It is known that Pack Jam from The Jonzun Crew is an electro boogie classic, dated back in the early 80's. What is not known (at least to me) is that the original version of the track was named Pak Man!
THE JONZUN CREW - PAK MAN (LOOK OUT FOR THE OVC)
The Jonzun Crew was originally started as a brothers duo, consisting of Michael Edwin Johnson (Michael Jonzun) and Larry Curtis Johnson (Maurice Starr). Their first production can be traced back to 1978, the funk track Bout Time I Funk U for Maurice.
The introduction of Roland drum machines in early eighties and the burgeoning hip hop parties influenced the brothers to produce Pak Man (Look Out For The OVC). The OVC acronym stands for Outer space Visual Communicator, a made-up term coined by one of Michael's partners, in order to sound futuristic.
Pak Man was released in 1982 by Boston International Records (a label set up by the bros, originally named Johnson Brother Records). A little after in the same year, a distribution deal secured an additional release with the new name (Pack Jam) by Tom Silverman's Tommy Boy Records (the production home for Afrika Bambaataa, too).
Michael Jonzun, who was the head honcho of the group, has stated that Pak Man was recorded in 1980, preceding Afrika Bambaataa's Planet Rock. Personally, I do not know if such claim is truthful (maybe ol' Jonz is too bitter about not receiving the same recognition Bam did). However, the Jonzun Crew was the first electro boogie act to release a LP (Lost In Space) on Tommy Boy. During the time of its release, the group was supported by the third Johnson brother (Soni Jonzun), Steve "Stevo" Thorpe and Gordon "Gordo" Worthy.
After the production of the second studio album Down To Earth (1984), Michael froze the group, in order to create his own work (Money Isn't Everything). A final and unsuccessful revival of the group was made in 1990 through the third album Cosmic Love.
Lost In Space is a notable space-funk album, indicative of how hip hop sounded before Run-DMC. Tracks like We Are The Jonzun Crew, Space Cowboy and Ground Control maintain the spacey feel and show the potential of electro funk.
Back to Pak Man: According to Michael Jonzun, the inspiration for the track originated from an old guy with thyroid cancer. The hole in his throat caused him to speak in a creepy manner, which was reconstructed in the track through the Roland SVC 350 vocoder.
P-A-K. M-A-N. Pak Man!
P.S. Happy New Year!
Πέμπτη 28 Δεκεμβρίου 2017
Τετάρτη 6 Δεκεμβρίου 2017
Tune #84: Lambda - Hold On Tight
When in hard times, there is no other option than to hold on tight...
LAMBDA - HOLD ON TIGHT (ORIGINAL MIX)
RED was a short-lived electronic music label (1995 - 1999) based in Netherlands. A funny thing about this label was the formula used for the aliases of the signed artists: the letters of the Greek alphabet!
The Greek letters were distributed among the following producers:
- Letters α, ζ, μ, ξ, π, ρ, τ, υ, φ and ψ were occupied by Vincent Kriek (I can only assume that Vincent is the founder of the label, using the most letters!).
- Letters β, γ, δ, κ, σ, ο and χ were reserved by Dutch versatile artist Alex Dijksterhuis, mostly known for his pseudonym Jamez.
- Georgio Schultz used letter ε.
- René ter Horst (better known through his collaborations with his partner in crime Gaston Steenkist) used letter η.
- Theta (θ) release was actually Sonic Evolution - Electron (it seems that Oliver Wischerath deviated from the strict naming).
- Letter ν is missing in the Discogs database, so no information is currently available.
- The remaining letters ι, λ and ω were given to today's artist Edwin Keur.
Influenced by the electronic dance music of the early eighties (hip hop/electro-boogie/swingbeat), Edwin Keur created with the help of his friends an illegal radio station at the end of the same decade. At the same time, he got acquainted with Olav Basoski and Georgio Schultz. In the early 90's the radio station got busted, so Edwin and his friends performed a new program via a legal radio station, at which he met René ter Horst and Gaston Steenkist. In the meantime, he expressed interest in writing his own compositions, so he bought some equipment in order to produce the first tracks.
Hold On Tight was written in 1995 by Edwin as Lambda (λ) and it is undoubtedly the most successful release of RED (1996). Having more than 30 releases in Netherlands, Italy, Germany, France, UK, Belgium, Spain and Australia and featured in many compilations & mixes, it is widely considered a club classic.
The original version has a dark and cold feel, just like it was generated in a factory! Additionally, it samples the vocals of Martha Walsh from her song Give It Back To Me. There are many remixes of the track, but the most prominent reprise belongs to the trance masters of that era, Nalin & Kane (1997)!
LAMBDA - HOLD ON TIGHT (NALIN & KANE REMIX)
The dark atmosphere is still present in this version. The track slowly builds with a intro which underlies the storm to follow. Finally, the energy is released by the outro synth which transforms the record to a club dynamite!
Nowadays, Edwin Keur seems to be inactive in terms of music production, but he occasionally DJs in events held in Netherlands. However, Hold On Tight is still remembered by the club community for its energy!
LAMBDA - HOLD ON TIGHT (ORIGINAL MIX)
RED was a short-lived electronic music label (1995 - 1999) based in Netherlands. A funny thing about this label was the formula used for the aliases of the signed artists: the letters of the Greek alphabet!
The Greek letters were distributed among the following producers:
- Letters α, ζ, μ, ξ, π, ρ, τ, υ, φ and ψ were occupied by Vincent Kriek (I can only assume that Vincent is the founder of the label, using the most letters!).
- Letters β, γ, δ, κ, σ, ο and χ were reserved by Dutch versatile artist Alex Dijksterhuis, mostly known for his pseudonym Jamez.
- Georgio Schultz used letter ε.
- René ter Horst (better known through his collaborations with his partner in crime Gaston Steenkist) used letter η.
- Theta (θ) release was actually Sonic Evolution - Electron (it seems that Oliver Wischerath deviated from the strict naming).
- Letter ν is missing in the Discogs database, so no information is currently available.
- The remaining letters ι, λ and ω were given to today's artist Edwin Keur.
Influenced by the electronic dance music of the early eighties (hip hop/electro-boogie/swingbeat), Edwin Keur created with the help of his friends an illegal radio station at the end of the same decade. At the same time, he got acquainted with Olav Basoski and Georgio Schultz. In the early 90's the radio station got busted, so Edwin and his friends performed a new program via a legal radio station, at which he met René ter Horst and Gaston Steenkist. In the meantime, he expressed interest in writing his own compositions, so he bought some equipment in order to produce the first tracks.
Hold On Tight was written in 1995 by Edwin as Lambda (λ) and it is undoubtedly the most successful release of RED (1996). Having more than 30 releases in Netherlands, Italy, Germany, France, UK, Belgium, Spain and Australia and featured in many compilations & mixes, it is widely considered a club classic.
The original version has a dark and cold feel, just like it was generated in a factory! Additionally, it samples the vocals of Martha Walsh from her song Give It Back To Me. There are many remixes of the track, but the most prominent reprise belongs to the trance masters of that era, Nalin & Kane (1997)!
LAMBDA - HOLD ON TIGHT (NALIN & KANE REMIX)
The dark atmosphere is still present in this version. The track slowly builds with a intro which underlies the storm to follow. Finally, the energy is released by the outro synth which transforms the record to a club dynamite!
Nowadays, Edwin Keur seems to be inactive in terms of music production, but he occasionally DJs in events held in Netherlands. However, Hold On Tight is still remembered by the club community for its energy!
Δευτέρα 23 Οκτωβρίου 2017
Σάββατο 14 Οκτωβρίου 2017
Tune #83: Quench - Dreams
One of the most interesting waves that appeared in electronic music was the Aussie progressive breaks sound that blossomed during the first half of the '00s. This post however will NOT refer to this scene (ok, not the most conventional way for an introduction!), but to one of the tracks that defined the Australian electronic music of the '90s and set the path for new artists and genres. MUSIC MINER presents:
QUENCH - DREAMS (ORIGINAL MIX)
Quench was a project created by producer CJ Dolan and DJ Sean Quinn (with the occasional assistance of Kasey Taylor). The first release of the group was Feel My Love (1993), a plain house tune released by Melbourne-based label Vicious Vinyl. The minor success of the track changed the plans of CJ & Sean, leading them to the production of the hard monster track Dreams in the same year.
In 1995, Quench was continued as a solo project of CJ (until 2000), as Sean formed a new partnership with Kasey Taylor, in order to form Our House (until 2004). The popularity of Dreams had undoubtedly influenced the inspiration of the three guys. Their future releases for the first 5 years focused on harder compositions, accompanied by the peak of the prog movement:
· Narcotik - Blue (a collab between CJ Dolan & Gab Olivier)
· Chrome - Chromium (same line-up)
· Our House – Floor Space
In a seven-year-period, Quench released two studio albums (Sequenchial in 1994 & Conse-Quench-Ial in 2000) and a bunch of EPs. However, Dreams had already set the bar too high, so no other release reached a point of adequate success.
Dreams was originally featured in a sampler by Sirius Music in 1993. It is amazing how a primitive track compared to the today's productions has stood well the test of time. The atmospheric intro leads to a fat-nearly-to-explode bassline with the presence of ethereal bells (welcome to the Church of Quench!). The track creates a build-up, in order to release an anthemic synth riff that will certainly melt the dance floor at any given time!
Although it achieved great success with various releases, it became more popular in its rip-off format, titled Gamemaster by Lost Tribe (Matt Darey) and released by Hooj Choons in 1997.
LOST TRIBE - GAMEMASTER (ORIGINAL MIX)
Fueled by their success, several emerging artists followed their path, resulting to the Melbourne sound and especially to the Australian breaks scene. Most notable examples include Phil Krokidis (the master of breaks), Luke Chable (mostly remembered for the remix of PQM - Your Are Sleeping), Ivan Gough and Andy Page.
Which are the whereabouts of each guy today? CJ Dolan seems to have given up music production (no recent entry in Discogs) for a regular job in insurance industry. Kasey Taylor is a music label owner (the defunct Vapour Recordings & the new Lo-Fi-45) and occasional DJ. Last but not least, Sean Quinn continues his long-running tenure as a touring DJ.
P.S. Sean Quinn & Kasey Taylor, who had mastered the art of DJing, were honored to compile the first two installments of the legendary Balance series, which continues to this day!
QUENCH - DREAMS (ORIGINAL MIX)
Quench was a project created by producer CJ Dolan and DJ Sean Quinn (with the occasional assistance of Kasey Taylor). The first release of the group was Feel My Love (1993), a plain house tune released by Melbourne-based label Vicious Vinyl. The minor success of the track changed the plans of CJ & Sean, leading them to the production of the hard monster track Dreams in the same year.
In 1995, Quench was continued as a solo project of CJ (until 2000), as Sean formed a new partnership with Kasey Taylor, in order to form Our House (until 2004). The popularity of Dreams had undoubtedly influenced the inspiration of the three guys. Their future releases for the first 5 years focused on harder compositions, accompanied by the peak of the prog movement:
· Narcotik - Blue (a collab between CJ Dolan & Gab Olivier)
· Chrome - Chromium (same line-up)
· Our House – Floor Space
In a seven-year-period, Quench released two studio albums (Sequenchial in 1994 & Conse-Quench-Ial in 2000) and a bunch of EPs. However, Dreams had already set the bar too high, so no other release reached a point of adequate success.
Dreams was originally featured in a sampler by Sirius Music in 1993. It is amazing how a primitive track compared to the today's productions has stood well the test of time. The atmospheric intro leads to a fat-nearly-to-explode bassline with the presence of ethereal bells (welcome to the Church of Quench!). The track creates a build-up, in order to release an anthemic synth riff that will certainly melt the dance floor at any given time!
Although it achieved great success with various releases, it became more popular in its rip-off format, titled Gamemaster by Lost Tribe (Matt Darey) and released by Hooj Choons in 1997.
LOST TRIBE - GAMEMASTER (ORIGINAL MIX)
Fueled by their success, several emerging artists followed their path, resulting to the Melbourne sound and especially to the Australian breaks scene. Most notable examples include Phil Krokidis (the master of breaks), Luke Chable (mostly remembered for the remix of PQM - Your Are Sleeping), Ivan Gough and Andy Page.
Which are the whereabouts of each guy today? CJ Dolan seems to have given up music production (no recent entry in Discogs) for a regular job in insurance industry. Kasey Taylor is a music label owner (the defunct Vapour Recordings & the new Lo-Fi-45) and occasional DJ. Last but not least, Sean Quinn continues his long-running tenure as a touring DJ.
P.S. Sean Quinn & Kasey Taylor, who had mastered the art of DJing, were honored to compile the first two installments of the legendary Balance series, which continues to this day!
Δευτέρα 18 Σεπτεμβρίου 2017
Tune #58 revisited!
I believe that I own a review for Tune #58:
THE FATBACK BAND - IS THIS THE FUTURE?
I do not recall where I came across this song (it has been 2 years since the original post!). Nevertheless, I should try to fill in the gaps for a track of an old era.
The Fatback Band is a musical ensemble created in 1970 by drummer Bill Curtis, who had an idea of fusing the so-called New Orleans 'fatback' jazz beat with West Indie and Caribbean rhythms. Through 40 decades, the band delivered 35 albums with the help of approximately 100 members (including both regular members & guest stars).
Despite its large output, the band are not known to the masses, since they had scored minor success to the charts. That's a pity, due to the fact that their back catalogue is definitely worth listening but most of all taking into account that they were responsible for the release of the first rap single King Tim III (Personality Rock), surfaced a few months before the classic Rapper's Delight by The Sugarhill Gang.
Is This The Future? was released in 1983 by American Spring Records. While most European countries were in the fever of Italo Disco (a disco variation originated by Italy), US was still kicking with the funk stuff, supported by the emerging music genres of hip hop & electro-boogie.
So, what it so special for this track? OK, some basic ingredients for a neat funky song are detected: smooth intro, vocoded samples (in order to follow the trend of electro music), strutting bass hook and a great alto sax (by Ed Jackson).
However, the highlight is that despite its funk-oriented nature, the track is not about the typical feel-good vibes, considering the pessimistic lyrics coming into life with the deep & raspy raps of Gerry Bledsoe. It is a little funny how a funky song has a political meaning, wanting to stress the social/economic issues of Reagan's tenure. Even in that way, the jam leaves listeners with a sweet taste.
Trivia: The first track produced by Nick Bracegirdle (under his Disco Citizens alias), named Right Here Right Know, features a sample from FB's Spread Love, which is also included in studio album Is This A Future?.
The Fatback Band is a musical ensemble created in 1970 by drummer Bill Curtis, who had an idea of fusing the so-called New Orleans 'fatback' jazz beat with West Indie and Caribbean rhythms. Through 40 decades, the band delivered 35 albums with the help of approximately 100 members (including both regular members & guest stars).
Despite its large output, the band are not known to the masses, since they had scored minor success to the charts. That's a pity, due to the fact that their back catalogue is definitely worth listening but most of all taking into account that they were responsible for the release of the first rap single King Tim III (Personality Rock), surfaced a few months before the classic Rapper's Delight by The Sugarhill Gang.
Is This The Future? was released in 1983 by American Spring Records. While most European countries were in the fever of Italo Disco (a disco variation originated by Italy), US was still kicking with the funk stuff, supported by the emerging music genres of hip hop & electro-boogie.
So, what it so special for this track? OK, some basic ingredients for a neat funky song are detected: smooth intro, vocoded samples (in order to follow the trend of electro music), strutting bass hook and a great alto sax (by Ed Jackson).
However, the highlight is that despite its funk-oriented nature, the track is not about the typical feel-good vibes, considering the pessimistic lyrics coming into life with the deep & raspy raps of Gerry Bledsoe. It is a little funny how a funky song has a political meaning, wanting to stress the social/economic issues of Reagan's tenure. Even in that way, the jam leaves listeners with a sweet taste.
Trivia: The first track produced by Nick Bracegirdle (under his Disco Citizens alias), named Right Here Right Know, features a sample from FB's Spread Love, which is also included in studio album Is This A Future?.
Κυριακή 10 Σεπτεμβρίου 2017
Tune #82: Young American Primitive - Sunrise
Do you remember Greg Scanavino?
YOUNG AMERICAN PRIMITIVE - SUNRISE
Mostly known as Young American Primitive, Greg Scanavino was a member of the west coast breaks scene that emerged in the early nineties from the Bay Area. In 1992, he released his homonymous EP at ZoëMagik Records, a indie label that focused on the native electronic sound of San Francisco. The first album followed one year later, showcasing his initial musical ideas. His music appeared in several compilations and caught the eye (or ear!) of DJ superstars Sasha & Digweed, resulting to the inclusion of track These Waves in mix album Northern Exposure, released in 1996.
In the same year Geffen Records signed Scanavino for the production of his second album African Cosmopolitan. In late 1997, some promos were circulated but Geffen never officially released the album and apparently YAP parted ways with the company!
In 2001 he made a brief return to music production, in order to fulfill his remix duties for artists like Pole Folder, Anthony Pappa & Barry Gilbey. Additionally, he collaborated with east coast DJ Jimmy Van M & Terra Deva for the production of track Forget Time. Possibly frustrated by the strategic movies of large music companies and in search of artistic freedom, he created his own label YAPLAB Recordings in 2005, a joint venture with Jonathan Lisle, who worked as A&R manager for Bedrock records.
In 2010 he released via digital format the "lost" second album, which unfortunately did not share the same quality with his first one. His last traces are found in 2012, when he released the comp CD Continuing Transmission, which featured old & new material...
Back to the posted track: Sunrise is obviously part of the first album and represents the signature sound of YAP. The main synth melody accompanied with the driving minimal effects create a calming experience (best served when stranded in space).
Trivia: the vocal sample "You know what's worrying me Stu? No, Jory what's worrying you? Miss Christian, I never told her my name" is taken from the episode It Cralwed Out Of The Woodwork of the TV Show The Outer Limits (1963).
YOUNG AMERICAN PRIMITIVE - SUNRISE
Mostly known as Young American Primitive, Greg Scanavino was a member of the west coast breaks scene that emerged in the early nineties from the Bay Area. In 1992, he released his homonymous EP at ZoëMagik Records, a indie label that focused on the native electronic sound of San Francisco. The first album followed one year later, showcasing his initial musical ideas. His music appeared in several compilations and caught the eye (or ear!) of DJ superstars Sasha & Digweed, resulting to the inclusion of track These Waves in mix album Northern Exposure, released in 1996.
In the same year Geffen Records signed Scanavino for the production of his second album African Cosmopolitan. In late 1997, some promos were circulated but Geffen never officially released the album and apparently YAP parted ways with the company!
In 2001 he made a brief return to music production, in order to fulfill his remix duties for artists like Pole Folder, Anthony Pappa & Barry Gilbey. Additionally, he collaborated with east coast DJ Jimmy Van M & Terra Deva for the production of track Forget Time. Possibly frustrated by the strategic movies of large music companies and in search of artistic freedom, he created his own label YAPLAB Recordings in 2005, a joint venture with Jonathan Lisle, who worked as A&R manager for Bedrock records.
In 2010 he released via digital format the "lost" second album, which unfortunately did not share the same quality with his first one. His last traces are found in 2012, when he released the comp CD Continuing Transmission, which featured old & new material...
Back to the posted track: Sunrise is obviously part of the first album and represents the signature sound of YAP. The main synth melody accompanied with the driving minimal effects create a calming experience (best served when stranded in space).
Trivia: the vocal sample "You know what's worrying me Stu? No, Jory what's worrying you? Miss Christian, I never told her my name" is taken from the episode It Cralwed Out Of The Woodwork of the TV Show The Outer Limits (1963).
Κυριακή 20 Αυγούστου 2017
Τρίτη 8 Αυγούστου 2017
Tune #81: Simple Minds - A Brass Band In African Chimes
In 2001 Beachwood Music, a label notorious for its crappy compilations, assigned Nick Bracegirdle to create a compilation of tracks which represent the sound of Ibiza. Nick was enjoying his G.O.A.T. years with his Chicane & Disco Citizens aliases at the time, so he seemed the appropriate person for the job (Offshore is still regarded as one of Ibiza's anthems).
Like most 2-CD compilations, the classic formula is also applied here: The 1st CD is the chillout interpretation of the project, consisting of downtempo tracks with mellow melodies and breakbeats. The 2nd CD is the more club-friendly, with some of the most famous house & trance tracks of the 90's.
The non-electronic (or the least electronic!) track of the compilation is A Brass Band In African Chimes by Simple Minds:
SIMPLE MINDS - A BRASS BAND IN AFRICAN CHIMES
Simple Minds are a famous Scottish band of the 80's. Initially found success in the UK, the band achieved international fame with the song Don't You Forget About Me (which was included in the film The Breakfast Club). Although they are mostly known for their new wave/synth-pop productions (Alive & Kicking, Someone Somewhere In Summertime, Waterfront), three tracks distinguished them from the other new wave bands:
· Belfast Child: an expression of empathy for the people of Northern Ireland after the Remembrance Day bombing (possibly an answer to U2 - Sunday Bloody Sunday?)
· Mandela Day: a freeing cry for the then-imprisoned Nelson Mandela
· Today's posted track
A Brass Band In African Chimes was released in 1984 by Virgin, firstly as a B-side to Up On The Catwalk, and one year later (as a B-side again) in Don't You Forget About Me. Composed by Simple Minds and produced by Steve Lillywhite (who was the driving force behind the first 3 albums of U2), this lush instrumental can perfectly fit as a closer in a DJ set. Although the composition does not bear strong resemblance with the classic Simple Minds sound, an association can be found through the distinctive guitar riffs of Charlie Burchill.
An interesting trivia for the track is that it was actually a reconstruction of a demo version for Shake Off The Ghosts, which appeared in album Sparkle In The Rain (1983):
SIMPLE MINDS - SHAKE OFF THE GHOSTS (DEMO VERSION)
Simple Minds have deeply influenced the electronic music with their tracks: Some representative examples are:
· Latour - Blue (featured in movie Basic Instinct) sampled the intro of Theme For Great Cities.
· U.S.U.R.A - Open Your Mind (an Italo progresssive house anthem) is largely based on track New Gold Dream.
· CJ Bolland - Golden Dreams (one of the first rave tracks) uses a sample from Big Sleep.
Like most 2-CD compilations, the classic formula is also applied here: The 1st CD is the chillout interpretation of the project, consisting of downtempo tracks with mellow melodies and breakbeats. The 2nd CD is the more club-friendly, with some of the most famous house & trance tracks of the 90's.
The non-electronic (or the least electronic!) track of the compilation is A Brass Band In African Chimes by Simple Minds:
SIMPLE MINDS - A BRASS BAND IN AFRICAN CHIMES
Simple Minds are a famous Scottish band of the 80's. Initially found success in the UK, the band achieved international fame with the song Don't You Forget About Me (which was included in the film The Breakfast Club). Although they are mostly known for their new wave/synth-pop productions (Alive & Kicking, Someone Somewhere In Summertime, Waterfront), three tracks distinguished them from the other new wave bands:
· Belfast Child: an expression of empathy for the people of Northern Ireland after the Remembrance Day bombing (possibly an answer to U2 - Sunday Bloody Sunday?)
· Mandela Day: a freeing cry for the then-imprisoned Nelson Mandela
· Today's posted track
A Brass Band In African Chimes was released in 1984 by Virgin, firstly as a B-side to Up On The Catwalk, and one year later (as a B-side again) in Don't You Forget About Me. Composed by Simple Minds and produced by Steve Lillywhite (who was the driving force behind the first 3 albums of U2), this lush instrumental can perfectly fit as a closer in a DJ set. Although the composition does not bear strong resemblance with the classic Simple Minds sound, an association can be found through the distinctive guitar riffs of Charlie Burchill.
An interesting trivia for the track is that it was actually a reconstruction of a demo version for Shake Off The Ghosts, which appeared in album Sparkle In The Rain (1983):
SIMPLE MINDS - SHAKE OFF THE GHOSTS (DEMO VERSION)
Simple Minds have deeply influenced the electronic music with their tracks: Some representative examples are:
· Latour - Blue (featured in movie Basic Instinct) sampled the intro of Theme For Great Cities.
· U.S.U.R.A - Open Your Mind (an Italo progresssive house anthem) is largely based on track New Gold Dream.
· CJ Bolland - Golden Dreams (one of the first rave tracks) uses a sample from Big Sleep.
Simple Minds are one of the most underrated bands in the history of music. While their beginning was pretty much in parallel with the Irish U2, they former never reached the fame status of the latter. The band faced a commercial decline in the 90's, only to revive in mid-00's. However, their contribution to the music of the 80's is undisputed.
Κυριακή 9 Ιουλίου 2017
Tune #80: 141 G - What You Gonna Do (Dub)
Just what the Youtube commentator said: More (808?) cowbell!
141 G - WHAT YOU GONNA DO (12" DUB)
In 2012 Tako Reyenga and Ilias Pitsios (a.k.a. DJ Dynamons) compiled the collection Into The Light: A Journey Into Greek Electronic Music, Classics & Rarities (1978-1991), a finest mixture of obscure & classic Greek electronic tracks that were released a long time ago... I am starting to think that an alternate title of the collection could be After Vangelis, Before Stereo Nova!
The collection includes tracks of different genres, varying from Ambient & Experimental to Synth-Pop & Italo Disco. According to Discogs, only 750 copies of the compilation circulated in the market (this fact could explain the high prices in market places 5 years later).
One of the standout tracks (and possibly the most club-friendly) is the dub version of What You Gonna Do?, a rework of an Italo Disco song by 141 G, consisting of Costas Charitodiplomenos & Marina Skiadaresi. Needless to say, Costas was a prominent figure of the 80's, as he was dominating the Greek music scene of this era with classics such as Lost In The Night, Fill Me Up and Talk About Love. Concerning Marina, I was not aware that her career had already started so early, since he gained more fame during the 90's in the Greek Folk Rock genre.
WYGD? was originally released in 1984 by EMI in Greece. While the original is (in my opinion) pretty much forgettable, the dub version is rather interesting. Twangy bass, playful piano and (more) cowbell blend together to form an electrified psychedelic result. The highlight of the track is undoubtedly the distorted vocals (the benefits of the vocoder!), which are sounding like Costas was replaced by his robotic equivalent!
Besides WYGD?, the compilation by Into The Light Records is a must-have for listeners interested in the Greek experimental music of this era, curated by masters such as Akis Daoutis, Dimitris Petsetakis, George Theodorakis (son of the legendary Greek composer Mikis) and Lena Platonos (a major influence on Stereo Nova's music)...
What can we except from Into The Light Records in the future? Hopefully, a repress of the compilation!
141 G - WHAT YOU GONNA DO (12" DUB)
In 2012 Tako Reyenga and Ilias Pitsios (a.k.a. DJ Dynamons) compiled the collection Into The Light: A Journey Into Greek Electronic Music, Classics & Rarities (1978-1991), a finest mixture of obscure & classic Greek electronic tracks that were released a long time ago... I am starting to think that an alternate title of the collection could be After Vangelis, Before Stereo Nova!
The collection includes tracks of different genres, varying from Ambient & Experimental to Synth-Pop & Italo Disco. According to Discogs, only 750 copies of the compilation circulated in the market (this fact could explain the high prices in market places 5 years later).
One of the standout tracks (and possibly the most club-friendly) is the dub version of What You Gonna Do?, a rework of an Italo Disco song by 141 G, consisting of Costas Charitodiplomenos & Marina Skiadaresi. Needless to say, Costas was a prominent figure of the 80's, as he was dominating the Greek music scene of this era with classics such as Lost In The Night, Fill Me Up and Talk About Love. Concerning Marina, I was not aware that her career had already started so early, since he gained more fame during the 90's in the Greek Folk Rock genre.
WYGD? was originally released in 1984 by EMI in Greece. While the original is (in my opinion) pretty much forgettable, the dub version is rather interesting. Twangy bass, playful piano and (more) cowbell blend together to form an electrified psychedelic result. The highlight of the track is undoubtedly the distorted vocals (the benefits of the vocoder!), which are sounding like Costas was replaced by his robotic equivalent!
Besides WYGD?, the compilation by Into The Light Records is a must-have for listeners interested in the Greek experimental music of this era, curated by masters such as Akis Daoutis, Dimitris Petsetakis, George Theodorakis (son of the legendary Greek composer Mikis) and Lena Platonos (a major influence on Stereo Nova's music)...
What can we except from Into The Light Records in the future? Hopefully, a repress of the compilation!
Κυριακή 11 Ιουνίου 2017
Tune #79: C.M. - Dream Universe
A forgotten gem from the past:
C.M. - DREAM UNIVERSE
C.M. stands for Crystal Manoeuvres, the birth child of Belgians Crisci Mauro & Marino Stephano. Little information can be found for Mr. Crisci, so the spotlight belongs to Mr. Marino.
Marino's first exposure to electronic music dated back to 1995, when he partnered with Meo Lorenzo to form Zodiac and M.Zone. Their first works were released in Belgium by Rhythm And Groove Records, an offshoot of Mackenzie Records. The latter has long served as a musical home for many young Belgian artists (even for the relatives of Marino & Mauro!).
In 1996 Marino teamed up with Mauro as C.M., in order to produce their first EP After Dream/Dream Universe. The presence of DU in the B-side of the EP indicated that the duo possibly believed more in the potential of the first track. However, Dream Universe was the track that captured the interest of trance community, so in the next year it was released as a maxi single in German label Fog Area. In 1998, it was presented to UK crowd by Hooj Choons, one of the most famous progressive labels. Remixes of the track were performed by DJ George's (resident DJ of Belgian club La Bush), Tilt, Taucher and Man With No Name (an essential curator for Goa trance). According to Discogs, 34 releases of the maxi can be found throughout the years (mainly by Fog Area & Hooj Choons), while the different versions of the track were featured in dozens of DJ mixes and compilations!
Marino had a great talent in crafting melodic trance tracks, being melancholic and blissful at the same time. Other known tracks produced by him are Eternal Rhapsody, Dream's Harmony (a collab with Stephane Kalpakidis aka DJ Kalpa) and Good Shot as Hand's Burn (another alias of Marino & Crisci).
Unfortunately, on 8 September 1999 he found a tragic death at the age of 25 years. On his way to meet fellow producer Dirk Dierickx (most known for his M.I.K.E. and Push aliases), he was involved in a fatal car accident. Dierickx's track Till We Meet Again is dedicated to memory of Marino, whose sudden passing was a tremendous loss for the electronic music community.
P.S. I definitely found another reason why I like the track so much (except that it is great!). The background bassline is similar to that of the legendary Odyssey To Anyoona!
C.M. - DREAM UNIVERSE
C.M. stands for Crystal Manoeuvres, the birth child of Belgians Crisci Mauro & Marino Stephano. Little information can be found for Mr. Crisci, so the spotlight belongs to Mr. Marino.
Marino's first exposure to electronic music dated back to 1995, when he partnered with Meo Lorenzo to form Zodiac and M.Zone. Their first works were released in Belgium by Rhythm And Groove Records, an offshoot of Mackenzie Records. The latter has long served as a musical home for many young Belgian artists (even for the relatives of Marino & Mauro!).
In 1996 Marino teamed up with Mauro as C.M., in order to produce their first EP After Dream/Dream Universe. The presence of DU in the B-side of the EP indicated that the duo possibly believed more in the potential of the first track. However, Dream Universe was the track that captured the interest of trance community, so in the next year it was released as a maxi single in German label Fog Area. In 1998, it was presented to UK crowd by Hooj Choons, one of the most famous progressive labels. Remixes of the track were performed by DJ George's (resident DJ of Belgian club La Bush), Tilt, Taucher and Man With No Name (an essential curator for Goa trance). According to Discogs, 34 releases of the maxi can be found throughout the years (mainly by Fog Area & Hooj Choons), while the different versions of the track were featured in dozens of DJ mixes and compilations!
Marino had a great talent in crafting melodic trance tracks, being melancholic and blissful at the same time. Other known tracks produced by him are Eternal Rhapsody, Dream's Harmony (a collab with Stephane Kalpakidis aka DJ Kalpa) and Good Shot as Hand's Burn (another alias of Marino & Crisci).
Unfortunately, on 8 September 1999 he found a tragic death at the age of 25 years. On his way to meet fellow producer Dirk Dierickx (most known for his M.I.K.E. and Push aliases), he was involved in a fatal car accident. Dierickx's track Till We Meet Again is dedicated to memory of Marino, whose sudden passing was a tremendous loss for the electronic music community.
It is really a shame that none of his works appears in the retrospective collection TSOB - The Sound Of Belgium, which focused more on Belgium's EBM/New Beat era (1988 - 1991) and featured only the most famous tracks of other genres (like Joey Beltram - Energy Flash, T 99 - Anasthasia and others). In my opinion, his tracks were a proper interpretation for the melodic side of trance, compared with the anthemic Dutch sound, which ruled the EDM industry in late 90's - early 00's.
Κυριακή 7 Μαΐου 2017
Tune #78: Leftfield - Space Shanty
Leftism is a landmark album by Leftfield that defined the electronic scene of the 90's. Released (for the first time) in 1995, it was the apotheosis of old school progressive house, which was already blooming in UK. Leftfield was originally a project created by Neil Barnes in 1990 with the production of Not Forgotten, which is claimed to be the first progressive house track ever*. One year later, Neil teamed up with percussionist Paul Daley, who remixed Not Forgotten in its most popular form: the Hard Hands version! Both versions of the track were released by short-lived Outer Rhythm records, which ceased to exist in 1992.
The closing of Outer Rhythm led the duo to form their own label, which shared the same name with the Hard Hands remix. The label acted as a beacon to promote the dubby-house sound with deep basslines and tribal rhythms. Leftfield was still the central point of Hard Hands, followed by new artists.
In 1999, the second album Rhythm And Stealth was released by Hard Hands: dub elements & fat basslines were still dominant here, but in a dirtier and darker manner. Although it is also a great album, it never reached the status of Leftism for most listeners.
It was certain that the presence of Leftfield would be everywhere in the 90's. The seminal Renaissance: The Mix Collection featured 3 different versions of track Song Of Life, one after the other. Their music was also included in the original music scores of Gen-X films (Hackers, Trainspotting, The Beach). Neil Barnes and Paul Daley are also responsible for one of the most influential Essential Mixes (1994), as featured in Pete Tong's weekly radio show.
Leftfield stopped as a duo in 2002, when the two guys decided to pursue different paths. The project was revived in 2010 by Barnes for a live tour, in order to relive the great times of the past. In 2015, the third album Alternative Light Source saw the light of day, having an extremely different style in comparison with the classic "Leftfield sound" (Mr. Barnes should have chosen a different alias for ALS).
Twenty-two years after its initial release, Leftism is back again in a new remastered version and with new remixes! It is time to remember some of the finest moments of the original album:
- the acid prog monsters Song Of Life & Space Shanty
- the African tribal feeling of Afro-Left
- the collaboration with John Lydon of Sex Pistols in Open Up
- the dub breakbeat of Inspection (Check One)
LEFTFIELD - SPACE SHANTY
For some funny reason, this track reminds me of Dhalsim's theme in the innovative Street Fighter II (also a landmark in video gaming history!!!).
* The same claim exists for Andrew Weatherall's remix on Sly And Lovechild - The World According To Sly & Lovechild. According to Neil Barnes, Andrew Weatherall's early sets had a large influence on him and helped shaping the basic elements of progressive house.
The closing of Outer Rhythm led the duo to form their own label, which shared the same name with the Hard Hands remix. The label acted as a beacon to promote the dubby-house sound with deep basslines and tribal rhythms. Leftfield was still the central point of Hard Hands, followed by new artists.
In 1999, the second album Rhythm And Stealth was released by Hard Hands: dub elements & fat basslines were still dominant here, but in a dirtier and darker manner. Although it is also a great album, it never reached the status of Leftism for most listeners.
It was certain that the presence of Leftfield would be everywhere in the 90's. The seminal Renaissance: The Mix Collection featured 3 different versions of track Song Of Life, one after the other. Their music was also included in the original music scores of Gen-X films (Hackers, Trainspotting, The Beach). Neil Barnes and Paul Daley are also responsible for one of the most influential Essential Mixes (1994), as featured in Pete Tong's weekly radio show.
Leftfield stopped as a duo in 2002, when the two guys decided to pursue different paths. The project was revived in 2010 by Barnes for a live tour, in order to relive the great times of the past. In 2015, the third album Alternative Light Source saw the light of day, having an extremely different style in comparison with the classic "Leftfield sound" (Mr. Barnes should have chosen a different alias for ALS).
Twenty-two years after its initial release, Leftism is back again in a new remastered version and with new remixes! It is time to remember some of the finest moments of the original album:
- the acid prog monsters Song Of Life & Space Shanty
- the African tribal feeling of Afro-Left
- the collaboration with John Lydon of Sex Pistols in Open Up
- the dub breakbeat of Inspection (Check One)
LEFTFIELD - SPACE SHANTY
For some funny reason, this track reminds me of Dhalsim's theme in the innovative Street Fighter II (also a landmark in video gaming history!!!).
* The same claim exists for Andrew Weatherall's remix on Sly And Lovechild - The World According To Sly & Lovechild. According to Neil Barnes, Andrew Weatherall's early sets had a large influence on him and helped shaping the basic elements of progressive house.
Σάββατο 1 Απριλίου 2017
Tune #77: Efdemin - Parallaxis
Deep.Hypnotic.Mesmerizing.
EFDEMIN - PARALLAXIS
Three years ago, the studio album Decay was released by Phillip Sollmann, the man behind the alias Efdemin. Efdemin's LP has been recently added in my music collection, after wandering randomly in Youtube and listening to one of the album's tracks. It is a kind of an oxymoron for a guy like me who discovered new music at first through P2P programs to become obsessed with buying hard copies at an older age!
Back to Efdemin: Phillip Sollmann produces music for the last 20 years. Originally hailed from the city of Kassel, he moved to Hamburg in the early 90's and he was hugely influenced by the local music scene. His first EP appeared in 1999, a collaboration with his friend Alexander Polzin under the Tobin moniker. The next step was the inclusion of a new track in the first installment of Total compilation, a sampler series that continues to this date by Kompakt. Their reluctance to create their own record label led to their co-operation with Dial, a newly created label by Paul Kominek, David Lieske and Peter M. Kersten, who shared the same music tastes.
In 2002, Phillip Sollmann move to Vienna, in order to study music. The Austrian techno scene was hardly existent, so Sollmann experimented with musique concrète compositions, a valuable experience that can be detected in studio album Something Is Missing of this period (2006). However, his passion for techno music re-emerged, as he had already moved to Berlin in 2005.
The last 10 years have been very productive for Efdemin: 3 studio albums and many 12''s, most of which were released under the umbrella of Dial. While in the 2 first two albums techno is blended with strong deep house elements, the Decay seems to be the most techno-ish, sometimes in a minimal manner and other times more banging.
You can read here a track-by-track review of the album by Phillip Sollmann himself.
Although my favorite track from the album is possibly Solaris, Parallaxis is presented in today's blog spot, just for the blissful breakbeat remake by Traumprinz (his real name is a mystery!).
EFDEMIN - PARALLAXIS (TRAUMPRINZ'S OVER 2 THE END VERSION)
EFDEMIN - PARALLAXIS
Three years ago, the studio album Decay was released by Phillip Sollmann, the man behind the alias Efdemin. Efdemin's LP has been recently added in my music collection, after wandering randomly in Youtube and listening to one of the album's tracks. It is a kind of an oxymoron for a guy like me who discovered new music at first through P2P programs to become obsessed with buying hard copies at an older age!
Back to Efdemin: Phillip Sollmann produces music for the last 20 years. Originally hailed from the city of Kassel, he moved to Hamburg in the early 90's and he was hugely influenced by the local music scene. His first EP appeared in 1999, a collaboration with his friend Alexander Polzin under the Tobin moniker. The next step was the inclusion of a new track in the first installment of Total compilation, a sampler series that continues to this date by Kompakt. Their reluctance to create their own record label led to their co-operation with Dial, a newly created label by Paul Kominek, David Lieske and Peter M. Kersten, who shared the same music tastes.
In 2002, Phillip Sollmann move to Vienna, in order to study music. The Austrian techno scene was hardly existent, so Sollmann experimented with musique concrète compositions, a valuable experience that can be detected in studio album Something Is Missing of this period (2006). However, his passion for techno music re-emerged, as he had already moved to Berlin in 2005.
The last 10 years have been very productive for Efdemin: 3 studio albums and many 12''s, most of which were released under the umbrella of Dial. While in the 2 first two albums techno is blended with strong deep house elements, the Decay seems to be the most techno-ish, sometimes in a minimal manner and other times more banging.
You can read here a track-by-track review of the album by Phillip Sollmann himself.
Although my favorite track from the album is possibly Solaris, Parallaxis is presented in today's blog spot, just for the blissful breakbeat remake by Traumprinz (his real name is a mystery!).
EFDEMIN - PARALLAXIS (TRAUMPRINZ'S OVER 2 THE END VERSION)
Παρασκευή 24 Φεβρουαρίου 2017
Tune #76: Prins Thomas - H
Thomas Moen Hermansen is definitely not a newcomer as a producer. His earliest releases date back to the early 00's, according to the Discogs vault. Recently, he drew the attention of the electronic music community with his latest studio album under his Prins Thomas disguise.
PRINS THOMAS - H
The story of the Norwegian producer begins in mid-80's, when he was aspiring to become a hip hop and electro disc jockey. In 1992 he took a new turn by joining different bands, only to return back to DJing in 1994, when he accepted the offer of some friends to become the resident DJ of a club in Norway.
Thomas has a wide taste in music: growing up in family where his stepfather taught him the music of many important musicians (like the Beatles, the Cramps, the Clash, Miles Davis, Mozart and others) stimulated his inspiration for music, which has always been a daily part of his life. In his youth, he learned to play the cello and the clarinet (not the most common music organs to join a band!). He started to collect records from an early age (a hobby that he still maintains), providing him with the ability to compose eclectic music and DJ sets. Therefore, Thomas is fairly considered one of the most interesting electronic music producers in Norway, along with his friends Hans-Peter Lindstrøm (a frequent partner in crime) and Todd Terje.
Today's track is extracted from the latest album Principe Del Notre, released in February 2016 by Smalltown Supersound:
PRINS THOMAS - H
Principe Del Notre is a fine example of what is called "cosmic disco" (although it's a term that Prins Thomas does not accept for his productions). While the first CD is beatless and ambient, the second one is an uptempo rework. However, both parts retain the spacey feeling, which is evident in most tracks. The album can be considered as a homage to the German krautrock bands of the 70's and the ambient artists of the 90's, who served as a strong influence for Thomas throughout the years. I believe that the two CDs should have been mixed, in order to create a seamless music experience to the listeners.
The success of Principe Del Notre spawned the release of a remix album (Principe Del Norte Remixed) in October 2016, including some popular names, like the Orb and Ricardo Villalobos, and some lesser known (Young Marco, Hieroglyphic Being, Sun Araw, I:Cube, Gerd Janson, Dungen).
The Norwegian electronic scene is pretty small compared with other countries, but it has delivered very interesting projects the last years. The turning point had been made by Röyksopp, who pushed the Norwegian sound beyond the country's boundaries. Thomas Moen Hermansen continues the tradition with his works!
The Norwegian electronic scene is pretty small compared with other countries, but it has delivered very interesting projects the last years. The turning point had been made by Röyksopp, who pushed the Norwegian sound beyond the country's boundaries. Thomas Moen Hermansen continues the tradition with his works!
Σάββατο 4 Φεβρουαρίου 2017
A pinch of Greek electronic music
As already stated in a previous blog post, progressive house & trance were blooming all around the world at the end of the previous century until the mid 00's. Sasha & John Digweed hammered the dance floor of Twilo in New York circa 1998-2001. The success of Global Underground mix CDs, which were circulating in music stores and P2P programs, championed the prog music to the masses (including myself).
Meanwhile in Greece, there was only a handful of radio stations, which broadcast exclusively electronic music tracks. A personal favorite from my youth years was Liquid FM, although I should mention that I was never a fanatic radio listener. My first encounters with EDM were through Paul Oakenfold Essential mixes that existed in Napster.
Following the trend of prog music, mid 00's was also a fruitful period for Greek artists in the area of EDM. One of the first examples is George Pallikaris, a.k.a. G-Pal. Although he started with more tech and deep house sounds, he released his fifth EP in Bedrock Records (2001), showcasing his first takes on progressive house. Very soon, he developed from an rising artist into a popular DJ and producer, with successful releases, such as Ocean Of Blue (2002) and Ophra (2003).
At the same time, many young talents emerged in the scene, including Stelios Vassiloudis, Kosmas Efstratiou, Christian Cambas, Giannis Douskos and Nikos Galatsopoulos. All of them appeared in an essential Greek compilation CD, Local Underground, paving the way for progressive house music. The prog craze was everywhere. The most popular Greek radio station for electronic music, Best Radio 92.6, was musically oriented on this genre, while having the support of the affiliated label Klik Records. The dancefloors of the Greek night clubs were full of clubbers dancing to the tunes of this era.
EDM has surely changed a lot since then. Progressive house is not considered "hot" now, surrendering its place to other music genres, like deep/tech house and techno. Obviously, the same pattern applies in Greece. There is nothing wrong with that, cause it's all about good music, not music styles. However, I am very curious to listen to the upcoming album of Way Out West and how Nick Warren and Jody Wisternoff (masters of progressive house) evolved through these years!
Δευτέρα 16 Ιανουαρίου 2017
Tune #75: Πράκτορες του Χάους - Ivanka Sub
ΠΡΑΚΤΟΡΕΣ ΤΟΥ ΧΑΟΥΣ - IVANKA SUB
Παράθεση από το Youtube video:
"Οι Πράκτορες Του Χάους δημιουργήθηκαν γύρω στο 1997 στις Σέρρες και δουλεύουν με βάση τον ηλεκτρονικό ήχο χρησιμοποιώντας όμως και φωνητικά, κρουστά, κιθάρες και άλλα όργανα. Το πρώτο τους μεγάλο ταξίδι έχει τίτλο ΤΡΑΝΣΑΤΛΑΝΤΙΚΑ. Μέρος της ηχογράφησης έγινε στην Αθήνα ενώ το υπόλοιπο και η τελική παραγωγή έγινε στις Σέρρες. Οι ΠΤΧ είναι ο Γιάννης Πετρακόγιαννης, ο Δημήτρης Δαλίσκας και ο Παναγιώτης Δοκουμόπουλος ενώ την παρέα συμπληρώνουν ακόμα 4 φίλοι που συμμετέχουν. Το γκρουπ κατά μια έννοια υπήρχε πάντα. Από την εποχή που ο Παναγιώτης Δοκουμόπουλος με τον Δημήτρη Δαλίσκα βρέθηκαν φοιτητές στα Ιωάννινα (1990) και από τότε που ο Γιάννης Πετρακόγιαννης "πολεμούσε" με τους NESFINDONIMUS (1992). Έκτοτε όλοι τους συνυπήρχαν μαζί και χώρια. Ο καθένας ξεχωριστά άλλοτε με τους SPINALONGA και τους ΡΕΚΤΙΦΙΕ (Δ.Δ), άλλοτε με το ΕΝΥΔΡΕΙΟ (Π.Δ) άλλοτε με τους ΟΚΤΑΝΑ (Γ.Π) και άλλοτε και οι τρεις μαζί με τους ΑΡΩΜΑ (1994) όπου και ξεκίνησε η βασική ιδέα για να φτάσουν στους ΠΡΑΚΤΟΡΕΣ ΤΟΥ ΧΑΟΥΣ. Στην τελική τους προσπάθεια, βοήθησαν και όσοι φίλοι αναφέρονται στο cd. Οι ΠΡΑΚΤΟΡΕΣ ήταν παρθένοι δισκογραφικά. Μοναδικη εξαίρεση το κομμάτι "IVANKA SUB" που συμπεριλήφθηκε στο cd του περιοδικού Voice με τίτλο "Micro Beat" που κυκλοφόρησε το 1997. Live: η επόμενη πρόκληση στην οποία ετοιμάζονται να ανταποκριθούν οι ΠΡΑΚΤΟΡΕΣ ΤΟΥ ΧΑΟΥΣ."
Το Ivanka Sub είναι ένα αμάλγαμα dnb/techno μουσικής, κερδίζοντας μία συμμετοχή στη συλλογή Micro Beat που επιμελήθηκε ο πρωτοπόρος της εγχώριας ηλεκτρονικής μουσικής Γιάννης Παπαϊωάννου (ευρύτερα γνωστός ως ION). Το κομμάτι (όπως και όλος ο δίσκος) διαφέρει σίγουρα από τις αρχικές EBM/Industrial παραγωγές των τριών μελών του σχήματος.
Αξιοσημείωτο είναι επίσης το γεγονός ότι ο δίσκος Τρανσαντλάντικα κυκλοφόρησε το 1997 από τη Lazy Dogs Records του Μπάμπη Αργυρίου, ενός από τους εμπνευστές του μουσικού portal www.mic.gr.
Over and out!
Παράθεση από το Youtube video:
"Οι Πράκτορες Του Χάους δημιουργήθηκαν γύρω στο 1997 στις Σέρρες και δουλεύουν με βάση τον ηλεκτρονικό ήχο χρησιμοποιώντας όμως και φωνητικά, κρουστά, κιθάρες και άλλα όργανα. Το πρώτο τους μεγάλο ταξίδι έχει τίτλο ΤΡΑΝΣΑΤΛΑΝΤΙΚΑ. Μέρος της ηχογράφησης έγινε στην Αθήνα ενώ το υπόλοιπο και η τελική παραγωγή έγινε στις Σέρρες. Οι ΠΤΧ είναι ο Γιάννης Πετρακόγιαννης, ο Δημήτρης Δαλίσκας και ο Παναγιώτης Δοκουμόπουλος ενώ την παρέα συμπληρώνουν ακόμα 4 φίλοι που συμμετέχουν. Το γκρουπ κατά μια έννοια υπήρχε πάντα. Από την εποχή που ο Παναγιώτης Δοκουμόπουλος με τον Δημήτρη Δαλίσκα βρέθηκαν φοιτητές στα Ιωάννινα (1990) και από τότε που ο Γιάννης Πετρακόγιαννης "πολεμούσε" με τους NESFINDONIMUS (1992). Έκτοτε όλοι τους συνυπήρχαν μαζί και χώρια. Ο καθένας ξεχωριστά άλλοτε με τους SPINALONGA και τους ΡΕΚΤΙΦΙΕ (Δ.Δ), άλλοτε με το ΕΝΥΔΡΕΙΟ (Π.Δ) άλλοτε με τους ΟΚΤΑΝΑ (Γ.Π) και άλλοτε και οι τρεις μαζί με τους ΑΡΩΜΑ (1994) όπου και ξεκίνησε η βασική ιδέα για να φτάσουν στους ΠΡΑΚΤΟΡΕΣ ΤΟΥ ΧΑΟΥΣ. Στην τελική τους προσπάθεια, βοήθησαν και όσοι φίλοι αναφέρονται στο cd. Οι ΠΡΑΚΤΟΡΕΣ ήταν παρθένοι δισκογραφικά. Μοναδικη εξαίρεση το κομμάτι "IVANKA SUB" που συμπεριλήφθηκε στο cd του περιοδικού Voice με τίτλο "Micro Beat" που κυκλοφόρησε το 1997. Live: η επόμενη πρόκληση στην οποία ετοιμάζονται να ανταποκριθούν οι ΠΡΑΚΤΟΡΕΣ ΤΟΥ ΧΑΟΥΣ."
Το Ivanka Sub είναι ένα αμάλγαμα dnb/techno μουσικής, κερδίζοντας μία συμμετοχή στη συλλογή Micro Beat που επιμελήθηκε ο πρωτοπόρος της εγχώριας ηλεκτρονικής μουσικής Γιάννης Παπαϊωάννου (ευρύτερα γνωστός ως ION). Το κομμάτι (όπως και όλος ο δίσκος) διαφέρει σίγουρα από τις αρχικές EBM/Industrial παραγωγές των τριών μελών του σχήματος.
Αξιοσημείωτο είναι επίσης το γεγονός ότι ο δίσκος Τρανσαντλάντικα κυκλοφόρησε το 1997 από τη Lazy Dogs Records του Μπάμπη Αργυρίου, ενός από τους εμπνευστές του μουσικού portal www.mic.gr.
Over and out!
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