exploitation (The Nighttripper´s Original Mix)

Companies, etc.


  • ArtworkMuris*
  • Mastered By [Cut]Nilz*


'Tone Exploitation' printed on sleeve and labels as 'Tone Explotation'

Barcode and Other Identifiers

  • Matrix / Runout (A Side Run-Out Etchings): MPO UL 011 A NILZ - THE EXCHANGE
  • Matrix / Runout (B Side Run-Out Etchings): MPO UL 011 B NILZ - THE EXCHANGE
  • Matrix / Runout (C Side Run-Out Etchings): MPO UL 011 C NILZ - THE EXCHANGE
  • Matrix / Runout (D Side Run-Out Etchings): MPO UL 011 D NILZ - THE EXCHANGE

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October 22, 2014
Tone Exploitation? Boy, could have they been more on point? On paper, this looks like a bunch of veterans revisiting a legendary track by none other then Dutch techno goliath's Orlando Voorn classic. In reality, what we have is a double pack of mediocre remixes, hackneyed and trite attempts at revitalizing a track that doesn't even need a face lift. A sensible mind would hardly believe that you can go wrong with an artist roster like the one listed here. Unfortunately, this is where it all stops. Big names don't automatically imply great music. Duh...

The greatest paradox of them all is that the original, now about thirteen years old, sounds better and fresher than any of the remixes, which have been around for one sixth of that time. Ken Ishii is like a parody of himself here. His tune sounds like an opening theme to an incest porn anime. Suburban Knight go so high up in the BPM stratosphere that the other elements of their remix are utterly obsolete. It all comes down to a bunch of senseless clattering and overemphasized, shuffled claps. Repugnant.

Even artists you can usually rely on, especially when taking on remixing duties, fail. Ben Sims, who for one knows how to deliver the floor friendly goods, churns out an effective, if not helplessly formulaic and predictable version of Tone Exploitation. He stretches the original's hook, eases the tempo, adds notable amounts of echo and attempts at gaining momentum through a longer break some three minutes deep, during which he introduces an epic melodic sweep. It will work the floor, but it's as invigorating and original as treating yourself to a McFlurry with m&m's in Amsterdam...

Luke Slater, who usually makes beef jerky strips from the skin on other producers' necks, brings a run of the mill techno banger that never really develops beyond its initial pattern. Sounds like a left over track from his "No Exit EP" or something. It's not bad per se, but way below his standards. Sure, it's a linear techno work out with a mean bass line and plenty stop/start moments that'll go down well in the mix, but this is seriously not something that would make you pay for a double pack.

Which brings me to the main issue here. This release is one vinyl too long. While the "Phuture" remix edition has four diverse, carefully selected remixes, where each one approached the original from a different angle, and at least two remixes were great, this time around we have seven versions, and merely two or three are release worthy. DJ T-1000 delivers something for your sweet tooth to enjoy, by attempting some space age theatrics with the original's catchy lead, yet in reality he turns the track into a heart tearing cheese fest. While it isn't really horrible, it's the manner in which he strives to make the composition symphonic and larger than it could actually be that bothers me. Label boss Ritzi Lee is not much better, with a remix which brings tautology in electronic music to new heights. Good thing it's only five minutes long, because if that looped segment of the original's hook went on for a mere extra minute, I would have snapped the vinyl.

So, it's not all appalling, although I can hardly hide my disappointment this time around. The other remix pack is a keeper, and given the names involved, this one had the potential to be one as well. However, it goes on far beyond its welcome, with no less than seven variations of the same theme, four of which are more or less instantly forgettable. Was it a single 12" release with maybe the Ben Sims, P.A.S. and - hell I'll toss it in - the Alan Oldham remix, together with the original, OK, but the way things are, there is way too much filler to sit through here. A few competent DJ tools on an otherwise feeble double pack.