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    Stacey PullenTodayisthetomorrowyouwerepromisedyesterday

    Label:
    Science – QEDLP 5
    Format:
    2 x Vinyl, LP, Album
    Country:
    Released:

    Tracklist

    A1Tsunami
    A2Juke
    A3Vertigo
    VocalsSarah Eyden
    B1Powershot
    B2Futuristikfreakqueen
    B3Freeworld
    C1Insidetheoutway
    C2Tiznit
    C340thstreetblack
    D11011
    D2Juke_(Reprise)
    D3Workshop401
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    Credits

    Notes

    'Vertigo' contains a sample from the recording 'Searchin' by Loni Clark.

    Barcode and Other Identifiers

    • Barcode (Text): 7 24384 95901 2
    • Barcode (Scanned): 724384959012

    Other Versions (3)View All

    Title (Format)LabelCat#CountryYear
    Todayisthetomorrowyouwerepromisedyesterday (CD, Album)Science, VirginCDQED5, 724384959029UK2001
    Todayisthetomorrowyouwerepromisedyesterday (CD, Album)Science724384959029Australia2001
    New Submission
    Today Is The Tomorrow You Were Promised Yesterday (CD, Album, Promo)Virgin, Virgin849590 2, 7243 849590 2 9Germany2001

    Reviews

    djinsomnia's profile picture
    djinsomnia
    Edited 20 years ago
    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.