Stacey Pullen – Todayisthetomorrowyouwerepromisedyesterday

Great album, i bought this back then just because i found the cover design attractive.

I'm truly surprised this album isn't more coveted after 20 years now. This is an excellent piece of electronic soul music, and I envy those who have yet to hear it. This is one of the best Detroit "techno" albums I've ever heard, and I've heard a lot of them. I'm sure this album will be compared to May and Craig and whomever else, but that's not remotely fair -- I'd argue this is better than most of what May has ever done. It's sophisticated, well-produced, and wholly original in its delivery. Highly recommended for anyone moved by electronic music, and it sounds every bit as good in 2021 as it did in 2001.

Still unequalled after 20 years. Play me a better one and I will be thankful. Remains a highpoint in Detroit Tech-House and will ever be. MASTERPIECE.

Stacey Pullen has so far only put out one album under his own name, TODAYISTHETOMORROWYOUWEREPROMISEDYESTERDAY, but for lovers of Detroit techno, this one hits the spot. The smooth chords of "Tsunami" lets you know exactly where you're at, and "Juke" lets its melody skew a little leftward. An operatic vocal sample slides onto "Vertigo," while the tempo picks up on "Powershot." If you prefer some jazz influence, you can hear it in the fast breaks of "Futuristikfreakqueen." The funksters will find plenty to skank in "Tiznit," while the future jazz heads can have it out with "40th Street Black." The smoothness returns on "Juke (Reprise)." I'm hoping Mr. Pullen gets around to releasing another album at some point: his work is too good to wait until tomorrow to hear.

Well, well, well….. one third into Stacey’s latest album length outing, and I’m suitably impressed. Indeed, it’s sounding much more “Detroit” than alot of his prior work dating all the way back to his 1994 Bango “Sphinx” EP for Transmat offshoot Fragile (his best work to date; in my opinion).

Many of the early tracks on the release sound very pre-1994, and would not seem out of place on second wave Detroit labels such as 430 West, Trance Fusion and Retroactive. Some nice old school, quirky and tough drum patterning; some dirty, acidic bass lines overlayed with thoughtful, original melodies and warm, ethereal padding. Check the punchy, floor-burner “Powershot” or the very intelligent “Juke” for examples of Pullen’s Detroit roots.

Apparently having served enough time with undergound labels to now produce for corporations like EMI, the album suddenly slides into more mainstreamist techno/drum n’ bass/jazz fusions. Think Ian O’Brien, Kirk Degiorgio or something from Russ Gabriel’s techno-jazz imprint - Ferox , but weaker; much weaker.

As Derrick May’s protégé, I’ve always been slightly disappointed by Stacey’s work. Sure he has delivered some excellent cuts for Fragile, Plink Plonk and Astralwerks; but, as was the case with his two prior album length releases for Transmat/R&S and Elypsia he fails to deliver an album packed with highlights. Instead Stacey teases us with a release that starts off well but fails to grow. On Australian shores, Pullen’s credentials as a DJ far exceed his reputation as a producer. I don’t imagine this release will change things.