Customer Reviews

Renaissance Presents Transitions 3

5 star:		(28)
4 star:		(5)
3 star:		(1)
2 star:		(0)
1 star:		(2)

 

 

Entering with the audibly dark and spookish wavelength's of Sasha's "Coma," the third installment of John Digweed's Transitions series immediately displays the type of savagery that previous minimal-tech albums have all seemed to lack - that is, when the listener is looking for the dark side. When I listen to music of this caliber, I often think what the general progression might be analogous to; in this case, the best description I find myself with is that of a dimly lit room with a sharp and meticulously designed machine clicking, spinning and drilling away towards some undetermined end. And in this spirit, I liken Transitions 3 to Transitions 1; the direction that the mix will ultimately lead you does not appear predetermined, almost as if the album were being mixed live simply for you. I dig that.

After a stiflingly robotic series of introductory tracks, the mix gains its much needed heated flow with Lawrence's "Along The Wire." And so begins the madness.

Fans of minimal-tech house will know what I mean by the statement that much of the album has an undercurrent which "bobs" up and down, taking the listener up and down in a constant sea of audible motion. Electronically, Digweed's programming techniques are so finely tuned that it is easy to see his personal Transition from merely dipping his feet into the waters of minimalism to literally redefining the genre in three short years. Not only that, but he is able to program extremely re-worked and exclusive Transitions-Edit versions of the newest songs to hit the minimal scene on a grand scale - in this case, amounting to a twenty-track progression including lots of great artists. Sasha, obviously, who begins the mix, but alongside him are many fairly unknowns. Einzelkind, Joel Mull, Chaim, Ink & Needle, Solead and Guy J all make great representations here - but we all knew John has the technique for picking out obscurity and molding it into something cohesive.

It would be unfair to claim that this album is purely electronically programmed, for that simply isnt the case. Digweed's lavish mixing is evidenced by beautifully landscaped tracks like Daniela Stickroth's "Chest In The Attic" and Joel Mull's "Begun The End Has." What's obscure in a name comes across as beauty in a melody. And I think that the tracks which Digweed lets run the show solo for quite some time make this album even more of a buoyant release relative to the other bogged-down-by-monotony minimal mixes being released right now - case in point, Booka Shade's DJ Kicks... but that's another issue. Digweed's demeanor slides to and fro from a mish-mash of minimalism I liken to Tiefschwarz, M.A.N.D.Y. and James Holden (the latter two's "At The Controls" releases). That is to say, within this dimly painted mosaic emerge some quirky, fun and ultimately positive attributes that only someone with the mixing skills John possesses could contrive in album form. Paul Ritch's "Messene," or perhaps "Hedonism" by Reshufle, are tracks that can confirm this idea. Hedonism may in fact be my favorite track on the disc.

Expanding further on track selection, this album is something of a gem worthy of a particular kind of distinction. Aside from the fact that several virtual unknowns are *made* known by means of this mix, tracks that have been around long enough to be remixed and re-tooled are perfectly selected. Adam Freeland's "Silverlake Pills" would not have worked as well as it did had it not been for the wise selection of its Gui Boratto Remix. The Superpitcher Mix of "Along The Wire" is superb, and Chaim does an excellent re-working of "Come Into My World." Wink's Profound Sound Interpretation of "Lowdown Brittle" is a jewel in and of itself. Most of the aforementioned remixes are what I consider the better of the two possible choices at hand, and it appears that Digweed knows when, and when not to, insert a re-tooled version of a track. At long last, the album closes out with one of the most fantastic minimal pair-ups I've ever heard - Umek's "Ricochet Effect" and Guy J's incredible "Save Me." These tracks in sequence produce a heavily bassy, regally symphonic sound; crisp, resonant cymbals and occasionally frenetic synthesizer's simply heighten the brilliant and climactic atmosphere.

Programming. Mixing. Tracks. Yes, indeed, it would seem that John Digweed has yet again produced a 5-star release. I did not find Transitions 2 to be as innovative as 1, but 3 brings back that level of experimentation - and that is truly what this album represents. This music is absolutely nothing like what John is currently playing live; his album release party at Pacha NYC was a heavy club banger which left the dancefloor in shambles after six + hours. Instead, Transitions 3 is John in the laboratory, producing another tasty concoction for those raving for more.

~Lex

I spoke with John briefly amidst the frenzy of his North American Club Tour with Sasha; it was like watching a volcano aroused from dormancy. His enthusiasm, coupled with genuine giddiness, for this album flowed from his words like fresh magma. I had heard the album a few times by this point, and so could thus share his enthusiasm - but putting the fourth Transitions journey into words is an exercise in frustration. John spoke of the album earlier in the year, saying "Really happy with this one. I have spent lots of time on it with loads of edits and layering of tracks." `Lots of time' may perhaps be one of 2008's more notable understatements, but judge for yourself!

John Digweed first displays layering techniques in the fusion between "From Empty Lands" and "Geko." When combined, these tracks churn and mix to create impressively deep and rich strides with unfamiliar tribal momentum. As melody slowly trickles in, the delicacy of the groove recalls Hernan Cattaneo's Sequential Vol. 2. Like Cattaneo's brilliant edits and mixing on his last disc, Digweed shows similar attention to craft and detail. Clearly this is a thinking man's mix, a distant echo from the sandblasting techno John has been rocking the clubs with - from the Winter Music Conference to his North American Club Tour - and apparently, this is the target mark. To quote the man himself, "I've used modern production techniques to create an album that's unlike anything you'll ever hear me do in a club."

Despite being the delicately balanced electronic house of cards it is, Transitions 4 - as do John's other installments - graciously dodges the bullet that is 'glitchy' minimal-tech. The trick, as time has shown, is to embrace the medium of a particular type of bass and percussion acting like a musical undertow. The melody, rhythm and all else is ensnared and reshaped by such exotic forces. "Wear Your Scars Like Medals"/"Suspicious Blue"/"Shack 54 (Jet Project Remix)" and "Pitch It (Claude VonStroke Remix)"/"Keep Her Space (Smith & Selway's Control Mix" embody the raw force of a driven undertow and lend Transitions 4 a powerful presence amongst its contemporaries. Celebrated tracks like the Ink & Needle Remix of Jerome Sydenham & Tiger Stripes' "Elevate" in concert with Guy J's "Under Pressure" cement some familiarities into the foundation of John's latest laboratory creation, which tops off with an absolutely fantastic selection: Mixing both the Original and Gone Wild versions of "Piknic Bugz" into a twelve and a half minute epic bomb, Digweed closes Transitions 4 with unrequited supremacy. "Piknic Bugz" has been no stranger to John's club roster in 2008, but this layered version is one of the best tracks to be included on any Transitions release.

A well-played game of chess, the latest `Transitions' release extends John's winning streak to four. Although he never ceases to amaze me in a club, this disc strikes the chord of opposition in regards to his live performances. Ideally, any great DJ should be able to play both sides of the field with ease; in John Digweed, we find exactly this type of charisma. Infusing the Midas touch on yet another ample collection of brilliant tracks, John extends the limits of a studio DJ's production capabilities to the fourth dimension.

~ Lex

Lighting up our neurons and firing on all cylinders John Digweed has reinvented house music and given every dance lover a stimulating modular mediator between the worlds of trance and ambience with experimentation which counts as probably the next great leap forward in innovative electronica.

For those who thought it doesn't get much better than Vol. 2 or Vol. 3, Digweed has gone atomic. If you haven't been following the transitions series then start now. Sanctify your MP3 player with these tunes and go for a trek around town for a voyage into awe-inspiring sonic surroundings. This is ear candy of a variation not even matched by some of the best names out there. Vol. 4 is extensive also and each ten minute track covers virtually the originality of any timeless dance album.

It almost seems as if nature evolved sound for this album.

I'm always skeptical when an album features a high volume of tracks such as the third volume of John Digweed's Transitions. Call it personal preference or taste, but I find commericial albums that feature a smaller number of longer tracks better than vice versa. Of course it ultimately is about the tracks themselves.

This is definitely a minimal techno album, but it is much thicker and complex than the majority of dreary pure minimalist albums out there. It is also much more electro heavy than most. No progressive sounds to be heard here so if that is what your looking for in Transitions volume 3, I'd advise you to save your money.

During my first listen of this album, I quickly forgot about my love for epic sets and lengthy tracks as Digweed chooses complementing tracks that "transition" so nicely into each other that it is hard to dicern when a new track has actually begun. His mixing and editing is excellent throughout. No big surprise there.

The first 11 tracks are incredible, but I don't like where the set takes us after these amazing initial 40 minutes. In my opinion, a run of very unenjoyable tracks that take away from the set's power overall. Dark and deep works well in most other genres of electronica, but it doesn't bode well for minimal techno. There is just not enough depth in these tracks to make it work. Anyhow, the set recovers after this trek to the dark side with a couple of good closing tracks at the end.

Overall a good mix, but it could have been paramount if Digweed could have resisted the dark side.

3.5/5 stars.

Whether you consider this release minimal or the darker side of progressive house, it sure reminds me of circa 2001 Digweed when he was pumping out massive dark tunes (i.e., his short-lived "Black" sublabel under Bedrock). If you're a long-time Digweed fan and have been to his shows, just think back to the time you were sitting in a dark corner somewhere, near the loudspeakers, had your eyes closed, looking down, bobbing your head, and just soaking in all the abyssimal tunes with all your body (and no, you did not have to be high!). Give this album an honest listen and you'll be in a similar place. If you prefer the energy of a liveset, well, you can go download his livesets or you can get a plug-in to popular players like Winamp to increase the tempo. Just like how Digweed edits the tracks, as a listener, you have the freedom to listen to it any way you please. If you're just getting into EDM, then you can't go wrong with GU013 Ibiza - Sasha and GU019 LA - John Digweed.

While some long-time DJs are now releasing mix CDs years apart, John Digweed continues to fulfill his promise of a "Transitions" disc twice a year or so. With TRANSITIONS VOL. 3, however, he even gives us two CDs. The Transitions mix is still a single disc, but the bonus CD has a 25-minute extended remix of a Bedrock track. Those who follow Digweed's Kiss 100 radio programme will know generally what to expect here. While the first installment of the Transitions series disappointed me with banal track selection and little development, Digweed has clearly returned to form.

Much of the hype surrounding the release of the mix was due to its inclusion of Sasha's "Coma" as its opening track. While "Coma" is an okay tune, it's no "Xpander" or "Wavy Gravy". Instead of succeeding on the basis of anthems like many classic progressive mixes, the power of TRANSITIONS VOL. 3 comes from its succession of tracks very close in style, often indistinguishable, but continually raising the energy. The climax of the mix comes with a stunning return to turn of the millennium progressive, with tracks like Aldo Cadiz's "JS Cuba" and Ink & Needle's "Seven" strongly resembling Anthony Pappa's NUBREED release, and Someone Else's "Lowdown Brittle (Wink's Profound Sound Interpretation)" reminiscent of Digweed's own BEDROCK mix of 1999. A lot of fans of dance music listen on very basic equipment, and indeed few mixes require anything more. However, I strongly recommend listening to TRANSITION VOL. 3 on quality headphones or speakers. My impression of the album changed to the overwhelmingly positive only after I did so--at first I just didn't see what the fuss was about. Digweed isn't mixing minimal progressive house here as one might think. Rather, the detail in many tracks is in the low end and so should be heard on something with reliable bass reproduction.

While this is obviously computer-mixed, such possibilities are sparingly used and this is a pretty standard mix where one track follows another. I think Sasha's FUNDACION NYC mix CD of 2005, where the DJ had three or four tracks regularly going on at once and created a stunningly fresh multidimensional dance music, should have set a new standard for progressive house. For that reason, I subtract a star from my rating. Nonetheless, TRANSITION VOL. 3 is a worthy purchase, and stands as one of Digweed's best mixes of the last five years.

Hypnotic and energetic. One of the best mixes you will hear anywhere. Truly off the chain. Numerous tracks laid over each other, not just a simple mix. Truly ingenious and unlike anything else out there. This is the future now.

Awesome job, Diggers.

-J

Okay, THIS is why I got into electronic music in the first place: INNOVATION DONE RIGHT.

I really can't say enough good about this disc. It's really a work of art in so many places. Listen on good speakers, with good D/A converters, and let the digital crunchiness, squigglies, pops, and syncopated synthesizer madness churn your brain into a scintillating, vibrating mess of appreciation and awe.

It really is that good. By the last track, I was stunned, unable to comprehend exactly how this was made, or what I was actually hearing. I won't give a track-by-track description, as that's not really possible with this one, so unconventional is the mixing/editing, whatever. Ableton Live IS the future, and this a further testament to the freshness and elegance this program brings to the few truly great DJs who are ever exploring their art.

I just saw Sasha and Digweed in Seattle on the recent tour, and I was very, very impressed. There was a MATURITY and power to this music that made the likes of Armin van Buuren, Tiesto, etc., if they weren't already a bit daft-sounding, sound utterly ridiculous by comparison.

Real electronic music has its own spirit, its own internal culture that seems to stem at least as much from the nature of the machines, of the environment used to make it, as the artists making it themselves. This is electronic music as it was meant to be - pure (devoid of excess schlock), tough (demands respect), graceful (doesn't do stupid build up/break down crap pathetically reaching for cheap thrills), full of unknowable godlike power that is beyond analysis. This music, done right, commands attentiveness and respect from the listener, and that's exactly what John Digweed has accomplished with Transitions 4.

I had to buy this before it was available in the US, as I totally ran out of patience after the live show, and got a Taiwanese import in a really cool rounded case. I intuitively knew once I had removed the shrink wrap that I was in for a real treat. By the end of the eighth track, I was utterly fixated, but internally bouncing off the walls. I let out a spontaneous "F--K!!!" By that time I had to watch myself lest I drool, I was grinning so wide.

If you get it, then GET THIS!

When it comes to evaluating Digweed, one better makes clear, what she/he expects. I loved Digweed back in the old days in his mixes with Sasha and the GU series. To me, his masterpiece was the deep and dark, but energetic and flawless mix of his Hong Kong GU set. Generally speaking, since MI2 (way too much of a studio feeling), Digweed produced either too fancy (guitars) or too spacey music for his style. But that's me, I do understand his need to progress, though.

Transitions 4 is a "complete" set - Digweed style at its best. What a great update! His mix picks you up right from the start, never lets you down. The transitions themselves, well ..., it's Digweed. The more often you listen to Transitions 4, the more it unfolds its beauty.

I am just a regular music listener, no DJ, nor an expert, that's why I am not going to describe further details on the music itself. Other reader my offer you way more information here. I just felt compelled to write a 5 Star review with many thanks to Diggers for delivering such great music tying on his style, when he was at his best.

If you like the early Digweed sets, go, order this set.

John Digweed's transitions series may be one of the best dance series of all time. Labelled as house it is still some of the best trance out there. Second up, this is a way yonder cosmically sized better than Transitions Vol. 2, and that's a hard act to beat. This is one of the best progressive house albums of all time. Digweed has found a niche in his talents and is expanding it beyond all expectations.

After Fabric 20, Digweed went into experimental phase with Vol 1, discovered something good, delivered on the epic Vol. 2 before breaking barriers with Vol. 3. Transitions Vol. 3 isn't just a great CD follow-up to Vol. 2, he has reinvented a whole new sound for house music and may be Digweed's best album to date if not one of the best house hybrid albums you could own. This album is yet another work of art and demands the attention of every dance lover.

And for those who don't like House... well Digweed has gone and made you like it. Get this album now.