Trainspotting: BT & Sasha - The Real World Sessions

Label: Real World
Production Dates: July 27th, 1998 - August 1st, 1998

1. Cry To The World (12:02)
2. The Warrior Song (10:01)
3. Dakane (19:47)
   

The Real World Sessions (sometimes referred to as ReVerb) are the product of an unfinished album project Sasha and BT collaborated on in 1998 for Peter Gabriel's Real World label. An old press biography from Sasha described the recording sessions:

"Always one to share what comes his way, Sasha invited long time friend and collaborator BT to take part in what he called “one of the most amazing musical experiences in my life.” He is referring to his experience out at Peter Gabriel's Real World studio in 1998 where Sasha explains in a mixer article, “we were in there for a week and were just going to do one track (during Real World's annual recording week where artists from all over the world are invited to Bath to record at the famous studios). There were so many talented musicians around and the vibe down there was incredible. People were walking in, hitting things, strumming things, and slapping their goats! There were mad African people everywhere. We ended up recording five tracks and finishing four."

A very limited promotional CDR containing three of the tracks was distributed by BT's management company, 3AM. It is rumored that BT did some additional production work on the masters and at one point he was apparently just waiting for Sasha to find time for them to further collaborate. On August 8th, 2001, three years after the session's conclusion, Sasha said the following regarding the album in an interview with Clubbing Magazine:

You have also worked with BT (Brian Transeau) in Peter Gabriel's Real World studio on some tracks?

Sasha: That was some 3 years ago. What happened is that I would finish the Real World album after I had done my own album. We did some great stuff down there. One day I would love to go back and work with Peter and BT, we had such a good time there. Until I have my own album out, my debut album, I can't think on doing anything else, incl. remixes, the last one I did was Chemical Brothers "Out Of Control", I don't want to waste any time. Unfortunately I open my big mouth and started talking about it years ago, before I had the knowledge on how to do an album. I had up till then done a lot of remixes with a big team of people. But I had never written tracks on my own. I thought it would come together in a year, but it has taken about five. Once I have done it the next record will only take me 6 months, it is just this first one that is taking a long time on coming together.

Plans to finish the album were apparently shelved after BT's studio was burgled in late December 2001. BT's copy of the Real World Sessions (along with large portions of his 4th album) is rumored to have been completely lost. It is unknown whether Sasha or Peter Gabriel possess their own copies of the sessions. Sasha is now rumored to have no interest in returning to the tracks as he feels they're now too dated. Copies of the the CDR appear sporadically on eBay and on several occasions have been removed from auction at BT's request.

"The Warrior Song" was included on a promotional release of the movie soundtrack Go. The track didn't end up on the official release, but as rumors go, copies of the promo were uploaded illegally by a Korean online MP3 store--similar in fashion to the way we see Russian music sites illegally offering cheap MP3 versions of albums today--and then subsequently shared on peer-2-peer programs.

Thanks to Electric Sky Church Music for the info/image on this release.

Please note that the content of this post is based on speculative evidence at best. The author does not condone piracy.

Trainspotting: Elisium - Part 1

Release/Production Date: 2000

Elisium (sometimes referred to as Elysium) are Alexander Coe and John Graham, or as they're better known to electronic music fans, Sasha and Quivver. The two originally planned to collaborate on a track for Sasha's then upcoming artist album. John Graham's 2000 press biography said the following about the track:

"John is also working in the studio with Sasha as we write working on what promises to be a monster tune for Sasha's album."

The result was Elisium's "Part 1". The track was picked up by Dave Seaman for his Desire compilation on Renaissance, but this is the only time the track has seen any sort of release.

Trainspotting: Envelope - Packet

Production Date: 2000

Envelope's "Packet" was the original name for what later became Junkie XL and Sasha's 2002 single, "Breezer". But wait. Isn't "Breezer" still in print and easily obtainable? Yes, but not in its early incarnation. Played during Sasha's December 29, 2000 Kiss 100 Guest Mix, the early version of "Breezer" is a much different track than what was eventually released in 2002. More dreamy and ethereal than it's later cousin, "Packet" is simply epic. It's understandable why so many who heard the beautiful early version were disappointed when they heard the watered down final product years later.

Why the alias for the track's production? Producer/DJs sometimes disguise track names as a sort of protection against trainspotters, though it is not certain if this is the reason Junkie XL or Sasha decided to give the track its early, alternate identity.

The track was evidently pressed to vinyl, as Sasha played it out at several gigs in late 2000. Some claim to even own a copy of JXL's "Track 2", which is apparently the same track. Regardless, it is unlikely that this version of the track will ever see the light of day, especially considering it has already been released in finished format.

Sasha - Instant Live Released

Sasha's new double mix CD, Instant Live was released immediately following his closing Fundacion residency show at Avalon in Los Angeles, CA this last Saturday. Fans in attendance were able to immediately purchase the album at the end of the night. Click here for a tracklist. I will be posting a review shortly as soon as I can get my hands on a copy.

New Mix CD from Sasha!

Sasha is teaming up with Instant Live productions to release a live double CD of his closing Fundacion residency party in LA on June 26th. The CDs will available to those who attend immediately after the show, and only 10,000 copies will be pressed. For more info, check out Sasha's website at http://www.djsasha.com/. A cool idea, and I imagine Sasha will be pulling out all the stops for those 2+ hours. These sets will certainly have a different feel compared to his last two mix compilations, which were more geared towards home listening (for obvious reasons). The latest mixes I've heard from Sasha were pretty good, so let's hope these will follow suit.

Review: Sasha - Fundacion NYC

Label: Global Underground Ltd. [GUFUN001CD]
Release Date: June 13th, 2005
Rating: 6/10

2004's Involver showed Sasha experimenting with new technology and redefining the way a DJ and music interact in the studio. The album received almost universal acclaim and this year's NYC Fundacion takes the experimentation further to a semi-live environment. The results of this experimentation are excellent. There are literally no transitions between any of the tracks, and discerning between one track and the other is an exercise in futility. Elements of one track might be carried well into the next track, and even several tracks after that. Sasha's mixing is the best its ever been, and this style of mixing and live remixing makes for an interesting and fresh listening experience.

Where the album fails though, is in the most fundamental element that makes or breaks a mix album: track selection. Sasha, like every other major DJ it seems has jumped on the electro house bandwagon, and the tracks he's selected for this album will most likely disappoint long-time Sasha fans. While there are a few stand-out tracks here and there (mostly the one's that actually sound like coherent music), the majority of the album, especially the second half is filled with experimental glitchy-electro that really isn't all that pleasing to the ear. It's not minimal, but it's not really melodic either. After a couple of listens, the CD does grow on you somewhat (like most mix CDs) and you'll appreciate the superb flow Sasha creates. But without the great music that has highlighted so many of Sasha's fantastic releases in the past, what's the point? Long-time Sasha fans should proceed with caution. Don't get me wrong, there are merits to this release (the mixing, the 3 or 4 standout tracks), but don't be surprised when you find yourself a little disappointed after listening to 70+ minutes of superbly mixed bland music.

Review: Sasha - Cloud Cuckoo

Label: White Label [SAS001]
Release Date: December 30th, 2003
Rating: 10/10

Luke Chable's remix of Sasha's "Cloud Cookoo" is THE quintissential Luke Chable remix. Luke took the cold, brooding, breakbeat original and transformed it into a massive, euphoric house anthem. Right out the gate, this beast is devastating. As the track progresses, a vacuum-esque bassline is introduced, and slowly, layer by layer of understated melody is piled on top until the track is just brimming with intensity and emotion. Then, all of the sudden, the beat stops, and the main melody from the original is introduced. It repeats for a couple of lines, stops, and then the massive beat resumes with only a trace of understated melody left behind. And I have goosebumps. Who wouldn't? The music I'm listening to right now is that good. The track moves on to greater euhporic heights, and by the end you're elated (and exhausted) from an epic 10 minute journey to heart and soul of what progressive house and really electronic dance music is all about. I absolutely love this remix (if you couldn't tell). After hearing this the first time I became a Luke Chable fan, and have subsequently collected a great majority of the rest of his productions and remixes (would you believe there's over 80 now?). He's got a fantastic discography filled with too many amazing songs to mention, but this track still holds a place at the top of my list.

The flip? A gritty breaks reinterpretation of the James Holden co-produced classic "Bloodlock". Jacob Todd is at the helm here, and doesn't do a half bad job. He brings the darker elements of the original to forefront, and throws an absolutely nasty droning bassline underneath. Flashes of the original's gorgeous melodies bubble to the surface eventually, but what you'll hear here is mostly just dark, dirty and scary. Good stuff, though it's tough to hold a candle to the amazing original.

Classic Review: Sasha - GU013: Ibiza

Label: Boxed [GU013CD]
Release Date: September 20th, 1999
Rating: 10/10

Sasha's Ibiza mix might as well be renamed to "The Greatest (and most timeless) Late 90's Progressive House/Trance Tunes (which doesn't mean anthemic cheese) mixed by Jesus and arranged by God". Only kidding ... but seriously, you'll be hard pressed to find a better DJ mix. This is easily Sasha's best mix CD to date, the best Global Underground compilation to date, and would probably rank in the top 10 DJ mixes of all time.

The most important element of a DJ mix is track selection (obviously). Sasha went all out with this mix selecting classic tunes and remixes from the biggest producers of the era (and some, of all time). The production and remix prowess of Sander Kleinenberg, Orbital, Breeder, Humate, Quivver (as Space Manoeuvres), BT, Cass & Slide, Pob, Evolution (as Bluefish), Bedrock, and Sasha himself cannot be denied. There is a drawback: all of these anthems might give the mix a slightly sterile feel. I say might because, depending on how long you've been listening to electronic music, you'll probably have heard a least a couple of these tunes before. Other Sasha mixes tend to have a slightly more exclusive track listing, with a greater variety of rare underground (for lack of a better term) tunes thrown in. So, your listening experience will vary.

Tracks alone, of course, don't make a DJ mix album. The DJs ability to arrange and mix the songs into a cohesive statement or story, is what makes or break the album. And no one does this better than Sasha. Technically superior DJs exist (James Zabiela), but no one has the epic, emotional, human element in their DJ sets quite like Sasha does. The mixing on this album is superb, and like any great mix album does, it elevates the quality of the tracks to another level. Listen to the transition from Jimpy's "Talkin" to Pariah's fantastic remix of Space Manoeuvres "Stage One", and then to Sander Kleinenberg's "Sacred". Absolutely brilliant.

Lastly, comparisons to Sasha's live DJ sets aren't really fair. A DJ set on CD, and a DJ set live are two completely different formats for obvious reasons, and therefore, must be approached differently in both recording, and listening. To sum things up, this is the finest solo mix album Sasha has ever released, and six years later, it still stands head and shoulders above the sea of compilations released since.

Classic Review: Sasha & Digweed - Northern Exposure 2

Label: Ministry of Sound [NECD2]
Release Date: September 22nd, 1997
Rating: 10/10

While this statement may go against popular belief, Northern Exposure 2 is superior to the original Northern Exposure. While neither mix on NE2 quite matches the majestic quality of CD1 of NE1 (but then again, what does?), both mixes are classics in their own right whereas CD2 of NE1 was comparably weaker when compared to other mixes in the NE series.

The first CD is a gorgeous down tempo/break beat mix in the same vein as the first CD of NE1. The mood and atmosphere is different however. Whereas NE1 CD1 was earthy, organic, and spiritual, the first CD of NE2 is jazzier, funkier, more melancholic, and near the end, more euphoric. The mix starts off phenomenally with an ultra chilly mix of Gus Gus' "Believe", which perfectly segues into Chicane's mix of Furry Phreaks' "Soothe". After we're transitioned with Violet's "Burn The Elastic", we're treated to the less memorable funky breaks of Prana's "Geomantik" and Acoustic Hoods "Cycle Of Time". Frontside's "Dammerung" brings a more serious tone back with its beautiful melancholic melody, which sets up for the mixes first and last 4/4 numbers, and also the most amazing numbers on the whole album. The trickling melody of Doi-Oing's "Blue" is perfectly blended with a superb live version of Spooky's classic "Little Bullet". The live version included here is even better than the original with washing synths and several layers melody that bring the album to it's first peak. While both of the tracks are amazing in their own right, this is a case where the expert DJ mixing of these two tracks creates something that is greater than the sum of it’s parts.

Having already reached heaven 8 tracks in, the funky breaks of Uberzone's "Botz" is dropped bringing the mix back to the earth before slowly climbing back up with some of the most euphoric electronic tracks ever recorded. The tinkley melody of Fluke's "Reeferendrum" builds perfectly into Lost Tribe's gorgeous "Angel" (incorrectly listed as "Distant Voices" on the back cover), which out of nowhere turns into Gus Gus' mid-tempo masterpiece, "Purple". The final track, Hybrid's "Symphony" is perhaps the most emotional electronic music I've ever heard. A perfect closer to a near perfect mix.

The second CD is the more danceable of the two CDs, with some of the best progressive house tracks of the era/ever. Opening with Cygnus X's "Positron" (incorrectly listed as "Superstrings" on the back cover), a lush, bouncy, euphoric mood is instantly created, only to be torn down by the stabbing melodies and abrasive percussion of Speedy J's "Fusion". Humate's classic "3.2" is mixed in creating a dark, atmospheric sound, that melds perfectly with William Orbit's/Spooky’s remix of Sven Vath's techno classic "An Accident In Paradise". The Light's "Panfried" and Third Man's "Solar Cycle" keep the beat steady, before the duo really turn up the energy with L.S.G.'s "Netherworld". The Jules Vern mix heard on this album is the best version of the song I've ever heard emphasizing the best elements of the song, and creating a hard hitting progressive house floor-filler. Taucher's melodic "Waters" is perfectly mixed in holding the peak created by "Netherworld" to over ten minutes of sheer electronic bliss. "Teach Me" by Art Of Silence is a serene break from the energy, but we're soon brought back to 4/4 floor-stomping energy with Transa's anthemic (and somewhat formulaic) "Enervate", before slowly closing with the trance inducing groove of Armin's "Blue Fear".

The weak moments on CD1 are when the mix goes for the more abrasive, funky numbers, but in the scope of the album as a whole and in terms of setting up the more serious melodic songs, they work. CD2 on the other hand, while more immediately accessible and overall consistent, it is ultimately less resonating than it's counterpart. Still, as a whole, this is the strongest entry in the Northern Exposure series, and an essential for any electronic music fan’s library.