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Play
(1999)
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Moby
Following a notorious flirtation with alternative rock, Moby returned to the electronic dance mainstream on the 1997 album I Like to Score. With 1999's Play, he made yet another leap back toward the electronica base that had passed him by during the mid-'90s. The first two tracks, "Honey" and "Find My Baby," weave short blues or gospel vocal ...
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18
(2002)
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Moby
In one of the two essays in the liner notes for 18, Moby alludes to his past as a "rigid" idealist about life and music, expressing that he's tried to open himself and hoping that he's succeeded. In a way, he already succeeded with his previous album, Play, a remarkable record that cannily used field recordings and blues as the basis for an expert ...
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Hotel
(2005)
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Moby
Hotel rarely shows, in any shape or form, traceable inspiration from the new wave and post-punk era Moby advertised as being in full effect. The first half contains simple modern rock songs that tend to be anthemic and soul-searching in nature. Lead single "Beautiful" is one exception, a tongue-in-cheek thing Moby has imagined being sung by vacant ...
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Café del Mar, Vol. 7
(2000)
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by
Various Artists
The Cafe del Mar series of compilations is inspired by a cafe of the same name in Ibiza, centered around sunset watching, and also, like much of Ibiza, club music. The ambient music on these anthologies is designed to complement sunset watching, and the collections have thereby become renowned as repositories of "chill out" music; it's even been ...
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Goodbye
(2007)
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by
Ulrich Schnauss
On Ulrich Schnauss' third album Goodbye, he gently fades away from Boards of Canada style breakbeats and deep into a shoegaze slumber that drifts gently into an ethereal realm slightly reminiscent of Enigma, Ultravox, and at its most lush moments, Enya. Yes, Enya, but maybe only if she were to be produced by Kevin Shields. Breathy keyboard pads ...
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Selected Ambient Works, Vol. 2
(1994)
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Aphex Twin
Selected Ambient Works, Vol. 2 is a more difficult and challenging album than Aphex Twin's previous collection. The music is all texture; there are only the faintest traces of beats and forward movement. Instead, all of these untitled tracks are long, unsettling electronic soundscapes, alternately quiet and confrontational; although most of the ...
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Behind the Sun
(2000)
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Chicane
Nick Bracegirdle, who records under the name Chicane, has a strong pop sense to go with his taste for ambient and trance dance tracks. For one thing, he always employs simple but catchy melodies over his repetitious beats, and for another he cleverly hooks up with some established names looking to extend their appeal into the dance field. ...
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A Strangely Isolated Place
(2003)
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Ulrich Schnauss
Ulrich Schnauss' second record for City Centre Offices moves away from the early-'90s U.K. techno touches of Far Away Trains Passing By in order to zero in on another early-'90s U.K. phenomenon. Though it was plain to hear in the debut that Schnauss had an affinity for the likes of Chapterhouse and Slowdive, it didn't become the crux of his sound ...
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Far Away Trains Passing By [Bonus Disc]
(2005)
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Ulrich Schnauss
Thanks to Far Away Trains Passing By, an all-too-brief record that encompasses tingly breakbeat, icebox-cold electro, and nippy downtempo, it shouldn't be too long before Berlin's Ulrich Schnauss gets name-dropping of his own in reviews of up-and-coming producers. Within these six tracks, Schnauss earns his comparisons to Boards of Canada and ...
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Simple Things
(2001)
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by
Zero 7
Forget the rampant labeling of Zero 7 as the "British Air," because Simple Things is a debut album that stands on its own as a chilled, subtle collection of organic songs. There are hints of Air, but there are equally relevant comparisons that might be made with Morcheeba, Rae & Christian, Nightmares on Wax, and early Massive Attack. Indeed, after ...
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Music Has the Right to Children [UK CD]
(1998)
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Boards of Canada
Although Boards of Canada's blueprint for electronic listening music -- aching electro-synth with mid-tempo hip-hop beats and occasional light scratching -- isn't quite a revolution in and of itself, Music Has the Right to Children is an amazing LP. Similar to the early work of Autechre and Aphex Twin, the duo is one of the few European artists ...
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U.F.Orb [Bonus Disc]
(2007)
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Orb
The commercial and artistic peak of the ambient-house movement, U.F.Orb strides past the debut with more periods of free-form ambience and less reliance on a standard 4/4 beat. From the opening "O.O.B.E." through the bass-heavy gait of "Blue Room" and "Towers of Dub," the flow is more natural and ranges farther than most would have expected. The ...
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Shpongle Remixed
(2003)
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Shpongle
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Songs 1993-1998
(2000)
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by
Moby
When Play became a breakout hit in 1999, Elektra readied a basic trainer for listeners new to Moby's practically trademarked style of down-tempo house baroque. Ranging from the Move EP, his major-label debut, to the soundtrack-inspired I Like to Score, Songs 1993-1998 trawls the back catalog to pluck tracks on the same atmospheric level as Play ...
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Animal Rights
(1996)
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Moby
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Natural Blues [US CD]
(2000)
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by
Moby
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Reich Remixed
(1999)
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by
Steve Reich
Since he's one of the most influential classical composers for later electronica producers, it's only natural that Steve Reich should get his own remix collection, to file alongside Pierre Henry and others. This ten-track collection includes some of the most respected new producers in the field -- from beat veterans Coldcut, Howie B and Kurtis ...
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The Altogether
(2001)
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by
Orbital
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Lifeforms
(1994)
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by
The Future Sound of London
Having indulged in more explicitly ambient realms with the Amorphous Androgynous side project, FSOL returned to full action with Lifeforms, a double-disc effort that ranks as one of the best experimental techno releases of the '90s. If not as immediately memorable on a song per song basis as, say, Aphex Twin's Selected Ambient Works collections, ...
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Early Underground
(1993)
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by
Moby
A 15-track compilation of Moby's early career, collected from seven releases, this album fails to show the diversity that makes his self-titled LP such a joy. The tracks here are acceptable early rave-techno, but they won't appeal to those who think repetition is a sign of artistic deficiency. Most of the vocal samples are typical fare for the ...
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Ultra Dance 03
(2003)
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by
Various Artists
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U.F.Orb
(1992)
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by
The Orb
The commercial and artistic peak of the ambient-house movement, U.F.Orb strides past the debut with more periods of free-form ambience and less reliance on a standard 4/4 beat. From the opening "O.O.B.E." through the bass-heavy gait of "Blue Room" and "Towers of Dub," the flow is more natural and ranges farther than most would have expected. The ...
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The Orb's Adventures Beyond the Ultraworld
(1991)
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The Orb
Much like the early Orb-related project recorded as Space, Adventures Beyond the Ultraworld simulates a journey through the outer realms -- progressing from the soaring ambient-pop of "Little Fluffy Clouds" and the stoned "Back Side of the Moon" (a veiled Pink Floyd reference) to "Into the Fourth Dimension" and ending (after more than two hours) ...
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The Campfire Headphase
(2005)
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Boards of Canada
Just their third missive in the past seven years, The Campfire Headphase displays Boards of Canada changing few of their methods but more of their sounds. The key difference between this record and its predecessors is the advent of unprocessed, recognizable guitars (a small heresy to portions of their fanbase). Although it smacks of a gimmick, and ...
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Lifeforms (Remixes)
(1994)
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by
The Future Sound of London
Originally, Elizabeth Fraser of the Cocteau Twins was going to appear on this song, a highlight of the similarly titled album, but record company hoo-hah meant it turned up as an instrumental. For the single release, Fraser was able to take a proper vocal bow, along with Talvin Singh, who had contributed tablatronics to the "Life Form Ends" ...
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