Customer Reviews

High Desert Soundsystem 2

5 star:		(4)
4 star:		(2)
3 star:		(0)
2 star:		(2)
1 star:		(0)

 

 

The fifth of the DJ John Kelley releases on Moonshine records proves (at least in my eyes) that Kelley is the premiere studio DJ in the states. I am sad to say I've never heard him spin live, but his recorded CDs are nothing but a pleasure to listen to.

High Desert Sound System 2 seems to pick up right where its predecessor left off. The beats are painfully funky with a little trance thrown in for good measure. Kelley seems to always focus on a driving beat rather than melody. There is always a dash of lyric warmth included just to remind you that you are a person and not a machine tied into a drum machine, but the mood is always deep and dark. He seems to also understand that as a DJ the fusion of songs and the way the songs flow is important, not just the songs themselves; many of the tracks only last for a few minutes before moving on to the next groove-laden tune. Kelley also seems to use the songs natural peaks and valleys to build his momentum and drop you into an anxious moment of anticipation before continuing his onslaught of funkiness rather than using the breaks between songs for the same purpose.

My biggest complaint of this album as with all the Kelley mixes is that it is barely over an hour long. I've been spoiled recently with the Global Underground series and its 140 minute/2 CD disks. But, unlike most other mixes, John Kelley seems to be aware of the way his CD begins and ends. The first song always is a nice slow build up and the last song a gradual, gentle end; he just doesn't fade in then out.

To be more album and song specific, HDSS2 begins with Samuel Session's "A Bastard's Work is Never Done:Cycling." It builds rather quickly from a fade in, but within a few minutes sets the tone of the rest of the album. It is an intense blend of trance and breakbeat that effortlessly moves into two Timo Maas songs. There are a few relaxed moments where the lights can dim, but they only serve to remind you of how driving the beat is when it kicks back in. The emphasis remains on beats and rythym for most of the first half. The first real taste of a human voice kicks in with G Flame and Mr. G's "How Knows." It is actually a welcome relief from the almost excessive breaks that have pounded us for the past 20 minutes or so. But, as the lyrics die off and the beat kicks back in things get back on track. "Bumpy Ride" by Switch is a perfect example of Kelley's use of a song as a bridge. From the initial opening lyrics of "How Knows," "Bumpy Ride" guides us nicely into maybe the most interesting song of the album in the lyric-based funk-fest of "Pumpin'." The remainder of the CD never really strays very far from this formula. Trancesetter's "Roaches" is another lyrical song that seems to come straight out of the darkest urban parts of America. It is surrounded by more heavy breakbeats, but eventually we're taken in for a soft landing with Carissa Mondavi's "Solid Ground."

Kelley seems to have aptly named his 5 Moonshine releases and grouped them accordingly. The 2 Funky Desert Breaks have a distinct feel that have more obvious peaks and valleys as well as a more varied sound than his other releases. They may be the best of the group. Knee Deep is very trance heavy with less of a funky sound until the end. Now he's moved onto his High Desert Sound System CDs. Both tend to have a more intense feeling to them than any of the other mixes and they rarely let you catch you breath.

But, one thing remains the same throughout. John Kelley is a master DJ that has unparalleled mixing skills and the selections in his CDs are consistant and unique, making him in my eyes the most interesting and groundbreaking DJ out there. Buy this CD!

This is John Kelley's fifth mix for Moonshine, and a bit of a departure from his fabulous prior release Highdesertsoundsystem; he's leaving the funk in the crate to spin faster techno rhythms, a move that will likely disappoint some and please others, yet still maintains the feeling of his energetic style.

Of course, you can't have chugging tech beats without Timo Maas, and the German ubermixer pops in for three tracks, setting the tome early. Ultimately, the set drones in the middle after the sixth or seventh similar pattern of pulsating drums (though in the right state of mind or with the right speakers it probably works). The reward for a bit of patience is Novy vs Eniac's "Pumpin'" which rightfully restores the bounce you've been waiting for. Kelley ends on a surprisingly trancey note, with the Twilo tribute "West on 27th" and "Solid Ground," which he moulds neatly into place.

Not as buzzworthy as the predecessor, but cohesive and well executed. Grade: B

This review is mostly in response to Stan Kwon's review below. While yes, the mixing isn't totally "perfect," let's remember that very few mix-CDs have totally perfect mixes. Perhaps none. And those that do, sound timid, or worse, they sound exactly like studio CD mixes with no personality, which certainly is not what DJing and the dance experience is all about. Rather, it's about the energy, intensity and looseness of the dance floor. Many that do sound perfect, like many of Sasha's Northern Exposure CDs use Pro-Tools software to edit and assemble the mixes. The result is a nice, pretty listening experience, but one that is lifeless more or less. That said, yes, there are a few flubs, a few, but they're not all over the place. And if you listen carefully, as the mix corrects, you'll notice how fast they do. John is giving some insight into his style here, which is to throw on a record and mix it on the go, to stay loose, and keep it open, and to go anywhere you want to as a DJ, in seconds. DJ Dan, Carl Cox and a few other more experienced DJs do this with more precision, but no one is perfect, especially in the live context. John also plays a percussive-heavy style of tribal techno and house, and so sometimes it is easier to hear the strains between rhythms in his mixes, as opposed to a rhyhtmically stale trance mix. Also, I know John personally and have asked him why he doesn't aim for the perfect, perfect mix on his CDs, because he's more than capable of doing flawles mixes. His answer is that he likes to do the mix in one or two go's, and that he tries to recreate the live experience as much as possible, to give that seat-of-your-pants feel when the DJ is being inspired by the crowd and matching the energy with a more intense and in-your-face mix. It simply sounds more "live" this way he feels. This means that the mixes are not to be entirely seamless. A little tension, whether in rhythm or in harmonic keys is okay. Because for those in the moment, it rather builds energy and keeps it from getting stale. Also, the flow of this CD is superb, moving quickly but never too quickly, many of the tracks actually being mixed in and out long before they even come in. It's about feel over cold, clinical precision. Also, this is an LA sound, homegrown in our underground. It's emphasis is different. It's not concerned or obsessed with the precise, excellent, but relatively cold mixing of say Richie Hawtin. This mix is rather for those who want it a bit fiercer and freer, and also want to have fun. It's about tearing up the dance floor rather than bringing in an abstract chin-stroking techno journey. Even so, it still works well on this level also. Either way, this CD doesn't need defense for those who get where it's coming from. I think the only real problem it may have is that it's much harder than his earlier CD mixes and this might turn some off. I know some who find it a bit repetitive. But if you're up for an uncompromising mix of techno and hard house with a little accessible flare, check it out and play it loud!

Okay, maybe I'm biased. John happens to be related to me. But I've been going to parties for over ten years, many some of the best in the world, specifically LA's own Moontribe gatherings. John has smashed it up and blown many of us away over the years at these parties. In response to the reviewer below, who hails from Flagstaff (read: unschooled trance head), and who claims trance mixer Steve Lawler's NuBreed CD a five star while ragging on Stephanie and Creamer's mix CDs without even listening to it, simply because they did it on a computer, should give you some indication of a warped perspective. I agree, mixing wise, this Kelley mix is not so tight. But he actually wanted to translate a live feel. His mixes shine on other mixes just fine, back when he was interested in doing the studio mix sound. The point here was he wanted to keep it raw. Some read this as lazy, especially those used to sell-out mixes by superstar DJs (sorry kids, most of these are done on Pro-tools). Great DJs like Doc Martin and even Jeff Mills (the undisputed Wizard, of techno) get trashed similarly for not being technically perfect, but that's not what it's about. And for these guys, it isn't about smooth train-track rigid smooth "flow." It's about riding the groove, about energetic, jamming mixes, threatening to careen out of control. Anyhow, John doesn't need to do a demo tape - he did years ago, one called Desert Funk. It's technically flawless and mind-blowing. I have friends who to this day, ten years later still hold that tape in a hallowed place in their hearts.

When it comes to `Electro Funk Break-Beat Techno' one name clearly stands out from the rest; DJ John Kelley. He is one of my favorite DJs and part of the reason I decided to be a DJ myself. There is no one like him in the DJ world. His one of a kind sound has inspired many to move under desert skies for nearly a decade. If you have never heard of him you should get familiar with his work. He is one of the best although he has not gotten the recognition by the public like Carl Cox or Paul Oakenfold has.

His "Funky Desert Breaks" series are two of the top DJ mixed CDs ever released. Or in my opinion they are two of the best, but that is just on my top ten. Funky Desert Breaks took Electronic Music to a new level among the fans and the critics. It was better than any other in that genre at that time was. After that came Knee Deep and The High Desert Sound System series. All are high quality releases.

This being his fifth DJ mixed CD one might wonder if he has lost his edge. Not even close, he is as superb as ever. His style has changed a little with the times but he is still a trailblazer. He has managed to stay ahead of the curve and give us a glimpse into the world of the desert rave. The only other DJ in his class is DJ Brian. They both have shown us an excellent example of underground desert trance.

If you have never heard a John Kelley mix than I suggest that you start with "Funk Desert Breaks 2" released under the Moonshine label. It will give a background and a good understanding of what he is about and make it easier to get into this CD. Also check out DJ Brian and his "Hard Desert Trance" series. They are some of the best DJ mixed CDs ever.

So, you know I like them but don't take my word for it. Check it out for yourself and see what you think. What do I know anyway? :)

HDSS2 delivers just like the rest of john's CD's and live performances do. This is truly a release that shines and is sure to please fans of non-cheesy trance, breaks, what have you. I had the opportunity to have this cd a month before the realease and it is still as fresh and welcome in my cd player as the day I got it. Best moonshine cd of 2000, along side micro and dara.

I find it interesting that a veteran DJ such as John Kelley could knowingly release such a disaster of a mix. This mix has absolutely no flow and the mixing is rarely good and most of the time borders on horrible. The use of Novy vs. Eniac's "Pumpin" is a sad attempt to bring cohesiveness to the mix. If this were a live mix I could understand a few minor mistakes. This, on the other hand, is a studio mix that sounds like an amateur demo tape, the type that would not get any DJ a gig.

I would like to respond to the above review. As a relative, your bias is obvious. I have no doubt that John was able, and may still be, to rock a crowd. Nonetheless, this mix lack in both mixing talent and song selection. I agree that song selection is more important than mixing skills, but a DJ should have both, especially if he/she is DJing professionally. John Kelley displays neither skill on this CD. If he did record it live in a studio, if surely seems that he spent one day in the studio and collected his paycheck. Hey, it's the American way.

The tracks on this cd are pretty dope. He managed to throw in some nice techno(e.g. the Joel Mull) into this cd, but his mixing is really really off point. I would think that on a cd one shouldn't have to hear the dj correcting his mixes, and at some points there are trainwrecks, not serious ones, but very noticeable ones. And another thing, he mixes every single song exactly the same way which I find gets annoying to listen to.