Customer Reviews

Involver (Dlx)

5 star:		(100)
4 star:		(21)
3 star:		(10)
2 star:		(3)
1 star:		(4)

 

 

By its very moniker, "progressive house" has symbolized music in flux: a constantly changing, consistently evolving soundscape, the foundation held intact by kick-drum and snare, the melodic and harmonic elements as potentially free-ranging as a producer's imagination. From its earliest inceptions, DJ Sasha (Alexander Coe) has dominated this particular medium of electronica, touring the world over to spin ear-candy to the scions of the upper-middle, producing an array of tracks that encapsulate the serotonin-soar of the genre, and experiment beyond: from Arkham Asylum to Xpander to Airdrawndagger, Sasha's studio work always attempts to push the boundaries, raise the bar.

Yet times have changed, and with file-sharing networks available to any and all, DJ white-label exclusivity is now a legend of a decade past. Aware of this, Sasha has embraced new technology in an attempt to stay fresh and relevant. With software-based Ableton Live, the DJ can now move beyond mere beat-matching transition to full-blown track remixing, live and in-the-flow: and this CD, the first of a proposed three, is Sasha's blueprint of intent, ten of his favorite tracks remixed with a personal sonic fingerprint. And, to no real surprise, it is a progressive house masterpiece, the deepest and most nuanced of his work since, arguably, the first two Northern Exposure albums.

*Involver* begins with ambient atmosphere, sound-clouds morphing into a single chord. A backwards-looped riff emerges from the ether, and at its peak the hard drum of Grand National's "Talk Amongst Yourselves" slams in, augmented by slow, churning bass. Reverse samples snarl and boil in the background; the main riff of the original is given a glassy shine; and vocoder-tweaked vocals surge and sigh with the weight of a weary parable - "I blame it on myself `cause I can't keep anything out/...anything out.../however hard I do try/so talk amongst yourselves while I try to figure it out/...figure it out.../I'll let you know in my time" - an appropriate statement, given Sasha's prominence (and chemical reputation) within the electronica scene, his efforts to revolutionize its stagnant core-structure, and the chin-stroking carping endemic to the genre's fanbase. Interestingly, this remix retains the rock n' roll feel of the original mix while capitalizing on archetypical electronica elements, resulting in one of the best genre-fusions I've ever heard.

Disembodied murmurs arise out of the final riff, and eventually mold into the Arabic-flavored chant of Shpongle's "Dorset Perception." With its strong break, sludgy bass and background synth-murk, Sasha's remix is harder-edged than the original: he withholds the horns and strings until the song grinds into its peak, which in turn emphasizes these instrumentations, particularly the classical guitar solo. The melancholic notes of Petter's "These Days" underscores the subsequent peaktime roar; its central riff seems to capture perfectly the `Sasha sound' - profound beauty shaded with haunting sadness - a soundtrack for the human condition. The acappella of Unkle's "What Are You to Me" gives lyrical support to this impression, a mash-up made in heaven (or the earthly equivalent thereof ;) - the two songs play off each other in stunning unison. Out of it clatters "Smile," courtesy of the Youngsters. Beneath the surface, a whole host of tweaked riff-beasts mutter and mutate; above, ethereal keys float across the controlled cacophony, like the aeon-glare of stars over the festering hives of mankind. . . After the final chorus, a growling bassline shatters the mood with articulate abruptness; in the distance, while the foundation snarls itself into oblivion, the textures of Spooky's "Belong" wander in like a summer scent: but Sasha has transformed this house classic into a moody mini-epic, throwing the keys of the ambient mix over busy 4/4 percussion. Halfway through the song the bassline of Unkle's "In a State" rolls in, giving "Belong" a concrete direction; still, Sasha takes his time (as in several _minutes_), peaking the latter before giving any other hint of the former.

Eventually the distinct riffs of "In a State" filter through the gnashing bass, and over it emerges the chopped, diced, and thoroughly re-configured vocal - Sasha claims to have broken it up into a 1,000 pieces (!) to attain a different take to the original version and his own 2003 club mix. Guitar-riffs crackle within and then above the dub grooves; the chorus builds the tension; and the song peaks into a flat ambient line quickly subsumed by the uber-edited vox-hum and the main guitar riff. When beats explode back into the mix, it's the hard break of Lo-step's "Burma." From here Sasha builds a solid hands-in-the-air peaktime stomper, weaving various elements of the original mix over his irresistible drum n' bass programming - exotic howls, razor-sharp riffs, lush synthscapes - while giving the main trance-riff an increasingly chaotic stutter-effect, a difficult trick done perfect.

After this shattered denouement, the mix takes a hard left-turn into old-school 80's techno terrain with "Watching Cars Go By," an experimental joke from a DJ renown for his peculiar sense of humor - remember "Requiem's" 4:20 moment, anyone? - vocoder corruption and Bolivian-influenced 4/4 madness simmer and crash into a clubland nightmare, and we arrive to the dark peak of the entire album, utterly unlike anything that has come before, and intentionally so. The song eventually breaks down into a declarative statement: out of it pounds the natural drums of Ulrich Schnauss's "On My Own," a psychedelic anthem for the 21st century.

The limited edition of Involver packs the CD in a plastic bubblewrap case, and includes ten cards featuring photos of the session equipment, various scenic atmospheres, and a portrait-glimpse of the artist at work; on the flip side of these cards Sasha ruminates on the songs and his work process. Also included is an essay about the position of the musical producer/DJ in these turbulent techverse times, a long awaited and extremely appropriate response to the incredible information-channel changes wrought within a few short years.

Highest recommendation.

I have to say, I am not the biggest Sasha fan, having only his Xpander EP in my collection. I've had his Ibiza, Airdrawndagger, and San Francisco CD's in the past, but decided not to keep them, because they just didn't motivate me.

This one is a keeper and I love the track selection and flow of this CD. I also liked the limited's notes for each song, where Sasha tells you what he did with each track. It's a little annoying opening that plastic pillow case up every time you want to play this, so I actually pulled the CD out and put it into a blank CDR case for easy access (because Lord knows I am dropping this one in the player a ton).

The remix of Watching Cars Go By by Felix Da Housecat is incredible. It essentially makes the CD and lifts it to an enormously groovy feel toward the end. It's so much better than the original version, and truly shows how Sasha's touch greatly enhances each and every track in this mix.

This is one of the best and most innovative mixes of the decade, so go out and buy it!!

I'm mostly writing this just to give the album my 5 stars since the last few reviewers gave it less, but this album is one of the most beautiful electronica albums I know. It's even up there with my favorite albums of all time. It's a little on the slower side; it's very surreal and beautiful, and a mellow album for the most part. Probably not something people will want to dance to, but rather to get lost in thought while listening.

In the electronic music world, a remix is something exceedingly usual. It is quite common for DJs to pick up a song from a peer and remix it. Sasha dared to choose some songs that were already acclaimed and revamped them into a single remixed set. The result is delightful - It feels like a concept album, although the original songs do not have that much in common. It must be said that this album is not for dancing, and it differs alot from Sasha's previous work (don't expect and airdrawndagger 2.0 here) - Some people didn't like the change - I personally think this is plain evolution. You can just hit the play button on your stereo and dive into 75 minutes of pure electronic joy. I recommend this for everyone, even those who are not really into the genre.

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Sasha seduces the listener with his uncanny production and mixing skills. "Involver" brings forth some of the elements in the original "Northern Exposure" compilation, albeit with considerable refinement and finesse. Every note in "Involver" is carefully placed with the intent of creating a certain atmosphere and to evoke emotion. It is a rich tapestry of delicate, ephemeral sounds underpinned by solid bass-lines.

One is gently drawn into the album with the otherworldly beginning of Grand National's "Talk Amongst Yourselves". The aural fog clears about two minutes into the track, which is when the beats start in earnest. With tasteful vocals and ensnaring melody, this remix of "Talk Amongst Yourselves" is bound to become the favourite of many. The pace then ramps up a bit with the balearic notes and haunting vocalisations of Shpongle's "Perception". The use of acoustic guitars in this track certainly makes for an interesting listen. Like a dying ember, "Perception" slowly burns out, giving way to Petter's "These Days". This version sharply contrasts with the original mix featured in James Holden's "Balance 005" compilation, consisting of austere, melancholy and bittersweet tones. "These Days" is then skillfully entwined with the introspective lyrics of UNKLE's "What Are You to Me?". This is where I usually find myself tapping the <REPEAT> button. "These Days" and "What Are You to Me?" are, in my humble opinion, absolute gems. These tracks affect one in a similar way that God Within's "Raincry" and Rabbit in the Moon's "Out of Body Experience" did in the original "Northern Exposure".

The dreamscape extends forward with "Smile" and "Belong", the latter being absolute bliss. The remix of UNKLE's "In A State" is a jawdropper; totally different from the original. Lostep's "Burma" is simply sublime, with catchy breakbeats, strong synths and distant vocals. The flow then takes a sudden turn with Felix da Housecat's "Watching Cars Go By". Kitschy, '80s electropop... not really my cup of tea, but it still makes for a good listen. The shortcomings of this track are made up with Ulrich Schnauss' "On My Own". Totally awesome, and an excellent finish to a near perfect album.

Some people may be turned off by the fact that "Involver" has absolutely no trance. True, but trance really isn't where Sasha dwells. Trance falls squarely into John Digweed's area of expertise. Sasha is better known for sets that are smooth, full-bodied and otherworldly in sound. Compare his GU:013 compilation with Digger's GU:014, and you will tell the difference in style.

"Involver" is by no means an extension to "Airdrawndagger". It is, however, a solid compilation comprised of elegant and enjoyable remixes of contemporary tunes. "Involver" is one of those rare albums that has the potential of becoming a classic.
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though i am not a hard-core trance fan, this CD is perhaps the most astonishing example of creative technological genius i have heard. sasha layers in alternating levels of sound; from spanish guitars to rain drops to smooth, otherworldly vocals. Bought this 4 weeks ago and have not stopped listening to it since.
the essential embodiment of 'cool', this album clearly will be an absolutely *essential* part of any self-respecting collection of modern music. timeless.

Wow, this CD definitly shows who the real Sasha is. It's yet another one of his ground-breaking tantalizing albums! And this one's a keeper!! Involver obviously carries Sasha's mastermind at work, not only his plain digital music this time. Although he remixed all of the songs, Sasha's talent kicks it up several notches with electrifying sounds and sensational underground beats. With the help of U.N.K.L.E., Felix Da Housecat, and other artists, Sasha combined his talentive conscience and created this wonderful piece of music. Like Airdrawndagger, he catches everyones' attention with unusual and rare sounds that come from his very own mind, something that enlightens his fans greatly...

I saw Sasha over the summer perform in Dallas, Texas, and let me tell you that Sasha really took my breath away. When he started to spin music from Involver, the whole crowd lit up! It was a true cataleptic and hypnotic experience to enjoy.

I SERIOUSLY recommend this album to all true Sasha fans!!! However, if you have just started listening to Sasha, or have made him a new artist to your tastes, I suggest getting Airdrawndagger first, then Involver. Any previous albums from Sasha are absolutely nothing like Airdrawndagger and Involver.

I mean c'mon....it's Sasha! 'nuff said!

I'm not really sure how to start this one off.. I guess I'll start by saying that I have been listening to trance and house and a little bit of ambient stuff non stop for the past 3 months. And I'm not gonna try and write to much , without telling you how great it really is.--- I've been buying lots of Sasha, Digweed, a couple of Oakenfolds, and plenty of Nick Warren. Mostly all GlobalUnderground stuff. I just recently got Warren's Reykjavik. I thought it was the best thing out there at the moment until this. Now, you may be new to the genre of techno or "electronica" music. IT doesn't matter, because this album is for everyone.
I'll have to say that this is above and beyond all the stuff out there right now. It beats any Oakenfold stuff... In fact although I am a huge oakie fan... this makes him look like an ameture. Involver starts off with brilliant vocals ( and lyrics ) in Grand national's talk amongst yourself.. then only gets better.. honestly . Song 2 feels like a bit of a bridge song. but nevertheless it's still steller.. but it leads into petter's "these days" which is so frieken amazing and layed back but doesn't put you to sleep... and it really only gets better. with smile by the youngster's which has gorgeous vocals, and a killer baseline. Spooky is incredible to just a bit of a bridge song for.... Unkle's in a state, which you just know is gonna be great. ach then theres burma that has a great background tune... ( i love that song ) but then what happens is just brilliant.. might i say now that all those songs are a bit chill and layed back and towards the end you feel like it's gonna die down into boredom. But it doesn't. On Comes Felix da housecat.. it pumps up the beat and brings life back to the party. Same with Ulrich Schnauss' On my own. Simly steller.
Now to conclude I'll have to say that this isn't fast paced "techno" for most of the cd. It's not predictable old techno rubbish. This is the new genre of dance. During listening to this You just know that Sasha went through tons of trouble to make this album perfect. I'm so glad that this is out for everyone to hear... and it'll keep me goin for a long while. There is no reason you shouldn't get this.

Sasha has done it again. This is a smooth mix of quality tunes.

The CD begins in brilliant style with Grandnational's 'Talk Amongst Yourselves' which is a cracker introduction to what will be a stunning CD. This is followed by beautiful tracks from Petter 'These Days' and UNKLE's 'What You Mean To Me'. The killer baseline of 'Smile' from The Youngsters kicks in next getting things moving and drifts nicely along through tracks from Dj Spooky and Lostep until Felix the Housecat's 'Watching Cars Go By' steps up the tempo. This quirky electro track I was initially sceptical of from reading past reviews, but its one that really gets the feet tapping and head nodding, and adds some up-beat diversity to the CD. The final track 'On My Own' from Ulrich Schauss has a punishing baseline and finishes the mix off perfectly which leaves the listener wanting to repeat the performance again.

While some reviews have thought this CD was a bit on the 'chill' side, and perhaps it doesn't have the peak time attributes of former attempts, I continually find myself playing it and enjoy it the more I listen. After a day at work, to be able to come home, slip Involver in the CD player and have a drink is one of life's nice pleasures.

A must have CD.

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Sasha seduces the listener with his uncanny production and mixing skills. "Involver" brings forth some of the elements in the original "Northern Exposure" compilation, albeit with considerable refinement and finesse. Every note in "Involver" is carefully placed with the intent of creating a certain atmosphere and to evoke emotion. It is a rich tapestry of delicate, ephemeral sounds underpinned by solid bass-lines.

One is gently drawn into the album with the otherworldly beginning of Grand National's "Talk Amongst Yourselves". The aural fog clears about two minutes into the track, which is when the beats start in earnest. With tasteful vocals and ensnaring melody, this remix of "Talk Amongst Yourselves" is bound to become the favourite of many. The pace then ramps up a bit with the balearic notes and haunting vocalisations of Shpongle's "Perception". The use of acoustic guitars in this track certainly makes for an interesting listen. Like a dying ember, "Perception" slowly burns out, giving way to Petter's "These Days". This version sharply contrasts with the original mix featured in James Holden's "Balance 005" compilation, consisting of austere, melancholy and bittersweet tones. "These Days" is then skillfully entwined with the introspective lyrics of UNKLE's "What Are You to Me?". This is where I usually find myself tapping the <REPEAT> button. "These Days" and "What Are You to Me?" are, in my humble opinion, absolute gems. These tracks affect one in a similar way that God Within's "Raincry" and Rabbit in the Moon's "Out of Body Experience" did in the original "Northern Exposure".

The dreamscape extends forward with "Smile" and "Belong", the latter being absolute bliss. The remix of UNKLE's "In A State" is a jawdropper; totally different from the original. Lostep's "Burma" is simply sublime, with catchy breakbeats, strong synths and distant vocals. The flow then takes a sudden turn with Felix da Housecat's "Watching Cars Go By". Kitschy, '80s electropop... not really my cup of tea, but it still makes for a good listen. The shortcomings of this track are made up with Ulrich Schnauss' "On My Own". Totally awesome, and an excellent finish to a near perfect album.

Some people may be turned off by the fact that "Involver" has absolutely no trance. True, but trance really isn't where Sasha dwells. Trance falls squarely into John Digweed's area of expertise. Sasha is better known for sets that are smooth, full-bodied and otherworldly in sound. Compare his GU:013 compilation with Digger's GU:014, and you will tell the difference in style.

"Involver" is by no means an extension to "Airdrawndagger". It is, however, a solid compilation comprised of elegant and enjoyable remixes of contemporary tunes. "Involver" is one of those rare albums that has the potential of becoming a classic.
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