Playground

Playground was an instant success when it was released in the last month of 2004, but it was not built to last. Much like the early editions of the Set series of compilations from Iboga, Playground is a sampler compilation. It features previews taken from then-upcoming albums, remixes of previously released material, old collaborations finally seeing the light of day, and a few fluffy extras thrown in for good measure. Iboga were playing it smart with this release, meeting immediate demands and building expectations for future releases. 2004 belonged to FREq, whose prodigious output that year included a bumper crop of singles and compilation appearances as well as the release of his excellent debut album Strange Attractors. Aran’s immense success and the critical acclaim that followed created a massive amount of hype. I suspect that his involvement in so many collaborations featured on this compilation is no accident.

The compilation opens with a pair of mutual remixes. First, FREq takes on Blood, originally released on Lull, the debut album from Antix. It does not differ much from the original although FREq’s more synthetic style of production is easily discerned. This will go well in any progressive morning set, although it tends to float along without making a huge impression.

Roles are reversed as Antix makes the most of Return To The Masters, a remix that was later released as the opening track on Twin Coast Discovery. Sprawling atmospheric hooks and complex drum programming intersect to manifest the alluring aesthetic that Antix is known for. The tough synthetic leads of the original have been polished to a gleaming finish. It serves well, yet again, but hardly scratches the surface of what Antix can do.

Going Down was a huge favourite of mine in 2005. I slipped it into every progressive set I played. What is it about this track that is so bloody special? Simply put, this song has one of the best beats I have ever heard in dance music of any era. Phony Orphants have forged a powerful masterpiece with incredibly tight drum programming backed by one of the sickest bass lines in the business. While the basic groove is already enough to carry the track, there is more. The song is glazed in a deep, dark, and mysterious atmosphere interwoven with sizzling synth-lines and pierced by scathing stabs. The feeling that is conjured is remarkable; this is one of those tracks that just sucks you right in. I don’t expect that I will ever tire of this gem. It was later released on It Cetra later on in 2004 so it isn’t tough to track down. This is essential!

Behind Blue Eyes, then a new project from DJ Banel and Rene Nielsen of Beat Bizarre, made their debut here with Goose Bump. This is an icy cold progressive tune with plenty of punch and a tribal-synthetic groove. Slightly cosmic melodies emerge from the break, reminding me of another Danish collaboration—one from many moons ago—by the name of Sheyba. I could do without the hackneyed “irrational impulses” sample, heard in many other songs, but this is still a great piece of work. In fact, it is the only favourite on this compilation not released anywhere else.

On Frantix, FREq and Antix go head-to-head, with the final mix accomplished by Azza (FREq once again). I find it to be nicely made, but there is nothing special about this tune. It sounds like any other FREq production.

Emok’s presence can be discerned in his collaboration with FREq on Spot My Burger, but it feels rather remote. Those tough synthetic rhythms groove along like usual, with a number of snappy flourishes emerging to provide something of mild interest. I am not a fan of the squelchy background noises that fiddle around for long stretches of time, but it is not a huge downer. Overall, it’s another well-produced yet mediocre offering.

Content May Differ was taken from the Beat Bizarre album Somersault Industries, released a few months after Playground. This is a very stylized piece of dance music made with intelligence, although there are a few things that cause my eyebrow to wander. For instance, what is that sample–”your ass belongs to me”–doing in such a peaceful, wandering track? I like this, but never found reason to play it, for the mood seems to be spoiled by the sample. Still, it’s a good song.

The compilation comes to a close with an amazing song from Mondayz Millionaires, a super-group formed by the members of Phony Orphants and Antix. Coldies For Goldies was originally produced in 2003 and later appeared on Nanobeat’s A Token To Thrill compilation, but I am glad Iboga rescued it from relative obscurity to include it here on Playground. As I mentioned in a previous review, Coldies For Goldies “is extremely deep and moody, flooded with intelligent rhythms and small details, and laced together with an irresistible groove.” This is the one that really makes the purchase worth it.

Playground is a good progressive compilation from Iboga Records, but not their best by any means. This is mainly due to the disproportionate amount of non-exclusive tracks and admittedly well-produced filler. Fully half of these tracks appear elsewhere, and another half are plainly mediocre tunes FREq was somehow involved in. Yes, they sounded great at the time, but hindsight shows that his best work in 2004 was found elsewhere. Playground still makes for good listening—there are no bad moments on the disc—but I seldom find myself connecting with what is playing. Going Down, Coldies For Goldies, and Goose Bump make for a few peak moments, but the rest sort of blends into the background. With this in mind, I would only recommend the compilation to Iboga collectors. Most listeners with an interest in this style would be better off purchasing full albums from FREq, Phony Orphants, Antix, and Behind Blue Eyes. On the other hand, if you can’t get enough of FREq’s sound, it couldn’t hurt to make Playground a part of your collection.

Release Data

Title: Playground
Label: Iboga Records
Format: CD compilation
Released: 2004

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