| | Evolution: The New Breed Of Electronic Pop CD
This album represents the new breed of electronic pop, featuring many of today's rising synthpop stars from around the globe as well as some new bands that will be making their presence felt in the near future. The tracks here illustrate the great variety the synthpop genre has to offer, ranging from melancholy to uplifting in mood, laid-back to energetic in tempo, and retro to modern in sound. The common elements are that all of the songs selected for this release are exclusive, original, and of the highest quality. "Evolution" is the debut release from Cohaagen Music, and shows the promise of things to come from the label. Evolution: The New Breed Of Electronic Pop Music Evolution: The New Breed Of Electronic Pop Songs | 1. | Ganymede - The Final Year (Club Mix) - Ganymede |
| 2. | Mourning After - Listen to My Heart, The - The Mourning After |
| 3. | Soviet - Bank Holiday - American Soviet Youth Orchestra |
| 4. | Nukleon - Sometimes - Nukleon |
| 5. | Freezepop - Tender Lies (Single Version) - Freezepop |
| 6. | Gary Flanagan - Summertime - Gary Flanagan |
| 7. | Electrosquad - Dorian Gray - Electrosquad |
| 8. | Raindancer - I Believe in You - Raindancer |
| 9. | Axoe - The Well - Axoe |
| 10. | Empire State Human - Post Madonna - Empire State Human |
| 11. | Strange Angels - (You Make Me Feel) Alive (Ganymede Remix) - Strange Angels |
| 12. | Blind Before Dawn - Angel With Broken Wing (Eloquent Mix) - Blind Before Dawn |
| 13. | Karacter - Marathon - Karacter |
| 14. | Mystic Underground - Oxygen, The - Mystic Underground |
| 15. | Simulator - Moments Away - Simulator |
| Evolution: The New Breed Of Electronic Pop Review
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$12.79 Amiable and eclectic Canadian alternative rock ensemble Crash Test Dummies enjoyed a nice, even-handed dose of moderate success after the release of their warm, wry 1991 collegiate folk-pop debut Ghosts That Haunt Me. Led by the impossibly low baritone of singer/songwriter Brad Roberts, the Dummies were as polarizing as they were congenial, which made it even more surprising when the first single off of their 1993 follow-up became an international hit. "MMM, MMM, MMM, MMM," with its wordless chorus, Tim Burton-esque lyrics, and surreal video, all of which made it an unlikely candidate for the Billboard Hot 100, but it pushed the album God Shuffled His Feet to number nine on the U.S. charts and number nine in the U.K.. Later albums like Worm's Life, Give Yourself a Hand, I Don't Care That You Don't Mind and Puss 'n' Boots flirted with electronica and even rap, falling victim to their ...
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$17.29 Tape's second album is shorter, more song-oriented, and overall easier to approach, but these qualities -- without turning to shortcomings -- don't necessarily make a better album. Still stemming from a certain experimental sound research (especially in the eclecticism of the instrumentation and the way the group mixes together odd parts), the music is surprisingly gentle and welcoming. The psychedelic/folk current that had been woven through Opera now takes the foreground: delicate acoustic guitar, harmonium, and accordion dominate the sound palette. Electronics and sampling take a step back, working in the shadows to cement the eight instrumental tunes together. Milieu is Björn Olsson as seen through Gastr del Sol's lens -- or Pascal Comelade influenced by the Nordic winds instead of the Spanish sun. Peaceful, slightly melancholic, impressionistic without sounding tentative, Milieu delivers a very coherent half-hour of music. Melodies are sketched rather than stated; each track sounds like it could have been more extensively developed, but doing so would strip away its mystery. Highlights include the heartwarming "Root Tattoo" (with accordion, melodica, and glockenspiel sharing the lead) and the wonderful "Golden Twig" (featuring Staffan Johansson on lap steel). This is the kind of album you could very well dismiss on first listen as lacking substance or being just another byproduct of the American alternative folk revival. But further listens reveal its unique charm -- it also has something to do with the beauty of the pastoral tunes of Sagor & Swing, another group recording for the Häpna label. Recommended despite its brevity. ~ François Couture
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