john digweed - transitions vol. 2
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Darran McCarthy
New Member
boring.........i usually like diggers but cant really get my head round this one...will probably love it in a year or so but right now.....not so much
here is a review from another site by a friend of mine, who really does know his music
John Digweed returns with the second instalment of his biannual Transitions series on Renaissance; a compilation designed to provide a snapshot of his favoured material of the moment.
The opening track, Digweed’s own edit of Abyss ‘Mind Games’, is dark and quirky – the sort of track he used to champion on his Kiss FM show. The deep progressive leads and twisted keys lend it enough to work in smoky club without ever crossing over into a proper dancefloor number. Abyss feature again with the following track, ‘Dreamer’, a track that begins with the type of electro bleeps and squeaks that are the hallmark of Transitions Vol 2. The gentle keys and building riff of the breakdown lend themselves perfectly to the title but these atmospherics have already been tarnished by the first part of the piece. A slightly clumsy mix leads us into a Guy Gerber remix of ‘Dana’ by Chaim, another squeaky track that bubbles away unobtrusively. A danceable groove emerges on Joakim’s remix of the Balearic ‘Camino del Sol’ from Antena (originally released in 1982), but this is snuffed out by some irritating reverbed effects in the latter part of the piece.
Williams ‘The Shivering’ is a reminder of the old Digweed; a rumbling piece of broody music with a deep bassline that hangs like a storm cloud, twisted metallic synths and squelching acid hooks. That, as they say, is that as the CD reverts to type with succession of bland minimal/electro efforts, each seemingly trying to outdo each other with their kooky effects and scatter bomb approach to composition. Few stand out, save perhaps for some interesting melodies in Dirk Technic’s ‘I Love You’ although these, like Antena’s before them, are soon overpowered, this time swamped by a fairly dire arpeggio riff. There is little to say about the rest of the tracks.
Compilations need two vital ingredients to work. The first is, of course, great music with a timeless appeal. The second is programming: the ability to make a set exceed the sum of its parts. On both fronts, Transitions Vol 2 is lacking. The music is little more than bland minimal electro, mostly devoid of worthwhile melody or groove. Williams and Abyss provide some light in this dark tunnel but the remaining tracks mush together in grey blandness like melting snow on a road. In addition, along with Digweed’s change in musical course, has come an apparent inability to build a set across a CD. Maybe it is the music he uses or just a general malaise, but either way, something isn’t right. The press release refers to the CD’s shift from 124bpm to 129bpm across its 70 minute duration as ‘flawless programming’; if slowly increasing the pitch across a set now counts as set-building, the dance music scene is in a very sorry state. Given that this is the same man who put together so many legendary Northern Exposure, Renaissance and Global Underground compilations in the past, we can only hope that his demise is temporary. In the meantime, fans of the old John Digweed should steer well clear of this compilation.
here is a review from another site by a friend of mine, who really does know his music
John Digweed returns with the second instalment of his biannual Transitions series on Renaissance; a compilation designed to provide a snapshot of his favoured material of the moment.
The opening track, Digweed’s own edit of Abyss ‘Mind Games’, is dark and quirky – the sort of track he used to champion on his Kiss FM show. The deep progressive leads and twisted keys lend it enough to work in smoky club without ever crossing over into a proper dancefloor number. Abyss feature again with the following track, ‘Dreamer’, a track that begins with the type of electro bleeps and squeaks that are the hallmark of Transitions Vol 2. The gentle keys and building riff of the breakdown lend themselves perfectly to the title but these atmospherics have already been tarnished by the first part of the piece. A slightly clumsy mix leads us into a Guy Gerber remix of ‘Dana’ by Chaim, another squeaky track that bubbles away unobtrusively. A danceable groove emerges on Joakim’s remix of the Balearic ‘Camino del Sol’ from Antena (originally released in 1982), but this is snuffed out by some irritating reverbed effects in the latter part of the piece.
Williams ‘The Shivering’ is a reminder of the old Digweed; a rumbling piece of broody music with a deep bassline that hangs like a storm cloud, twisted metallic synths and squelching acid hooks. That, as they say, is that as the CD reverts to type with succession of bland minimal/electro efforts, each seemingly trying to outdo each other with their kooky effects and scatter bomb approach to composition. Few stand out, save perhaps for some interesting melodies in Dirk Technic’s ‘I Love You’ although these, like Antena’s before them, are soon overpowered, this time swamped by a fairly dire arpeggio riff. There is little to say about the rest of the tracks.
Compilations need two vital ingredients to work. The first is, of course, great music with a timeless appeal. The second is programming: the ability to make a set exceed the sum of its parts. On both fronts, Transitions Vol 2 is lacking. The music is little more than bland minimal electro, mostly devoid of worthwhile melody or groove. Williams and Abyss provide some light in this dark tunnel but the remaining tracks mush together in grey blandness like melting snow on a road. In addition, along with Digweed’s change in musical course, has come an apparent inability to build a set across a CD. Maybe it is the music he uses or just a general malaise, but either way, something isn’t right. The press release refers to the CD’s shift from 124bpm to 129bpm across its 70 minute duration as ‘flawless programming’; if slowly increasing the pitch across a set now counts as set-building, the dance music scene is in a very sorry state. Given that this is the same man who put together so many legendary Northern Exposure, Renaissance and Global Underground compilations in the past, we can only hope that his demise is temporary. In the meantime, fans of the old John Digweed should steer well clear of this compilation.
Lamin@renaissance.com
New Member
Just in the interest of balance here is another review of the album that dares to contradict your esteemed associate at Progressivehouse.com.
It's from a small publication called DJ mag, you may have heard of it:
DJ Mag - Fantastic Four Feature
“This fortnight’s hottest four names in dance music
John Digweed
Diggers’ new ‘Transitions Vol.2’ mix CD is a killer…
John Digweed in 2007 is still just as fresh and exciting as the days when he and Sasha ruled clubland with their epic progressive house. His new ‘Transitions Vol.2’ mix CD (out 29th January on Renaissance) shows that it is possible as a DJ to move with the times without jumping on any bandwagons. Whilst the minimalisation of dance music has infected most DJs, Diggers has remained with his haunting hypnotic groove that sits somewhere in between deep techno and house, albeit these days with sexier and more futuristic production.
Atmospheric gems from Guy Gerber, G-Stylz, Williams and Chaim blend effortlessly into techy cuts by David K and Dirk Technic on Digweed’s new CD. His set programming and flawless mixing is just as gobsmacking as it’s always been – there aren’t many DJs from the superstar era who have remained so consistent. On his latest mix, Diggers even turns in some exclusive ‘cheeky’ re-edits which highlight his commitment to providing the listener and clubbers with as smooth a DJ journey as possible. It’s no wonder that his globally syndicated radio show, also called ‘Transitions’, now reaches over two million people every week.”
It's from a small publication called DJ mag, you may have heard of it:
DJ Mag - Fantastic Four Feature
“This fortnight’s hottest four names in dance music
John Digweed
Diggers’ new ‘Transitions Vol.2’ mix CD is a killer…
John Digweed in 2007 is still just as fresh and exciting as the days when he and Sasha ruled clubland with their epic progressive house. His new ‘Transitions Vol.2’ mix CD (out 29th January on Renaissance) shows that it is possible as a DJ to move with the times without jumping on any bandwagons. Whilst the minimalisation of dance music has infected most DJs, Diggers has remained with his haunting hypnotic groove that sits somewhere in between deep techno and house, albeit these days with sexier and more futuristic production.
Atmospheric gems from Guy Gerber, G-Stylz, Williams and Chaim blend effortlessly into techy cuts by David K and Dirk Technic on Digweed’s new CD. His set programming and flawless mixing is just as gobsmacking as it’s always been – there aren’t many DJs from the superstar era who have remained so consistent. On his latest mix, Diggers even turns in some exclusive ‘cheeky’ re-edits which highlight his commitment to providing the listener and clubbers with as smooth a DJ journey as possible. It’s no wonder that his globally syndicated radio show, also called ‘Transitions’, now reaches over two million people every week.”
Lamin@renaissance.com
New Member
I think that may be voted for by punters actually: that's why it's called a poll!
See below review from I-DJ:
I-DJ (25.01.07)
““ “Transitions Volume 2” is a different barrel of beats altogether, and sees John well and truly back in the driving seat. Dishing out deliciously warm, atmospheric grooves, John builds the mix track by track with a distinct flow akin to one of his club sets; one minute you’re vibing to the spine-tingling subtleties of Abyss’s awesome “Mind Games”, next minute you’re seven tunes deep and throwing shapes to David K’s bumpy acid house meets minimal explosion “Boul De Neuf”. It’s very much the sound of now – minimal meets trance meets house meets techno meets prog. The atmosphere and drama is back but the beats carry that urgency… Superb. **** Dave Jenkins”
See below review from I-DJ:
I-DJ (25.01.07)
““ “Transitions Volume 2” is a different barrel of beats altogether, and sees John well and truly back in the driving seat. Dishing out deliciously warm, atmospheric grooves, John builds the mix track by track with a distinct flow akin to one of his club sets; one minute you’re vibing to the spine-tingling subtleties of Abyss’s awesome “Mind Games”, next minute you’re seven tunes deep and throwing shapes to David K’s bumpy acid house meets minimal explosion “Boul De Neuf”. It’s very much the sound of now – minimal meets trance meets house meets techno meets prog. The atmosphere and drama is back but the beats carry that urgency… Superb. **** Dave Jenkins”
Darran McCarthy
New Member
dont get me wrong im not saying its apalling, im just saying in comparison to everything else he has ever done, this just doesnt hit the mark.
yes ive bought it because as i say i will probably love it in a years time.
there will be some that love this cd, i personally find it boring.
as for flawless mixing!!!!!!!!!!!!! of course its going to be flawless when its done on pro tools
yes ive bought it because as i say i will probably love it in a years time.
there will be some that love this cd, i personally find it boring.
as for flawless mixing!!!!!!!!!!!!! of course its going to be flawless when its done on pro tools
agentundercover
Active Member
hold the front page, a peice of music that provokes differing opinions shocker!
me thinks lamin protest to much. and credibility in muscial debate somewhat diluted by the @ renaissance i agree.
me thinks lamin protest to much. and credibility in muscial debate somewhat diluted by the @ renaissance i agree.
Foam at Plush
New Member
It's a great mix. Love Digweed's sound lately. Plus, every magazine/internet review I have heard of "The Shivering" is negative. What arer people smoking...? That song is amazing.
Well, this is what I thought of it:
http://www.4clubbers.net/modules.php?name=Reviews&rop=showcontent&id=368
How things change for one of the most revered partnerships in dance music. Sasha pushes the boundaries of DJing and production via the medium of Ableton, Digweed still swears by vinyl and CDs. Sasha’s locks are shorn while Digweed now sports a shaggy cut, but musically they’re still as vital as they always were. While some could happily argue that nigh on two decades of immersion in dance music could result in lack of creativity, and its been levelled at both more than may be fair in recent times, both have had a new lease of life in the past eighteen months. Playing more intimate gigs alongside festivals across the world, Digweed has been the more accessible of the two for his homeland. And he moved in another ever subtle musical direction with the release of his Transitions album on long term supporter Renaissance in 2006. After what seemed like a brief dalliance with more a minimal sound, he’s returned to what he’s always done best: atmospheric, underground house music. And, as the logical progression from the first CD, Transitions Vol 2 is a slow builder that also sees him place more of an emphasis on production work, with three track edits amongst the listing.
It’s a smouldering start, with a pair of tracks from Buzzin Fly’s latest wizard, Guiseppe Morabito, under his Abyss moniker. It’s a gentle easing into the mix, at just 124bpm, but careful programming and skilful mixing mean the pace almost indiscernibly picks up over the course of the seventy minutes. As with many of his mixes, both live and on CD, it’s the craft that’s the most impressive. It’s not a disc that will leap out and make a lasting impression on the listener after one listen as much as some will, but that’s the point. You find yourself being drawn in over the course of a few revisits. The wonderful Joakim remix of Camino Del Sol is the embodiment of this. No huge breakdown, no tricks, just a measured, unrelenting melody, hinting at menace, but bubbling under the surface, threatening to come to the fore. There’s a core of driving, tight percussion throughout the album. Tracks from Evil Hinko and G-Stylz, who features twice, lead into the highlight, Freak n’ Chic’s next outing, the mesmerising Boul De Nerf from David K. It’s one of the first memorable tracks of the year (evidence that Digweed is right on the money again musically), its unmistakeable falling synths burrowing straight into the listener’s subconscious.
There’s no letup either, despite the high point being barely after halfway. There are echoes of Northern Exposure in Dirk Technic’s satisfyingly retro-sounding I Love You, and Guy Gerber’s Digital Memories. It’s at this point you realise the pace has picked up, impreceptibly from track to track, but there’s genuine force in the music, which will surprise those reared on the chugging prog of Bedrock nights in the early noughties, but none who’ve seen him DJ in the last couple of years, most notably a weather-induced sauna at Global last summer, one of his finest festival gigs in years, and exorcism of the ghosts of those that insist he’s at his best when paired with his cohort Sasha. And, it is proof that so-called dinosaurs do evolve: “It’s where I am now”, in the man’s own words. While there are many with experience in months that Digweed has in years snapping at his heels, on this evidence you’d like to think there’s plenty of life in him yet.
http://www.4clubbers.net/modules.php?name=Reviews&rop=showcontent&id=368
How things change for one of the most revered partnerships in dance music. Sasha pushes the boundaries of DJing and production via the medium of Ableton, Digweed still swears by vinyl and CDs. Sasha’s locks are shorn while Digweed now sports a shaggy cut, but musically they’re still as vital as they always were. While some could happily argue that nigh on two decades of immersion in dance music could result in lack of creativity, and its been levelled at both more than may be fair in recent times, both have had a new lease of life in the past eighteen months. Playing more intimate gigs alongside festivals across the world, Digweed has been the more accessible of the two for his homeland. And he moved in another ever subtle musical direction with the release of his Transitions album on long term supporter Renaissance in 2006. After what seemed like a brief dalliance with more a minimal sound, he’s returned to what he’s always done best: atmospheric, underground house music. And, as the logical progression from the first CD, Transitions Vol 2 is a slow builder that also sees him place more of an emphasis on production work, with three track edits amongst the listing.
It’s a smouldering start, with a pair of tracks from Buzzin Fly’s latest wizard, Guiseppe Morabito, under his Abyss moniker. It’s a gentle easing into the mix, at just 124bpm, but careful programming and skilful mixing mean the pace almost indiscernibly picks up over the course of the seventy minutes. As with many of his mixes, both live and on CD, it’s the craft that’s the most impressive. It’s not a disc that will leap out and make a lasting impression on the listener after one listen as much as some will, but that’s the point. You find yourself being drawn in over the course of a few revisits. The wonderful Joakim remix of Camino Del Sol is the embodiment of this. No huge breakdown, no tricks, just a measured, unrelenting melody, hinting at menace, but bubbling under the surface, threatening to come to the fore. There’s a core of driving, tight percussion throughout the album. Tracks from Evil Hinko and G-Stylz, who features twice, lead into the highlight, Freak n’ Chic’s next outing, the mesmerising Boul De Nerf from David K. It’s one of the first memorable tracks of the year (evidence that Digweed is right on the money again musically), its unmistakeable falling synths burrowing straight into the listener’s subconscious.
There’s no letup either, despite the high point being barely after halfway. There are echoes of Northern Exposure in Dirk Technic’s satisfyingly retro-sounding I Love You, and Guy Gerber’s Digital Memories. It’s at this point you realise the pace has picked up, impreceptibly from track to track, but there’s genuine force in the music, which will surprise those reared on the chugging prog of Bedrock nights in the early noughties, but none who’ve seen him DJ in the last couple of years, most notably a weather-induced sauna at Global last summer, one of his finest festival gigs in years, and exorcism of the ghosts of those that insist he’s at his best when paired with his cohort Sasha. And, it is proof that so-called dinosaurs do evolve: “It’s where I am now”, in the man’s own words. While there are many with experience in months that Digweed has in years snapping at his heels, on this evidence you’d like to think there’s plenty of life in him yet.
For the record, review aside, I really like it.
I've been seeing Sasha and Digweed for 12 years now, and I think (after a slightly sketchy 12 months in 05) he's finding a real groove now. You can't stick with the same music for a decade, and I think people that harp on about how he's not like he used to be need to wake up. Everyone needs to evolve and change and I think he's done it pretty well.
It's a grower - I wasn't impressed that much at first, but I love it now.
But, each to their own
I've been seeing Sasha and Digweed for 12 years now, and I think (after a slightly sketchy 12 months in 05) he's finding a real groove now. You can't stick with the same music for a decade, and I think people that harp on about how he's not like he used to be need to wake up. Everyone needs to evolve and change and I think he's done it pretty well.
It's a grower - I wasn't impressed that much at first, but I love it now.
But, each to their own
