Drum n Bass

Week 35: Wolf Alice- The Clearing

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I recall telling you all that I was impressed with their previous album, “Blue Weekend”, which was released four years ago. As we all know, that is a long time in music; therefore, it is easier to be yesterday’s news. However, the period between “Blue Weekend” and “The Clearing” has seen them remain fresh and avoid the block, and they have certainly been working hard to make something special.


Markus Dravs was the producer last time, and this time they have employed another top producer, Greg Kurstin, and dare I say it, but he has bettered what Markus did. We have frontwoman Ellie Rowsell’s soul laid bare in songwriting and fantastic vocals with profound instrumentation. This record, much like “Blue Weekend”, is more autobiographical regarding Ellie, where she delves into her life experiences with utmost honesty.


Wolf Alice have never shied away from exploring new sounds despite them being heavily pigeon-holed in the indie punk category. There are new layers with every song you hear. Even though the band have been together for going fifteen years, the chemistry is still there, and it appears they are tighter than ever.


The opener ’Thorns’ shows their intent. Ellie confesses to being a narcissist and a masochist on this storm-cloud ballad. Quite a surprise to hear her say that. You would never have her down as a narcissist. We then have the confidence of the lead single,’ Bloom, Baby, Bloom,’ featuring a drum and bass element. We then have a track called ‘Just Two Girls’, which celebrates friendship between two females. The intimacy of this friendship is so palpable that it will resonate with the listener, evoking a deep connection.


However, it’s moments like ‘Leaning Against the Wall’ that capture the meaning behind Ellie’s lyricism and just an acoustic guitar on the folk track to drive the point home. Another one that highlights Ellie’s words is ‘Play It Out, which is a highly emotional piano ballad that will certainly move the listener. It addresses Ellie opting not to have children, but maybe as she grows old, she might repent at leisure.


Yes, the album has quite a bit of introspection, but it never becomes overly introspective. We have rock-pop energy in ’Safe in the World’, ‘Bread, Butter, Tea, Sugar’, and ‘Passenger Seat’to lighten the mood. It showcases the band’s ability to transition seamlessly from raw energy to introspection.

The end has two tracks that are in each of the spectrum: ‘White Horses’ offers the energy, and my favourite track ‘The Sofa’ sees Ellie reflect on her life and what she desires over tender instrumentation that is quite dreamy. It is indeed a track that took me by surprise when I heard it on Later…with Jools Holland, in the spring, because it is nothing like I have ever heard them do before.


You will hear several influences, including Florence and the Machine (Markus is known to produce for them), The Beatles, the late Sinéad O’Connor, Portishead, and, dare I say it, Taylor Swift. Having said that, Wolf Alice still maintains their identity. What the band have achieved on this record is how the emotion increases track after track, leaving the listener feeling the impact. Of course, the album is not complete without Ellie’s unmistakable vocals that range from intimate and soul-bearing to the power we hear on the high-energy tracks.


“The Clearing” showcases the band at their most confident, fearlessly displaying raw emotion and delivering tracks that are destined to be timeless. The album’s frank honesty, although it may be slower-paced than their usual style, is refreshing and showcases their versatility. I am certain that this record will receive several accolades shortly.


Song recommendations: ‘The Sofa’, ’Safe in the World’, ‘White Horses’


9/10

Week 15- The Libertines- All Quiet on the Eastern Esplanade

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In August 1997, a young teenager named Pete Doherty was interviewed on television outside His Master’s Voice, Oxford Street. He shared his thoughts on Oasis’s eagerly awaited third album, “Be Here Now,” and his opinion of the band. Pete later co-founded The Libertines (Originally The Strand) with his flatmate Carl Barât, although their names and band name were unknown. The band had a history of members leaving and returning before eventually signing with the infamous Rough Trade in 2001. Razorlight’s Johnny Borrell briefly served as a bassist for the band. The drummer, Paul Dufour, was sacked by their female manager, Banny Pootschi, for being ‘too old.’ An American-born Brit named Gary Powell was recruited to play on their debut album, “Up the Bracket,” released a year later.

The band was known for performing guerilla gigs, inviting fans to their flat to watch them perform, often causing trouble with the police. During this period, they experimented with various drugs, including cocaine, crack, heroin, and cannabis. Pete and Carl’s friendship was also unstable, swinging from best mates to enemies, reflected in their 2004 self-titled album, especially in their monumental anthem, ‘Can’t Stand Me Now,’ and ‘Don’t Look Back into the Sun.’ Unfortunately, the band split the same year due to infighting between Pete and Carl.

Pete later formed Babyshambles a year before The Libertines split, while Carl formed Dirty Pretty Things a year later. In March 2010, the band announced that they would reform and headline the Reading + Leeds festival in August, surprising fans as Pete and Carl had not spoken since the band split. The short reunion was a success, with thousands of fans flocking to the stage and several others watching on the BBC. The gigs are the main search results on YouTube for their live performances.

Carl stated in an interview two years later that he could see the band reforming again. Another two years passed when a cryptic picture of Hyde Park appeared on their Facebook page on April 20. The Barclaycard British Summer Time Festival then made an offer to Pete and Carl to perform on July 5 and close out Saturday. They accepted the offer, and a further surprise was in store when they announced they would perform three nights at Alexandra Palace in late September. I had the fortune of attending the final night with my friend Keano. Circa Waves supported them, and it was fantastic. We were absolutely fucked, but then so were Pete and Carl. I do not remember much of the gig, but we enjoyed ourselves. I have to watch videos of that night to remember just how good the performance was, and it is the band at their best. They were back, and you could feel the chemistry.

After those four successful gigs, Pete attended Hope Rehab Centre in Thailand. Once he completed his rehab, the band joined him in January 2015 to start writing the next album. The album was released later in the year and called “Anthems for Doomed Youth.” It topped the charts at No.3. The band has been together since, with Pete having a solo project from 2016 and Carl returning during hibernations to Dirty Pretty Things.

Now, regarding their newest album, it is unbelievable that it has been nine years since the band’s last release. They have been on the road regularly since their second reformation a decade ago. Their name, song titles, and albums all reference books. The new album, “All Quiet on the Eastern Esplanade,” is no different and has no interludes.

The album opener is ‘Run Run Run,’ which discusses escaping the past over quintessential indie from the early 2000s, most notably The Strokes. ‘Mustang’ has the bass and drum sound that the band was known for in the early 2000s.

Pete takes over from Carl on ‘Have a Friend,’ which has the same structure as a typical Libertines track but lacks the punch instrumentally. ‘Man with the Melody’ is one of the slower tracks on the album, and Pete and Carl talk about facing their demons on this piano ballad complete with strings.

‘Night of the Hunter’ adds the band’s love of books to the mix, something the band is known for with tracks like ‘What Katie Did.’ They have a knack for turning books they have read into their original songs with nods to the book. The record teaser ‘Shiver’ departs from their indie/rock roots. It is more theatric and sounds quite evil before it fades out.

‘Be Young’ is my favourite from the album, and there are no prizes for guessing why. This is the band with their wall of sound, the sounds we have known since “Up the Bracket.”

The closer is ‘Songs They Never Play on the Radio’. This song sounds similar to ‘Music When the Lights Out’. When the pair trade off vocals, the delivery mimics that song, and so does the instrumentation. It is a good way to end the album, as the tempo is brought down.

In my opinion, “All Quiet on the Eastern Esplanade” represents the band clean and sober. There is a more mature sound and less chaos than what you had on “Up the Bracket” and the self-titled record. “Anthems for Doomed Youth” was a bit calmer, but this one certainly has the lads discussing hard-hitting issues with less kick in the music. Hopefully, we will not have to wait another nine years for the next album.

I look forward to hearing how these new songs with a more mature approach go down on the tour, which is almost sold out.

Song recommendations: ‘Be Young’, ‘Song They Never Play on the Radio’, ‘Run Run Run’

8/10

Week 25: Maisie Peters- the Good Witch

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The first I heard of Maisie Peters was a recent segment on television about her supporting Ed Sheeran. The 23-year-old signed with Atlantic after releasing two singles independently and released two EPs under Atlantic and the soundtrack for a British comedy series titled “Trying” for its second series.

In 2021, she left Atlantic and joined Ed Sheeran’s Gingerbread Man Records. This album is a joint venture with Gingerbread Man and Asylum. Her debut record was released Gingerbread Man titled “You Signed up for This”. Despite it not hitting the top spot, Ed has taken her on the road (As mentioned in the paragraph), so she is getting more exposure, and no doubt touring with Ed on his “Mathematics” tour has seen her sophomore album reach the acme. 

I listened to “the Good Witch’ via her YouTube, and I thoroughly recommend watching the lyric videos to the tracks. The lyrics are displayed on what appears to me as tarot-like cards. And fuck me; the lyrics are fucking mind-blowing. She is a phenomenal songwriter. I wonder how someone who didn’t grow up in a town or city can write so much. 

From the title track, I was immediately hooked by the absolute brilliance in her songwriting. How one talks about their rollercoaster emotions and keeps it interesting is mind-blowing. Aside from its lyrical brilliance, ‘Coming of Age’ is a three-minute pop song with panache and sets the tone for the rest of the record.

‘Watch’ is good regarding Maisie’s delivery, where she goes from melancholic to pure rage. ‘You’re Just a Boy (And I’m Kinda the Man) rips to shreds an ex, and she mocks him for good measure by professing she was “the man” in the relationship over a Katy Perry-esque dream-pop beat. Think Katy’s ‘Last Friday Night (TGIF)’. ‘Run’ is a mild drum n bass track, albeit under three minutes. I hope Hedex gets hold of it and adds a banging remix. ‘BSC’ stands for Bat Shit Crazy, and when you listen to the lyrics, it is hard not to laugh at the humour displayed by her, yet with a sincere delivery. I haven’t mentioned ‘the Band and I’ yet, which features early on in the record. Wow, oh, fucking wow. Amazing track with Ke$ha-like vocals where she tells in great detail about life on the road.

‘Two Weeks Ago’ is slightly confusing when you hear the chorus because instead of explaining her current mood, she declares, “God, I wish it was two weeks ago’. Her hooks on the album are extremely catchy, and the echoed lines will certainly be sung back at her on tour. The record ends with ‘There it Goes’, which is about letting go of love that is covered in snow. By this, she means that their love is cold and doomed to fail. I thoroughly enjoyed this record, which moves from dream-pop to ballad, to dance, to drum n bass, where she discusses relationships and breakups bluntly with the occasional sarcasm and humour. The album is also radio-friendly, with no one track over four minutes. It may be a short listen, but it works.

Song recommendations: ‘Run’, ‘the Band and I’, ‘You’re Just a Boy (And I’m Kinda the Man)’

9/10

Week 17: Enter Shikari- A Kiss for the Whole World

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This is the seventh studio album from the St Albans, Hertfordshire band. The band did a pre-tour over February, March and April this year to promote the record at the most iconic yet intimate venues nationwide. A mad concept, right? Well, no. The band wanted to support these venues that have taken a hit since 2020 and give a chance for their fans to see them up close and personal in all their glory. 

We begin with the title track, and wow, what a way to start. It is nothing like I have ever heard the band do before. This is something Beethoven would have written. It is more a symphony than anything else, and the sound is glorious. We then return to familiarity on ‘Set Me on Fire’, where the band brings their rock and dubstep combination. ‘It Hurts’ is more of a departure from dubstep as they incorporate rock with club. I have no idea why the band use dubstep, as not many have been fond of it since 2014, and god knows why it still has its own chart on Beatport.

This album leads on from their 2020 effort. I may not have been fond of that one neither, but it worked out in a live setting. This one will as well, going by that. I liked that ‘Leap into the Lightning’ ventured into drum n bass, adding an element of Pendulum, who have mastered the rock and drum n bass combination. 

Lead singer Rou said the record is a reminder for us all to smile in a world that gets more evil and sick by the day, so even though he might be releasing a lot of anger, there are more uplifting messages in the lyrics now and then.

Song recommendations: ‘A Kiss for the Whole World’, ‘Leap into the Lightning’, ‘It Hurts’

6/10

Week 31: Beyonce- Renaissance

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Remember how good RnB was in the 90s when you had Mary Mary, TLC, En Vogue and Destiny’s Child? Beyonce was in the latter before deciding to go solo in the mid to late 2000s. This is a shame because Destiny’s Child was a fantastic RnB group. However, since going solo, she has spawned hits such as ‘Crazy in Love’, ‘Irreplaceable’, ‘Run the World(Girls)’, ‘Blow’, ‘Single Ladies’, ‘Halo’, and what I find an insult to Tupac ‘Me and My Girlfriend(Bonnie and Clyde 96)’ with her husband Jay Z who once felt the wrath of Pac on ‘Bomb First’. 

So, I was astonished when I heard the album because I was expecting the same old shit that she usually churns out, but this was to my liking.

 Incredibly, I liked ‘Cozy’ and ‘Alien Superstar’ songs for their club beats and blunt lyrics. Beware, there are plenty of expletives on this record. I will let this review flow if I am honest. It won’t be that great or long, either. ‘Cuff it’ is out of the funk genre, and ‘Break My Soul’ reminds me of dance music I heard in the 90s. ‘Church Girl’ is a bit weird. It’s RnB, but there is a hint of Drum n Bass in there at a slow tempo, ‘Plastic off the Sofa ‘ is neo-soul, and ‘Virgo’s Groove’ is something I could see Jamiroquai doing. If I did a deaf ear test before hearing it without Beyonce’s vocals, I’d easily mistaken it for them. ‘Pure/Honey’ sounds like the kind of deep house track that Disclosure produces, and ‘Summer Renaissance’ is 80s house. There are plenty of samples from songs by Donna Summer and many more. There is one where she uses an iconic house track, but I cannot remember who it is by. Funnily enough, the track in question is on my music laptop. It certainly is not an album for kids under 10 to listen to. Oh, I just remembered. The track is called ‘Miss Honey’.

Song recommendations: ‘Summer Renaissance’, ‘Virgo’s Groove’, ‘Break My Soul’

8/10

Week 5: Bring Me the Horizon- POST HUMAN: SURVIVAL HORROR

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I have been listening to the band from Leeds (I was pretty shocked to discover that until a bit of interaction with the crowd during a Download Festival in 2014.) towards the end of last year. In the first few days of the current year, I watched some of their gigs combined via the playlist function on YouTube. I also watched one of their recent shows from last year (I say current; it was last February or something.) Now, onto the album…well, as you can see, the title isn’t all that cheery, and when you listen to the record, it synchronises with the title. The subject matters are gritty, too, as the band talks about right-wing politics, addiction, mental health, political correctness, and how the world has become dependent on technology. I was instead struck by the odd choice of having less than ten songs, with the album having just nine, which makes for a relatively quick listen. What it loses in length makes up for it in collaborations, being just under half of the record. It also sees a return to the band’s earlier sound with experimental chucked in for good measure.

The opening track, “Dear Diary”, has an air raid siren thrown in, which one could say is quite apt when you consider the album’s title. You can also hear leading vocalist Oli Sykes declare he can’t stomach any more survival horror and is going insane over the heavy metal guitars. The guitar solo is sublime, which comes in after the first chorus, and the frenetic tempo of the drums will be sure to have you headbanging like Beavis and Butt-Head (Funnily enough, I was watching a football match while listening, and the pace of the play matched the speed of the album.).

I remember hearing some of the tracks being teased in 2019 and 2020 during their shows (Especially “Ludens”, which I might talk about a bit later.). I am next going to focus on “Teardrops” because this one comes from the heart, and Oli doesn’t hold back, and he talks candidly about his years of fighting addiction that led to him becoming depressed and suffering from anxiety. This could well be another turning point in a listener’s life because Oli foretells what it is like to feel rock bottom and how your life is slipping away, and you are just numb. We have the typical Bring Me the Horizon sound to match Oli’s distressed yet passionate vocals with heavy guitars and those hooks that get embedded into your soul every time you listen. With Oli talking about such an ordeal, this song will be the most essential song they have written in a long time. Young people will listen and feel encouraged to see health professionals if they are experiencing the same issues. Hopefully, that will lead to them losing the shame of discussing it with their friends and family. “Obey”, however, is a more uplifting track but laced with sarcasm as Oli and Youngblud aim at the shambolic British government.

I did like “Itch for the Cure (When Will We Be Free?)”, but it’s a segue into “Kingslayer”. It is quite simply a transition because both tracks have Pendulum-like Drum n Bass sounds. The Su-metal feature from Babymetal more than matches Oli’s acidic vocals, bringing an anime feel.

Now, the title is something of a mouthful: “One Day the Only Butterflies Left Will be in Your Chest as You March Towards Your Death.”…You see? It’s a bloody long title and could be more pleasing to read. But, despite my love of the Pendulum-Esque “Kingslayer”, the final track with Evanescence’s Amy Lee runs away with the victory. Considering her vocals on “Bring Me to Life” by her band Evanescence, Amy Lee is ideal for this. The song has a very hymnal sound that gradually blossoms into slower pop. I love the vocal combination; you can feel how both got into character. It’s not a conventional Bring Me the Horizon song; it is more suited to Evanescence, but it is pretty beautiful despite the title and the ghostly aura.

Song recommendations: “One Day the Only Butterflies Left Will be in Your Chest as You March Towards Your Death”, “Teardrops”, “Kingslayer”

8/10

Week 4: You Me at Six- SUCKAPUNCH

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Wow, it has been 14 years since the debut album and seven records later, You Me at Six are very experimental on their albums. 

“SUCKAPUNCH” is no exception, although you can still hear a familiarity with the band’s wall of sound. The record contains personal fables and their desire to keep pushing the boundaries. Leading vocalist Josh Franceschi said they must push the boundaries to let the industry know they are still around. Indeed, the current shitstorm going on in the world inspired them to push those boundaries and do whatever they wanted sonically while bringing new ideas across various genres they have flirted with in the past and other experimental sounds they were venturing into on this.

Look at “Beautiful Way”; it is more Drum n Bass than the genre they are pigeonholed in. Then “SUCKAPUNCH” is what you would hear a disc jockey mixing in the nightclubs, with its roots firmly in Techno. The smatterings of Dubstep on the album make some tracks ideal for playing in clubs and raves when that day comes again. Of course, the band does return to their generic sound on tracks like “Kill the Mood”.

However, at the halfway point, the track “Glasgow” brings a brief lull on the uplifting and energetic album. “Adrenaline” soon sees an end to the break. “What It’s Like” takes you back to the familiarity of their sound and harks back to the days of “Lived a Lie”. 

The band has played it pretty safe even though it is obvious they have experimented (Maybe that’s why I found it all too familiar? Because they never stop being experimental.). Their guitarist, Max Heyler, said they have grown up with their music, which I concur with, but I need to find out where the sound has changed. I can still tell that I was listening to a You Me at Six album, but I found the club music element very welcoming. The majority still has some form of familiarity in it. However, I did draw parallels with them and their fellow English counterparts Hadouken when I heard the Dubstep tracks. Some might disagree with me calling it a “Safe” record, but they haven’t done anything I am surprised about. If they venture into country or classical, then I will be.

Song recommendations: “Beautiful Way”, “SUCKAPUNCH”, “What It’s Like”

7/10

Week Thirteen: the Weeknd- After Hours

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I first heard of Abel Tesfaye in 2013 after listening to a live concert on YouTube, and I remember him for his unique look with his mad hair and crazy spelling of his alias. I was impressed with the songs “Wicked Games”, “Love in the Sky”, and “Pretty” off his debut album and a mixtape that featured his fellow Canadian Drake. Some have said that the debut “Kiss Land” was highly disappointing and didn’t live up to his work featured on the mixtapes from 2011 and 2012, but every album since “Kiss Land” has gone to the summit in his homeland.

Due to the critics panning his debut record, he changed it up for his sophomore record “Beauty Behind the Madness”, which came out in 2015. The best song off that record was the commercially friendly disco funk “Can’t Feel My Face”, which was a very clever way of concealing the song was about meaningless sex and drug use (Listen carefully, and if you’re of a certain age, it doesn’t take a genius to work it out.) There were also songs like “the Hills” and “in the Night” that stood out. For the third album, “Starboy”, the following year, he got Daft Punk on board, which were easily the best two songs on a rather overcooked record.

On his latest record, “After Hours”, Abel is trying to make music that appeals more to the fans of the 1980s with the sound and traditional melancholic lyrics.”Blinding Lights”, which is the lead single off the album has been number one for the last five weeks in the UK and sounds like nothing he has ever done before. It’s definitely a track that will appeal to the fan of 80s music. Then, the other track that sounds different from the norm is “Hardest to Love”, which sounds like a commercial version of drum n bass, and I could certainly hear it being included in a vocal section of a mix by Nicky Blackmarket and the like. I’ve heard that “Too Late” sounds like a UK garage vocal song, but I honestly disagree; I didn’t hear anything remotely like any form of garage on it, and the last song that sounds original, “Save Your Tears”, is very experimental. If I didn’t know I was listening to the record, I would have mistaken it for a new track by MGMT.

What about his lyrical content and song subjects? Have they changed much? Well, not really. He does venture out, but it’s for a short time. Although on tracks like “Faith” and “Save Your Tears” (The latter, I have mentioned regarding the originality of the sound.), he is reflecting on what happened in past relationships and apologising, but he can’t do it without being self-indulgent. His reflection and apology appear like it is to him rather than the ex-girlfriends. The record is entirely egotistical, too, as he brags about fucking women in the studio and then proceeds to mock the plastic surgery they have had done on their faces. He might pause and say, “I don’t criticise” when he talks about that on “Escape from LA”, but it’s more about him once again congratulating himself for his mistake of mocking those women for their physical appearance rather than being sincere.

You may be thinking, after reading my review, “Is it worth even listening to?” the answer is yes. This record is very much what got his name out there originally. It has a consistent story, the songs all fall in together, and although the record may have 14 tracks of pretty much the same with its production, it does change for three songs, so that’s something to look forward to with his next album because I can’t see him playing safe all the time. The deluxe album has 20 tracks, but the additional 6 are just remixes. My other laptop is closed, so I can’t be bothered to go and check on the remixes (I think it is the singles so far.). “After Hours” differs from the rest of his records and offers a preview into the next phase of his career. 7/10

Week Five: J Hus- Big Conspiracy

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It has been a very testing time for the vocalist from Stratford since the release of his debut album “Common Sense”, which charted at No.6 in the main chart and secured the top spot in the R&B chart. However, on this record, he doesn’t really talk about any of his personal problems during the past two years or so. If anything, this record is much wiser for a kid that is only twenty-three years old. Whatever it is that he was dealing with has seen him come out on the other side with a more mature point of view of the world. The debut was more spontaneous and had a sense of “I’ve made it, so I am going to have fun and live fast” attitude to it, whereas his follow-up shows more of his talents, and that he feels a lot more comfortable with the direction, he is heading in with his music.

You notice this from the title track alone and understand the hyperbole surrounding J Hus. Another thing I particularly like about the record is how the producer TSB has made it feel more like a live performance than a recorded record in a studio. I will need to check if the tracks were performed as a live show (albeit not to the public.) rather than the usual method of recording these days. Although this may be his record, the performance of icee tgm catches my ear on the opening two tracks. Especially on “Helicopter”. I recommend looking out for this talented female vocalist in the coming year.

She is not the only artist to be collaborating on the record. J Hus has opted to showcase himself more and use only three collaborations with icee tgm, Burna Boy and Koffee. Although some tracks have pop elements to them, their references to guns and sex, like “Play Play” and the very comedic “Cucumber”, might not be deemed radio-friendly enough for the mainstream singles chart.

As the album goes on, it gets darker and darker. I liked “Deeper Than Rap”, as you get a real insight into J’s life through the piano instrumental accompanying his autobiographical story. What is especially good about this record and why it deserved the top spot is that it blends all the sounds associated with the UK through the decades. It is ranging from Jungle, Drum & Bass, Garage, Grime and so forth. With Stormzy and now J Hus already scoring No.1 albums this year, it raises the stakes for other Grime artists to emulate.

9/10

Week Four: Pete Tong with the Heritage Orchestra Conducted by Jules Buckley- Classic House

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Classic House-Continuous Mix:

This may well be the opening track, but if you want to keep listening to the album, listen to the opener first, as this is the whole album in total, but with the usual DJ techniques of beat matching, et cetera. After listening to the album track-by-track, come back to this part and appreciate it as a mix.

Right Here, Right Now: 

The track is opened with an array of stringed instruments, adding a wholesome tone to the classic 1990s track. The trumpets follow before Pete gets on the decks and brings in the vocal samples. The track sounds grandiose and wouldn’t look out of place in any classical music hall.

Pjanoo:

This dance anthem begins in its original form before the strings enter. They then gradually feature throughout the song. I love the orchestra in the chorus.

Lola’s Theme ft Cookie: 

The intro begins with steady violins, and when the whole orchestra kicks in with Cookie’s vocal, it is like something straight out of heaven. The Heritage Orchestra compliments this feel-good track well, and I’d be shocked if this track version does not feature across nightclubs. It is a floor filler, albeit a bit short.

Children:

Ah, the track that made Roberto Concina’s (Robert Miles) career kick off in the mid-90s (well, outside of mainland Europe, anyway). I felt nostalgic at this point, but when the strings compliment Miles’ piano riff, I felt a tingle down my spine. Again, the track could be longer.

9pm (Till I Come): 

I love how the strings follow the same rhythm as the classical guitar. The most surprising aspect is that Pete decides on beat matching and brings in the next track (Go), which will take the listener by surprise.

Go: 

Again, the strings feature at the intro, chorus and breakdown, keeping in with the sombre feel of the original. Pete, again, beat matches and brings in the next track.

Your Love ft Jamie Principle: 

Rather than cutting into the next mix, Pete decides to beat match for a bit longer on the intro to “Your Love” with the orchestra accompanying him. As Jamie Principle comes in with the vocals, Pete is still beat-matching, but do You know what? I like it, and it certainly shows off the skills of the legendary DJ (I hope he was using vinyl to reiterate that point further). The orchestra sure makes this version of “Your Love”, dare I say it better than the original.

Good Life ft Katy B:

Very interesting how Pete has opted for the talented Katy Bryan (Katy B) rather than the original vocalist. Another upbeat number was complimented well by the orchestra. It also makes the listener question how on earth, the producers of the original versions didn’t think to use more classical elements. I am enjoying this track, nodding my head and clicking my fingers.

Belfast:

We are now entering the second half of the compilation album (with a twist), and it hasn’t disappointed so far. I hadn’t heard of “Belfast” (Not knowingly, anyway. It turns out, I have listened to it several times without knowing its name.) until I heard it on this album. It has a chilled-out feel and is an indicator of things to come.

Smokebelch II:

I don’t know where the original is on this short track, but I love the steady pace of the strings. The listener might be forgiven for thinking it is merely a break into the next track.

Where Love Lives:

The album has taken a substantial upbeat turn with Alison Limerick’s “Where Love Lives”. It sounds like Limerick’s vocals were sampled for this orchestral remix, which is a real shame. The strings add zest to the otherwise soft and lonely break. The outro is perfect for that closing song as the DJ brings down the clubbers, who head for the exits.

Rachel’s Song:

Again, this track, with its angelic vocals and celestial orchestra, is another skit before the next track.

Porcelain:

It didn’t make Moby an established artist, but it helped him on his way (“Play” was probably the album that helped him). I know Moby uses strings in the original, but throw in the Heritage Orchestra; it sounds much fuller. When the Orchestra kicks in on this piano riff…wow, just wow.

Waiting All Night ft Ella Eyre: 

Ella Eyre’s vocals greet the listener’s ears. This is undoubtedly a great spin on Rudimental’s original. There is no drum n bass element, but soft vocals by Ella accompanied by an angelic sound of the orchestra. It appears that Pete has gone for a chilled-out vibe to the second half of this album (albeit “Where Love Lives”).

Insomnia:

A grand intro to Faithless’ classic song before the original stands alone. The strings then come back in and remain throughout the bass line. I love the sustained sound coming from the brass section. The song stops suddenly.

Strings of Life/Knights of the Jaguar/Nightmare/Café del Mar:

The 17th track is not merely a track but a medley comprising four songs. “Strings of Life” lasts just over a minute and a half, as does “Knights of the Jaguar”. The medley’s best part is the third track, “Nightmare”. The brass section stands out in this part of the medley. But the longest part of the medley belongs to “Café del Mar”, and it’s no surprise, as it was the trance anthem of the 1990s and played out in venues like Manumission Worldwide by Pete Tong and Judge Jules. I confess that I didn’t like the original of this track, but the orchestra may have just swayed me into liking the classic trance anthem in its latest form.

Feel the Love ft John Newman:

And so, we come to the finale, “Feel the Love”. Again, another Rudimental track has been blowing up the airwaves regularly since its release in Spring of 2012. The original vocalist (John Newman) accompanies the track with his use of the falsetto range. Now, Pete has added the original drum n bass element, but the orchestra, again, has been given centre stage leaving the drum n bass toned down. The brass section is superb. The vocals overlay during the acapella section, adding a lavish and fuller tone to John’s vocals—a great way to end the album. Pete indeed went for that encore moment for the finale leaving the listener on a high.

Overall Review:

He might have cockney rhyming slang named after him, but it’s all gone, Pete Tong, it ain’t. Pete first did this as an experimental tour, which was a success. The album appeared to have zero risk involved, and the concept for me was always going to work in the studio and the classical music venues. This album fully deserves its position at the acme of the album chart. The legacy of Pete Tong lives on and remains intact. I dare anyone to challenge the outstanding reviews this album has had. The skits, I feel, are not necessary, and some of the tracks are too short, but otherwise, a great way to split the album up from the upbeat in the first half, then the more chilled-out second half before ending on a track fit for an encore for any live performance. 9/10