VariousIgnorance Is Bliss

Label:Audio Chocolate – AC 001
CD, Compilation, Partially Mixed
Genre:Electronic, Hip Hop
Style:Experimental, Broken Beat, Cut-up/DJ, Sound Collage, Freestyle


01Unknown ArtistIntroduction0:14
02N1troGo D(ie) J
03JewfunkNo Piss, No Fun
EngineerMad Pod
ProducerPatric C.*
05N1troAll Eyes On Me!
06Candie HankLeave The Disco
ProducerCandie Hank
07bomb20* & HanayoShark Attack
09N1troSumo Catacombs
ProducerN1tro Mashall H.*
10Gina V. D'Orio, Patric C.*, Maxwell Turner*Goodbye My Love
Producer, VocalsPatric C.*
11JewfunkPurple Pro
ProducerPatric C.*
12Camouflage F*ckstarsCamouflage
Producerbomb20*, N1tro
13Pirates On The MoonDamage
14ParasiteYou're A Freak
Co-producerDJ Freq
15bomb20*Colleteral Damage
16Camouflage F*ckstarsElephant Dicks
Producerbomb20*, N1tro


Track 1 produced 1999, Track 5, 9 produced 2000, at KingKongBeatz, Copyright Control.
Track 3 produced 2000, recorded at LowCash Berlin, mixed at No Sheep Studio London.
Track 4, 6, 7, 11, 12, 13, 15, 16 produced 2000, Copyright Control.
Track 8, 14 Copyright Control.
Track 10 produced 2001, Copyright Control.

Barcode and Other Identifiers

  • Matrix / Runout: AC01/audiochocolate

Other Versions (1)

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Title (Format)LabelCat#CountryYear
New Submission
Millionaires Club - Ignorance Is Bliss (CDr, Compilation, Promo)Audio ChocolatenoneGermanyUnknown



  • bonnicon's avatar
    This is an album which combines the approaches of Hip Hop, Rap, Jungle and other current styles emerging from Black Culture. What sets it apart is the extreme use of noise - most things here are overdriven to fuzzy, distorted, and often white, noise. The result of which finds itself washing up on the shore of Japan's sonic monster mutant music style.

    In case you wondered whether Hip Hop was burned out and had nothing more to offer, then the pure creative enthusiasm of people like JEW FUNK who appear on this album should reaffirm the values in such music. Although this album tends to wallow within the bounds of this genre, there's a hell of a lot of variety here with heavy emphasis on experimentation.

    "Go D(ie)" by N1TRO overdrives things to a point where it makes more than just a respectful nod towards the more extreme end of the music market (Japanese Noise). The "DJ Fuckin' With Da Beat" motif offers a decent groove but decides not to pursue it.

    "No Piss, No Fun" by JEW FUNK show that they can rehash other people's ideas and still make them sound interesting and vital. Okay, so the song would seem to be about Golden Showers, but even that adds weight to it's charming novelty appeal. The mix sounds ephemeral, yet the Groove's rock solid.

    "Redrum" by BOMB20's strength is in the clever use of cut ups and samples - found sound jokes which seem to hit the spot with a-list comedian timing. The music's solid electronica with tame Acid House cliches, but still manages to set a fine groove and keep the listener gripped.

    "All Eyes On Me!" by N1TRO samples a dominant Black Woman lecturing all present with threats of a beating - good hooky TARANTINO imagery from the off. The actual track again overdrives an already complex rhythm, interlaced with human voice samples, then manipulates the distorted mess into a dangerous mass of beat and groove.

    "Leave The Disco" by CANDY HANK tells a story against a complex and deliberately confused series of overdriven rhythmic building blocks. It concerns a fire (real or imagined I cannot guess) at a disco. There's a confidently light gait to the heavy-as-porridge sound.

    "Shark Attack" by HANAYO & BOMB20 takes the tempo down a few notches, creating a soporific druggy dreamworld of Mysterious Undergrowth rhythms and emotionless voice. It may have a simple approach to composition, but is effective in it's sluggish tempo juxtaposed with brash noise.

    "Warfarin" by PARASITE take the 'pushed to extremes' sound which pervades most of the artists' work on this album, but sets it to a madcap Drum 'n Bass scattergun rhythm.

    "Sumo Catacombs" by N1TRO feat. SPT gradually awakens into a huge polyrhythm which plays in the margins, rather than trying to hammer a hook into the listener. It works well, taking the overblown nature of this album and forges new rhythmic structures out of the burning ice and white-out fuzz.

    "Goodbye My Love" by GINA V.D'ORIO, PATRIC C, MAXWELL TURNER probably owes more to Rockabilly and all it's Psycho- Punko- relatives - madcap Rock 'n Roll mixed into a cluster-glare metal sheet.

    "Purple Pro" by JEW FUNK tends more towards mainstream Rap sounds, albeit through an electronic hall of mirrors, skewed to he point where the voice is the last commercial aspect left.

    "Camouflage" by CAMOUFLAGE F*CKSTARS is a thick Mangrove Tree of sinewy muscle electronics - fuzzed to oblivion backdrop and underfoot bassline all build an instrumental which approached you like solid cliff tsunami. Too 'involved' to be a commercial success.

    "Damage" by PIRATES ON THE MOON sets some decent Rap vocal interweaving against a mild, almost background machine-logic combination of Morse Code and almost looped white noise percussion.

    "You're A Freak" by PARASITE feat. DJ FREQ manages to combine found sound cut ups with trace elements of Rap, set against an overdriven sound which is more akin to sonic war than composition.

    "Colleteral Damage" by BOMB20 takes some clever political manipulation of found sound broadcast, cutting news items up to reveal the truth. After this the actual music is irrelevant, but still manages to be one of the high-points on this album - from nails-down-blackboard motifs through tight rhythms experimenting via structure and mix.

    "Elephant Dicks" by CAMOUFLAGE F*CKSTARS takes the Junglist approach, leading through solar-flare extremes of mix and manipulation, towards a point of departure, where Jap Noise and Drum 'n Bass shake out their differences and form a workable alliance.

    Originally reviewed for Metamorphic Journeyman.


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    • Avg Rating:4 / 5
    • Ratings:8


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