One record at a time: 40. B12 - Electro Soma II

In 2017 Warp records decided to rinse the B12 back catalogue one last time and create another compilation of previously released material. This album was badged as "Electro Soma II" to capitalise on the re-release of the original.

The version of this album I own is the limited edition, double clear vinyl, which includes a booklet and is housed in a gatefold sleeve. There is also a download code included in the package which I seem to remember offered mp3, FLAC or WAV file types.

Three of the tracks here, "Debris" "Static Emotion" and "Satori" were all omitted from the LP "Electro Soma" but will be well known to anyone who owns the CD. There are also a significant number of tracks on this album that were released as part of the "B12 Records Archives" series of CDs; which means that less than half of the tracks on this album were new to me. Therefore this album largely represents an opportunity to own tracks on vinyl rather than hearing them for the first time.

Those tracks that are new are experimental and more ambient in nature. There is nothing here that makes you think: "They should have put this on the first album." These are clearly those tracks that remained once Warp cherry picked all of the best tunes for "Electro Soma". That's not to say there is nothing here without merit. "Fear of Expression", "Bubbles" and "Kaxaia-80" are all credible techno tracks, but they just lack that crucial edge. So this is a collection for completists or those who have an obsession with vinyl. The average listener can be satisfied with "Electro Soma" and move on. 2/5

One record at a time: 39. B12 - Time Tourist

Having enjoyed B12's first album "Electro Soma" you would have thought that I'd make certain I bought the follow up. Yet, for some inexplicable reason, the release of "Time Tourist" completely passed me by. Time moves much more slowly when you are young, so it's possible that I gave up waiting after 3 years and moved on to something else. 

In fact, I only became aware of the album's existence when I began using the internet in earnest sometime around 2000. I found it hard to buy the CD new at the time as it had been out of print for a few years. All I could find on eBay was a copy of the American pressing with, what I presume to be, a deletion cut through the top of the case. This CD was the only version I owned until Warp re-released it as a double "gold" vinyl LP in 2018. This version featured goodies like a booklet, a sticker sheet and a download with additional mixes. It's a nice package. 

At this juncture I will point out that this LP is not in a gatefold sleeve, and that is a good thing. Personally I don't like them and can't for the life of me understand why so many releases are marketed with a gatefold sleeve as a selling point. I find it difficult to place the records back in them and protective sleeves are much more expensive than a normal one. This record is the perfect package as it has a functional sleeve with a booklet to satisfy any yearning you may have for additional information or images. Record marketing people take note.

Like its predecessor, this album is essentially a compilation of music recorded under various pseudonyms. There is a nice mix of harder dance tracks alongside more experimental electronic music. Personal highlights are "Void", "Cymetry" and "The Silicone Garden". The standout track "Epilion" is a TR-909 infused monster pounding its beat and bassline into your head. The four additional mixes included on the download are interesting alternative versions but are ultimately inferior to those on the master release. If you're in the mood for some 'serious' electronic music with a techno pulse then this album satisfies. 3/5

One record at a time: 38. B12 - Electro Soma

In 1993 a friend played me "Obsessed", "Metropolis" and "Telefone 529" by B12. I hadn't really heard music like it before. Yes, this was techno, but it wasn't the kind of techno I was used to. This was lush and full of melody; I had to hear more. 

I bought the album "Electro Soma" fearing that the remaining tracks wouldn't be as good as those I had already heard. Yet from the mesmerising opening to the closing of the CD I was captivated. At the time I had no idea it was a compilation of material the band had previously released; it sounded like a coherent and consistent album to me.

For this play through we have the remastered, double blue vinyl version from 2017. The track listing here replicates the original vinyl which was different from the CD I bought. There are two tracks fewer and "Debris" is omitted in favour of "Drift" which closes the album.  

The opening "Soundtrack of Space" is one of the most haunting pieces of electronic music I have ever heard. I used to listen to this on the way to college as the perfect antidote to the stress of what I was about to endure. This track perfectly illustrates that B12 aren't just a "techno act" but a band capable of producing amazing electronic music. "Hall of Mirrors" and "Mondrin" further illustrate the sonic diversity on offer with innovative textures and great beats.

The high point of the album is probably "Metropolis" which is a thundering epic of the techno genre that would fill the right dance floor even today. Despite recycling a few Kraftwerk song titles, borrowing on Detroit techno sensibilities and sampling Jean Michel Jarre, you never get the feeling B12 are copying anyone. This music is unique and innovative and it stands up to repeated listening. 

B12 themselves are something of an enigma. Bizarrely their website is still live, but it hasn't been updated since 2007. Steven Rutter seems to be continuing with the band and new releases do appear sporadically. Mike Golding however seems to have quit music, moved to Germany and set up as a web developer. Anyway, I love this album and it never fails to transport my mind back to the time when I was young. It still sits firmly in my "Top 20 Favourite Albums" list. 5/5

One record at a time: 37. Ian Brown - The Greatest

As I mentioned in my previous post for "Golden Greats", I am not sure why I bought the CD of this compilation back in 2005; but I am glad I did. This album is a perfect introduction to Ian's solo work and I have gone on to buy more of his records since. 

When it came to buying the vinyl version of the same album ten years later, I was much more certain in what I was doing as, not only did I know I liked the music, but it was only £11. Considering this is a double album, I think that is a bargain.

Things seem to progress in chronological order so debut single "My Star" starts us off in a blaze of glory. The bass on this record is quite impressive and promises great things are to come when we reach some of the more electronic selections. "Corpses" as it was called when the single was released is next, but it doesn't quite hit the mark for me. "Can't See Me" sees Ian and Mani team up to produce a crazy big beat extravaganza that is remixed and generally tidied up from the album version. This album is cut pretty loud so before we know it, it is time to turn over the first disc. 

The first UNKLE collaboration "Be There" is the sort of downtempo track that was fashionable in the late nineties - but unlike some contemporaries, this one still stands up today. As we move into the "Golden Greats" era we are treated to the single versions of "Love Like A Fountain" and "Dolphins Were Monkeys" which are excellent. The masterpiece that is "Golden Gaze" soon follows to remind us that Ian is capable of some moments of absolute genius.

The second disc kicks off with the exceptional "F.E.A.R." which is clever both lyrically and musically. Whilst "Whispers" and "Forever and a Day" aren't my favourite tracks here they are far from being bad: they're just not to my taste. Similarly "Keep What Ya Got" is just too much like a generic guitar orientated rock song for me. Things pick up with "Time Is My Everything" and its Herb Alpert-esque brass arrangement makes for an entertaining listen. "Longsight M13" raises the bar back to the level of the first disc in quite spectacular fashion. As well as having a great tune, this song features some amazing synth work that restores the faith I lost with some of the rock songs. I can't help but feel like the strings at the beginning of "Reign" have featured on TV advertisements or some sort of promo, but thankfully familiarity doesn't seem to have led to contempt. The brass makes a comeback for the mediocre "Lovebug", but "All Ablaze" is considerably more electronic in approach. The album closes with the slightly awkward "Return of the Fishermen" and its bizarre lyrics. The song is OK, but what puzzles me is that this "Album Version" doesn't appear on any of Ian's albums as far as I can tell. Despite being a bit soggy in the middle, this is a nice collection of tracks that sound surprisingly electronic. 3/5

One record at a time: 36. Ian Brown - Golden Greats

I have no idea why I bought an Ian Brown compilation CD in 2005 as I have never liked The Stone Roses and none of Ian's solo material had ever crossed my path at the time of purchase. 

However, once I did listen to Ian's music I was surprised to find a strong electronic thread running through it. One track, "Golden Gaze" struck me as being particularly good and it became my obsession for a while. I enjoyed the parent album "Golden Greats" too and when Music On Vinyl decided to re-release it in 2016 I was one of the first in the queue.

The album is presented as an LP and a single sided second disc, both pressed on "gold" vinyl (it looks more of a pale brown to me). There were 2000 pressed and each is machine numbered. Like most Music On Vinyl releases the records are pressed by Record Industry in Holland and the quality is pretty good. Whilst not absolute top drawer, it's a million miles away from GZ Media quality.

The first track "Gettin' High" starts inauspiciously with a distorted guitar riff before a funky bass synth and the distinctive Roland CR-78 percussion take over. This fantastic opening soon segues into the single "Love Like A Fountain" which is an amazing marriage of acoustic drum lopps, electric bass and acid synths. Before I heard Ian's solo material I had no idea it had such a groove. "Free My Way" starts with acoustic guitar noodling which thankfully soon abates to allow the strings and drum machine room to breathe. "Set My Baby Free" has a great sub bass floating under Ian's vocal but the organ riff that runs through the song can be annoying and I'd like to hear it further back in the mix. If you can put the organ out of your head this is a great song. "So Many Soldiers" opens with some fake surface noise and crackle which is a weird experience when listening on vinyl. Did anybody find the need to add surface noise to their recordings before CD? Anyway, this is another good track that uses drum loops and Mellotron strings to great effect. Before we know it, side on is finished.

When we flip over we are treated to, for me, what is the main event: "Golden Gaze". This song is the perfect marriage between acoustic drums, guitar arpeggios, heavy synths and percussion loops. Ian's vocal melody weaves through the track like a golden thread turning a great track into an amazing one. I've grown used to the more coherent single version over the years but the album version still satisfies. Another single, "Dolphins Were Monkeys" comes next and whilst the intro is a little discordant, the groove soon gets going going and before you know it you're singing along. Ian shows us he can croon (well a bit) on album filler "Neptune" which sounds like a track Massive Attack would be proud of. The limitations of vinyl are revealed here as some of the high hats induce a small amount of sibilance, but the excellent bass offers sufficient compensation. Another acoustic drum loop introduces "First World" and I'm beginning to yearn for some electronic drum sounds by the time its five minute run time finally comes to an end. Closing track "Babasonicos" is a great title but a dull pastiche of a song. The second record in the package has the "UNKLE" remix of "Dolphins Were Monkeys" which brings out a new melody at the expense of the groove found in the original. The title of the final track "Love Like A Fountain (U.S. Mix)" makes me reminisce about the days when bands released exotic remixes for the American market that made their way onto 12" singles on this side of the pond. To conclude, I'd say this is a good album which is nicely presented and has good audio quality. Definitely one to track down if you can. 3/5

One record at a time: 35. Tim Bowness - Late Night Laments

The latest Tim Bowness album "Late Night Laments" is the next in my collection and I'm pleased to say it is a good one. 

Opening track "Northern Rain" immediately sets a high bar for song writing and is complimented by the production skills of Brian Hulse. Once again Steven Wilson takes on mixing duties and the album carries his unmistakable sonic gleam.

 "I'm Better Now" features twinkling synths and electronic beats that I find mesmerising. As the song finished I wistfully thought, "I really would like another song like that and not an acoustic guitar ballad." My prayers were duly answered with "Darkline" which is an achingly beautiful masterpiece. Just when you think things can't get any better you realise the noisy synth solo is by Richard Barbieri. Fantastic.

We return to the more familiar recipe of 'double bass and guitar' on "We Caught the Light" but "The Hit Man Who Missed" does enough to warrant attention with its weaving sub bass and subtle analogue arpeggios. "Never a Place" is a great song that seems have a lot of pop sensibilities underneath the skin. I could see this track completely reimagined as a chart hit by an ephemeral X-Factor winner. The liberal use of samples on "The Last Getaway" and the electronic beats of "Hidden Life" perfectly illustrate the move away from traditional prog rock guitar noodling featured on previous albums. If you hear nothing else of this album, you should at least listen to the majestic "I'm Better Now" or "Darkline". Great stuff. 3/5

One record at a time: 34. Tim Bowness - Flowers at the Scene

If you've read any of my other posts about Tim Bowness albums, you won't be surprised to hear this is a limited edition, signed, hand numbered, 180g transparent red vinyl. However, for the first time in this process I feel like I'm flagging - the going is a bit tough. That's not to say that I dislike Tim Bowness's albums, but they are like a rich chocolate truffle: best consumed in small quantities. Having gorged on four consecutive Bowness albums I'm feeling a little nauseous at the thought of more. Happily, once the needle dropped on "Flowers at the Scene" my appetite returned. This is a brilliant album

Unlike the crude monochrome sound of antecedent "Lost in the Ghost Light", this album is expertly produced by No-Man and Brian Hulse. Almost all of these songs are beautifully realised with immaculate arrangements and instrumentation. Even if some songs aren't to my taste, I am still able to appreciate how well they are put together. Obviously a credit to No-Man must mean the presence of  Steve Wilson. With Steve playing, producing, programming and mixing alongside Tim writing and singing the songs, this is only one step removed from being a No-Man album. 

Opening track, "I Go Deeper" features thundering drums and a restrained electric guitar to accompany Tim's tale about moving on. There are various synths providing strings and background textures that add a richness sorely missed on Tim's other albums. "The Train That Pulled Away" opens with a chugging string arrangement and proceeds to take us on a journey that leads back to the start. The drums and synth textures on the beautiful "Rainmark" are all redolent of Steve Wilson. "You're Not Married Anymore" is a middle aged lament similar to those found on "Abandoned Dancehall Dreams" and represents the first drop in quality on the album. The title track is unremarkable art-rock that is a little disappointing. Things turn even more 'guitar' with "It's the World" which features prog rock royalty in the form of Peter Hammill from Van Der Graaf Generator. Normal service is resumed with the excellent "Boderline", and "Ghostlike" which sounds like companion piece to "I Go Deeper". The pace slows with the next rack "The War One Me" which promises little at the beginning but the excellent production allows an atmospheric song to emerge. I may be mistaken but I'm sure I heard a four-on-the-floor bass drum on the chorus of "Killing to Survive". Whilst it isn't exactly a high energy romp, this song does have more of a pulse than the majority of Tim's output. The album then peters out with the disappointing "What Lies Here". Despite the lack lustre ending, this is a great album and the expert production sets it apart from the rest of Tim's solo offerings. 3/5