Tokyo Underground

Tokyo Underground is compiled by DJ Bin, showcasing a classy progressive sound from artists in Europe, the States, and Japan. The word ‘crossover’ is going to come up a lot in this review, as most of this material tips right over into deep and progressive house territory. The reader should also take note of the purposeful differentiation between psychedelic progressive and ’straight’ progressive. The former should be familiar to any psytrance fan, whereas the latter refers to the seemingly ambiguous movement of forward-thinking dance music that enjoys a much more mainstream appeal. This compilation does a wonderful job straddling the thin boundary between the two scenes, managing to deliver nine tracks that are quite likely to appeal to fans from both sides.

The Paste remix of Free As We Are by Antix gets things rolling with a moody atmospheric piece of progressive psytrance. It isn’t all that different from the original, though it seems slightly more sneaky now that the Swiss veterans have put their touch on it. Perhaps it is somewhat redundant for some collectors, but remains a sophisticated slice of darker progressive nonetheless.

The Weekend from Clutch is a by-the-numbers progressive outing without much in the way of surprises. I’ve heard a few tracks from this Japanese artist in the past, but never really found any of them engaging. There is an undeniably appealing percussive flow to the rhythm, but it’s too static and unchanging to make much of an impact.

D-Nox & Beckers are responsible for some of the biggest crossover tunes of the last year, and the clubby anthem You’re a Star licensed from Baroque UK is one of their very best. Combining the strongest elements of progressive house and electro, they’ve once again forged a party rocking monster that is bound to elicit strong reactions on receptive dancefloors. Unlike the sassy lyrics of the overplayed Switch, You’re a Star features a playful set of friendly male vocals that really work! The producers made a wise choice editing the original for this compilation in such a way that the words remain obscured by filters and effects for most of the song. I never feel smothered by the lyrical presence here, and actually find the message quite charming. An excellent track to pump up a dance floor!

Thomas Penton’s Inside Me was already a year old at the time of the compilation’s release, having previously appeared on a vinyl from Sutil Records in late 2004. This is a bouncy big-room progressive house track with a funky flow. Wailing melodic leads are an apt counterpart to the chunky bass lines. A deep breakdown in the latter half betrays the producer’s more mainstream roots, but returns with a sensibly straight-forward approach. Solid material for the crossover DJs, but it may have slightly less appeal for listeners from the psychedelic side.

Tetraktys provides his strongest track since Burning Palace with Vergence, a highly evolved return to his dirty techtrance roots. The concept is as futuristic as anything in his discography, with the irresistible cybernetic allure of the tech noir motif heard on Quiet, Migration, and Forge. Grimy metallic rhythms churn beneath droning industrial soundscapes, adeptly evoking a dystopian atmosphere that is hard to match. Midi Miliz is the only artist quite as skilled in this highly specialized realm of production. An incredible piece of sonic art!

Inkfish and Martin H return to progressive crossover territory with a remix of Bolido, originally released on an ACDC 12″ earlier in 2005. These two artists produce music that is right on the borders of straight progressive house and the slightly more psytrance-influenced side of things. The result is deep sweeping soundscapes with a raspy edge and solid production value. A rather lengthly breakdown in the midst of it all is pierced by the sudden return, featherdusted with light euphoric atmospheres and small melodies, and ultimately the song drives on towards a soft layered climax. It may be delicate, but there is substantial depth to be heard in this production, making it another good offering.

Vincent “Tetraktys” Courcot’s Motion side project is usually reserved for his most progressive style, but XXL is rough and ready for action rather than smooth and electro flavoured. It remains very aggressively rhythm-oriented, with little in the way of melodic themes. Flailing percussive flourishes accentuating the robotic percussive riffs, and offbeat bass pulsations forge a dirty groove. I’m not sure if I’d ever make us of it, but it’s still very decent material for DJs.

D.Sens is the side project of another talented French producer: Matthieu Delepeau of Luna Spice. Enjoy the Silence is an incredibly deep tribute to one of Depeche Mode’s most successful singles, rattling on for over 10 minutes of blissful abrogation. This would simply be tribal progressive house if it weren’t for the ceaseless atmospheric mutterings and entrancing hints of melody that drift by in a subdued fashion. Themes from the source material are most fully heard in the mid-point bridge, as the charming and emotional melodies are joined by a light breakbeat. The second half does little to expand on the original premise, but remains highly sophisticated and utterly stunning. The results are a luxurious interpretation of an EDM classic that could hardly have been any better. Stellar!

Vibrasphere closes the album with the bonus tune Bitter Deep, a rather slow and moody twist on the group’s signature style. The two-minute long dubby introduction is enough to make it a serious contender for a set starter, and it remains suitably chilled-out to serve as a good springboard from which to build a proper journey. A mild mannered tropical character begins to shine through in the latter half, fully expressing the soft emotional qualities the group is known for. It may seem a bit dull for some listeners, but there are hidden details in the arrangement that are simply brilliant. Bitter Deep is an excellent way to end this great compilation.

Tokyo Underground is one of the best crossover compilations I’ve ever heard. It doesn’t fall into the trap of getting too dull in a vain quest for mock sophistication, and there is enough variety to keep it interesting the whole way through. One can only hope that DJs and listeners in the progressive house and electro scenes give this one a shot, because Tokyo Underground is a seriously high-quality release. If you enjoy your “dirty 130s” then you should definitely pick this one up!