Kraftwerk, "Autobahn"

Kraftwerk
"Autobahn"
Philips (1974)
1001 Albums You Must Hear Before You Die

Krautrock is an ambiguous term, conceived during the late '60s as a term to describe the rock 'n' roll that was coming out of Germany. And that was it. Many have now adopted Kraftwerk as the flag-bearers for the "official" sound of Krautrock, which is far from accurate, but also not entirely wrong. After all, the bands in central Europe were more eager to split from the blues-based rock that English and American bands were producing. This experimental nature created plenty of oddball bands (such as Can, whom we've already seen), which included a number of groups that incorporated electronic elements. Kraftwerk is the flag bearer for these groups, to be sure.

Autobahn is widely credited as the album that would define the sound Kraftwerk is now known for (the group had released three previous albums that fell more into the more "traditional" Krautrock sound). The band hadn't completely phased out organic instruments yet —you'll hear guitar, flutes and violin from time to time— but they had phased everything else (bad pun). Synths, electric keys and Moog bass abound.

The defining moment however is the electric percussion of Wolfgang Flür. Kraftwerk didn't invent electric percussion, but it did invent its own. The band is renowned for building instruments of all varieties, and they custom built all the percussion on this album themselves, and it makes a noticeable difference between the previous album, Ralf und Florian, and Autobahn.

This isn't a concept album, but rather an album made up of conceptual songs. The title track was meant to simulate the sensations of driving down Germany's famous motorway, and at 22:43 in length, it gives the opportunity to experience every emotion that driving brings. The thrill of cruising with the top down speeds up to mimic the renowned speed limit of the title highway. Tone shifts replicate the sound of cars whizzing by in the other direction, and the carnival-esque theme that arrives near the end of the track could be the dashboard radio, providing a soundtrack of its own.

The album's other four tracks, although much shorter than Side A, come with themes far from that of driving. The "Kometmelodie" duo mix creepy sci-fi synthesizers with more upbeat melodies to present different outlooks on space. "Mitternacht" echoes with eerie chords like a forest in the middle of the night, and "Morgenpaziergang" wakes up as the warmer morning after.

Autobahn wasn't Kraftwerk's biggest album, but it was certainly the album that led to what's been a massively influential career. If you find yourself bothered by what some consider to be a robotic personality from the band's later music, you're probably best sticking with this one.

INTERESTING FACT: There are many legends about Kraftwerk, as they've secluded themselves well from the media. Ralf Hütter, the group's vocalist and main electronic organizer, is factually an active bicyclist. A legend is that the group would drop him off 100 miles from shows so that he could bike the rest of the way. It's been confirmed that it's happened before, even if not for every show.

NEU!, "NEU! '75"

NEU!
"NEU! '75"
Brain (1975)
1000 Recordings To Hear Before You Die + 1001 Albums You Must Hear Before You Die

Klaus Dinger and Michael Rother split from Krautrock group Kraftwerk because they disagreed with the band's direction. So it only made sense that the resulting group, Neu!, would face similar issues after two albums (note: It will be extremely annoying reading "Neu!" because of the unusual placement of punctuation. I'm sorry but that's the band's name (note: Even more annoying to Americans is that "neu" is pronounced "noy" in German (note: I understand that parenthetical statements within parenthetical statements is also annoying. I'll stop now))). Rother preferred ambient, electronic-based music, whereas Dinger wanted to move toward rock. The album "Neu! '75" dedicates a side to both members' ideas, and realistically should be considered as two EPs versus one album.

As a rocker myself, I naturally prefer Dinger's side B, but Rother's portion deserves attention, especially if you can appreciate work from artists like Brian Eno. Nothing is programmed on side A except for some nature sound effects, but the performers operate like clockwork. Dinger's cowbell literally serves as a clock during "Leb' Wohl," and Rother's vocals rarely veer into emotion. The approach reflects Rother's background in Kraftwerk, a band that once professed the ultimate musical accomplishment would be designing a computer that could write its own music.

It might sounds boring, but there's plenty to praise in the discipline required to pull off songs like "Leb' Wohl." Rother designs music for listeners to see and hear, like when he simulates a tide with a synthesizer early in "Seeland," or when Dinger's woodblock percussion imitates a boat approaching shore during the same track, getting closer to the listener throughout. Of course, for someone with Dinger's ambitions, playing nothing but a cowbell for nine minutes might drive you to record something like side B.

Dinger, now playing guitar and singing, kicks off his half with a beauty. "Hero" operates on the plane of punk, proclaiming a literal eff-you message to just about everyone. The opening guitar licks sound natural and the aggressive kicks to a bass drum mark a new idea for Neu!. To be fair, Rother had no role within side B. Dinger's vocals, perhaps due to his German roots or to Iggy Pop's probable influence, are incomprehensible despite being in English.

Despite the break from Rother's mode operandi, Dinger still demonstrates loyalty to Krautrock. Most obvious is his use of phasing, the process by which a musician speeds up or slows down portions of a song during production (modern DJs use it to prevent lulls during repetitive tracks). Any time you hear a vague hum during the album, it's probably a case of phasing. Synthesizers remain and "Hero" ends on an odd note, with a minute of wind and bird calls. On the whole, Dinger demonstrates how the Krautrock formula could still rock.

Like I said, Dinger's side is more down my alley, but I enjoyed both sides of "Neu! '75." Even if one half doesn't spark your interest, there ought to be something promising on the other side.

INTERESTING FACT: The band's fourth album, "Neu! 4" was released in 1995 in response to the thriving bootleg market in Germany. The recordings were leftovers from 1986, and Dinger never actually told Rother that he was releasing the tracks. Unsurprisingly, the duo didn't make any more music together."

The Prodigy, "The Fat of The Land"

The Prodigy
"The Fat of The Land"
XL (1997)
1001 Recordings You Must Hear Before You Die

The Big Beat electronic music movement is the closest the genre has come to crossing over into rock or hip-hop. Whereas industrial music incorporated enough live instrument playing to be rock, Big Beat names like Fatboy Slim and the Chemical Brothers (both of whom we've seen before) merely sampled those instrumentals in, albeit with great skill, but The Prodigy pushed the limits of genre the further than anyone.

Many associate with group with punk, despite electronic music being the instrumental opposite of what many punks stand for. Prodigy's provocative, censor-baiting methods invoke comparisons however. Single "Firestarter" and "Serial Thrilla" feature lyrics that extol anarchy and troublemaking (the video for the former promotes arson as well). If there was a political message, the band would virtually be an electronic Sex Pistols. Vocalist Keith Flint made himself over for the album, and his odd spiked coif could even be seen as a tribute to John Lydon.

The fact that the group features lyrics in more than half the tracks on "The Fat of The Land" is rare in itself for an electronic outfit. Flint's vocals on "Firestarter" and "Breathe" are simple and oft-repeated, but it's no sample. "Diesel Power" is a legitimate hip-hop track, as it features multiple verses and a hook, all delivered by Kool Keith of the Ultramagnetic MCs.

Despite the unusual level of attention paid to wordplay, programmer Liam Howlett knows that the music has to make people dance, no matter how aggressive it is. Hence the masterful opening track, and button-pushing single "Smack My Bitch Up." The lyrics are especially simple here, but also the most effective on the album. The titular line, delivered again by Ultramagnetic, sounds like hip-hop culture, but the message is straight punk. And when I say the message, I don't mean Prodigy condoned domestic abuse. I mean Prodigy wanted to give the finger to anyone who suggested they shouldn't use the line. Howlett's aggressive beats could induce raving for some and moshing for others. The seamless tie-in of an Indian vocal melody made this song a must for commercials and movie trailers, even with the controversial content.

This music is just as great for dancing as the products of other Big Beat acts, but that doesn't mean it needs to be cheery. "Breathe" and "Funky Shit" are sinister, but in a propulsive manner. "Naryan," a track that revolves around the Indian musical themes found throughout the album, muses over the fall of Western culture.

1001 Albums features a quote from Howlett: "Here we are, love us or hate us. If that's punk, then we're punks." I don't know if that makes them punks, but after packing such a manifesto on top of great music, they can be whatever they want and the world won't care.

INTERESTING FACT: If you didn't catch on, "Smack My Bitch Up" stirred up some controversy. So much so that British group PRS for Music named it the "most controversial song of all time" in 2010.

808 State, "Ninety"

808 State
"Ninety"
ZTT (1989)
1001 Albums You Must Hear Before You Die

I just read Trent Reznor's opinions on electronic music, it's less than shocking to find out that he sees most of it as stupid and mindless. He might have a different opinion now, but I'm sure young, brash Reznor would have said the same thing about 808 State's "Ninety" when it debuted alongside his "Pretty Hate Machine" in 1989. Acid house and rave, the sub-genres in which "Ninety" worked, are among the least thoughtful electronic categories. So is the album worth listening to? You bet!

Rave is a technique that's based in repetition. It was typical behavior when 808 State was big, and it's only gotten more pronounced as time continued. Beats are typically quick, with "verse" and "chorus" structures, often with a bridge. I believe "Sandstorm" by Darude is still popular with the kids, and it gives a good idea of what rave encompasses. Less thinking, more dancing (it's no secret that Ecstasy was gaining mainstream acceptance during the late '80s as raves became the thing to do).

The good news is that 808 State came early enough in the game that they didn't need to adhere to the standards now expected of "techno." They used the verse/chorus setup, but different verses took different approaches. Check out "Cobra Bora," which takes turns revolving around different forms of "instrumental" programming. None of the beats are that complex, but at the same time, it doesn't get boring. The bridge dramatically changes directions and comes in the form of a James Bond-style theme. Club-goers probably weren't tuned-in enough mentally to take notice of the group's creativity, but they wouldn't be confused what to do with their bodies. "808080808" most evokes the rave feeling, with a hectic drum machine and electric signals blasting. The bridge sounds like an '80s action flick, complete with a shootout that evolves from ping-pong balls to sci-fi lasers.

Following "808080808," the band reminds listeners that they can take moments to breathe. "Sunrise" features (what I believe to be) a Chinese Dizi flute, and a slow jazz bass line. It's interesting to note the track that made the most performance-chart headway was "Pacific 202," another chill-out song. These two tracks sound more like the burgeoning trip hop movement, such as Everything But The Girl, who we've looked at already.

Trent Reznor has evolved to making complex and professionally erratic electronic beats for his projects, like his new band, How To Destroy Angels. Good for him, but he's a very intense dude. I might recommend he put "Ninety" on and give dancing a try. Guilty pleasure perhaps, but it might kill some stress.

INTERESTING FACT: "Pacific" didn't have any film appearances, but it did appear in two video games: "Grand Theft Auto: San Andreas" and the earlier "Sonic The Hedgehog: CD."

Fatboy Slim, "You've Come A Long Way, Baby"

Fatboy Slim
"You've Come A Long Way, Baby"
Skint (1998)
1001 Albums You Must Hear Before You Die

There are two kinds of (good) hip-hop producers. Those who are honestly great at drawing beats from a keyboard and other electronic devices (The Neptunes) and those who have a huge mental library of music and know how to sample from it (Rick Rubin, Kanye West). All these producers have the benefit of a rapper singing over them. If the beat is good, you get kudos. If the beat is bad, people just pay attention to the lyrics. If both are bad, the rapper gets off worse than you. Norman "Fatboy Slim" Cook and similar "Big Beat" era electronic artists have more at risk: If their beats suck, there's no one to take the fall.

If Cook were to be lumped into the two categories I listed above, he's much more of the latter than the former. Like all producers, he at least dabbles in composing, but "You've Come A Long Way, Baby" demonstrates that he's at his best when sampling. Three of the tracks on this record are strictly homemade, and they're among the more boring of the collection. "Acid 8000" might be better for the clubbing/Ecstasy demographic, but it doesn't hold up to the hits on the same disc. Cook has a disadvantage to some degree with programming. As of 1998, the technology that's available to modern dubstep producers was lacking. Plus Cook preferred less advanced equipment, even for the time, such as his Roland 303 bass synth.

I always try to highlight the tracks you've never heard before, but on occasion, the public latches onto the songs that best emphasize the points I want to make. On "Baby," the tracks that exemplify Cook's mashing skills are the immortal "The Rockefeller Skank" and "Praise You," which also got pretty darn popular, but can be forgiven for not embedding itself in the listener's brain like "Skank." The title, "The Rockefeller Skank," might not ring a bell, but everyone will recognize its hook, which continues to befuddle listeners today: "Right about now, the funk soul brother." Whether the line made sense in its original use, British rapper Lord Finesse on "Vinyl Dog Vibe," is of little matter. Stacking hip-hop on Duane Eddy-surf guitar made for one of the hardest songs ever to get out of your head.

For all the hook that "Rockafeller" possesses, it doesn't live up to the album's first single, "Praise You." Whereas the last track caught an audience by matching modern hip-hop with old school rock 'n' roll, "Praise" is strictly soulful in its approach. The spoken-word vocals of Camille Yarbrough mesh up perfectly with a simple piano riff borrowed from a stock music disc, and the result is a single that lives up to the dance potential of "Rockafeller, while maintaining a genuine feel-good vibe, especially when compared to less mature tracks on the album, such as "Fucking in Heaven."

If there's anything negative to be said of Cook's music, it's that his limited technology catches up to him. Every track but one exceeds five minutes, and the producer relies on the same tricks throughout to fill space. In particular, his use of a stutter effect to slow the pace (usually towards the end of a track), gets repetitive by the end of the album. However, the singles, and there are quite a few on "Baby," are well worth it.

INTERESTING FACT: Cook had some qualified help making music videos for his singles on "Baby." Screenwriter Roman Coppola directed the video for "Gangster Trippin'" and Spike Jonze, Oscar-award winning for Best Director for "Adaptation," handled "Praise You," which you should watch.

Deee-Lite, "World Clique"

Deee-Lite
"World Clique"
Elektra (1990)
1001 Albums You Must Hear Before You Die

As we learned from David Byrne and Brian Eno during "My Time In The Bush of Ghosts," sampling was going to be big. Between sampling and the synthesizer, electronic music was just begging to be made. And the formula remains largely the same. DJs and hip-hop producers, both make their livings by reaching into a grab bag of obscure samples, or tapping something catchy out on a keyboard (some better than others). Girl Talk has made an entire career out of mashups. Back in the day, a few artists had the bright idea that actual instruments could be used, and not just sampled!

As the '80s wound down, the prominent genre of electronica was house that for the most part sounds exactly like the decade it represented. Drum machines (often the 808 popularized by Afrika Bambaataa) produced simple, 4/4 beats en masse, and synthesizers provided the melody. This music was (and is) terrible. Fortunately, groups like Deee-Lite came around and made things all-right by adding an ounce of heart.

Deee-Lite had plenty of sampling and keyboards for "World Clique," coming from Japanese DJ Towa Tei and Russian DJ Dmitry. But the presence of a live vocalist, Kierin "Lady Miss Kier" Kirby, gave the tracks soul, literally and figuratively. Literally, in that a human voice gave life to the mostly-electronic music, and figuratively in that Kirby just has a very soulful voice. This made a difference when the group brought in its guest stars: Bootsy Collins, Maceo Parker and Fred Wesley, the bassist, saxophonist and trombonist, respectively, of Parliament-Funkadelic.

The three extra musicians make their appearances during four tracks that number among the best, fusing seamlessly with Kirby's vocals. Foremost is Deee-Lite's one-hit wonder: "Groove Is In The Heart." The live bass and horns, not to mention Collins's unmistakable vocal parts push this track to the top of the list. Everyone knows the hook (but if you don't: "I couldn't ask for another…Groove is in the hearrrrrrrrt"), but the twin disc jockeys make their presence known with one of the most clever samples I've heard. That sound of a cheering crowd you hear throughout the song? That wasn't just an addition for the "Jock Jams" compilation. That effect propels the song forward just as much as Collins's bass, adding energy and making it feel like an L.A. Lakers pre-game show.

The trio of funk musician's also make "Try Me On…I'm Very You" and "Smile On" some of the better tracks on "World Clique," and lend an air of credibility to the album's funky feel. Even when the group doesn't have guests in the studio, Tei adds life to songs like "Good Beat" by playing a real upright piano, not an electric or synthesized keyboard.

Deee-Lite doesn't seem too complex compared to many modern, whiz-bang producers, but in the face of '80s house music, "World Clique" is still fun without being embarrassing. In a way, it set the scene for progressive electric-heads like Moon Hooch, who 20 years later have adjusted the sounds of the house genre to be played on saxophones instead of keyboards.

INTERESTING FACT: The song "Groove Is In The Heart" peaked at no. 2 in the UK Singles Chart. Due to tie-breaking rules in the UK, if two songs are even for a spot, the track that had placed higher the previous week would retain the higher position. Therefore, the Steve Miller Band's "Joker" took the no. 1 spot. After complaints from Deee-Lite's record company, the rule was done away with, allowing for ties for the top spot, but lo, "Groove" never got back to no. 1.

The Chemical Brothers, "Exit Planet Dust"

The Chemical Brothers
"Exit Planet Dust"
Virgin (1995)
1001 Albums You Must Hear Before You Die

Today (2012) is, I would argue, the highest point electronic music has reached in its relatively short history. Thanks largely to Super-DJs in the subgenres of house (Deadmau5) and dubstep (Skrillex), electronica almost exists on the same popularity plane as hip-hop and pop. It's not the first tidal wave of electronica to catch the world's attention however, nor the best (as I and many critics would agree). In the mid-'90s, The Chemical Brothers and England's "big beat" movement would make electronic music acceptable radio fare.

Much like how the grunge movement almost singularly came out of Seattle, Manchester gave birth to almost every major big beat act at the same time, including The Chemical Brothers, today's subject, as well as Fatboy Slim and The Prodigy. The big beat format tried to incorporate rock as much as possible, most often by simply sampling guitar-based tracks and by using more realistic-sounding drum machines, unlike the 808 model popular in hip-hop (although groups like The Prodigy feature a live drummer). Of course the groups used plenty of synth-loops and other electronic effects as well, but on the whole this is some of the most organic electronica ever.

"Exit Planet Dust" is commonly cited as the first widely released big beat album, and (non-sibling) members Tom Rowlands and Ed Simons hit the listener head-on with the new style right out of the gate with the single "Leave Home." The track opens with a short Kraftwerk sample and some classic hip-hop table scratching, but the best part has to be the bursts of a funky Motown bass guitar. I would hazard that neither of the Brothers played the instrumental insert themselves (although I can't find a citation for the sample), but the part creates the sense of a live performance, something lacking (again, in my opinion) from many electronica albums. Add the simple, repeated vocal line "the brothers gonna work it out," and the group is out of the gate with a bang (or a bass).

The fast and heavy approach continues throughout the first half of the album, continuing the standard set during "Leave Home" on other singles "In Dust We Trust" and "Song To The Siren." The tracks slow down for the most part during the second half of the record. "Chico's Groove" sets the tone with a soft rock intro and leads up to the similar "One Too Many Mornings." The only two tracks that can be considered truly non-instrumental, "Life Is Sweet" and "Alive Alone" (featuring Tom Burgess of The Charlatans, and Beth Orton, respectively) close the album out in a relatively quiet mood. Prior to "Alone," "Playground for A Wedgeless Firms" temporarily reestablishes the big beat feel however. The Chemical Brothers never achieved the popularity of Fatboy Slim or The Prodigy (probably because those two generated countless catchy hooks), but the Brothers deserve credit for, if not actually founding the big beat movement, releasing the groundbreaking first album from it. Don't just take my word for it; Slim himself has credited the Brothers for its inspiration on him.

INTERESTING FACT: The Chemical Brothers were originally titled The Dust Brothers, after the duo who made the Beastie Boys critically acclaimed with "Paul's Boutique." The latter sued, and the new moniker was established. The incident partially led to the title of "Exit Planet Dust."

Jean Michel Jarre, "Oxygene"

Jean Michel Jarre
"Oxygene"
Disques Motors (1976)
1001 Albums You Must Hear Before You Die

Imagine if you will, modern music listener, the club scene in the mid-'70s. Electronic music has not been "invented" yet, per se, and hip-hop was still a gleam in the eyes of some kids in The Bronx. Rock 'n' roll per The Comets was no longer in vogue for dancing. Thus disco, a scene that either you or your parents still regret taking part in, held sway. Something clearly had to be done. One of the biggest names in getting that something done was Jean Michel Jarre.

Jarre, the son of a French film composer and native of Lyon, was not like the Armin van Buuren disc jockey-style figurehead that currently looms over the electronic scene. He was a ballet composer who found early in his career that he enjoyed the hardly-explored territory of synthesizers more than traditional keyboards. Today, simply using synthesizers doesn't qualify as electronica, but at the time of "Oxygene," an entire album of instrumental synth tracks (accompanied by other futuristic instruments to be mentioned later) was groundbreaking stuff.

Jarre was fortunate to exist within the timeframe that he did. The world, having it's dreams of space realized by the lunar landing spree of the '60s, was looking farther and further outward. "2001: A Space Odyssey," among other releases, had equated the sound of the synthesizer with the great unknown of the universe. "Star Wars," although not a synth-based soundtrack, would reignite the interest in space in 1977, the year "Oxygene" was released in the United States. The world had space on the brain, and Jarre had the perfect soundtrack to fill it.

"Oxygene Part 2" (the six tracks share the same title, split into parts, one of several reasons the album was found too risky by many industry heads. Nine Inch Nails would echo the style on its 2008 instrumental album "Ghosts I-IV") is the best example of the classic outer space style, and also demonstrates the flexibility of a synth. There are the long, ethereal chords that everyone associates with the instrument (per Rush's "Tom Sawyer"), but there are also looping melodies and curious chirps that combine to create a vivid soundscape. If you're looking for an obvious influence on modern electronica, check out the "laser beam fade" at 0:50, an effect used constantly, perhaps most famously as the intro to Eiffel 65's "Blue (Da Ba Dee)."

Jarre's music was part of the science fiction trend, but perhaps proves even more influential to the scores of '80s horror films, such as John Carpenter's "Halloween," and cult classics like "Cave Dwellers." A good part of his horror motifs is not only Jarre's proficiency on the synthesizer, but also his incorporation of the theremin, another "nu-world" instrument that goes a long way on tracks like "Oxygene Part 1."

For being on the threshold of electronica, this album is admittedly not very danceable. It has its moments (the intro to "Part 1" and about halfway through "Oxygene Part 5"), but this album is best appreciated for its contributions to the later scene. This album is perfect if you've got a taste for the schlocky soundtracks of sci-fi and horror films however. If you enjoyed the Aphex Twin album examined earlier on this blog, you'll spot the references back to Jarre's world.

INTERESTING FACT: Jarre holds the record for the largest concert attendance ever, a Moscow extravaganza celebrating the city's 850th anniversary in 1997. The show had 3.5 million in attendance, the fifth time Jarre has appeared before audiences more than a million. Another one of his contributions to modern electronica is his use of lasers and lights as part of his performance, cementing his reputation as a live performer, rather than a studio artist.

"Oxygene Part 2"

Aphex Twin, "Selected Ambient Works 85-92"

Aphex Twin
"Selected Ambient Works 85-92"
R&S (1992)
1000 Recordings to Hear Before You Die + 1001 Albums You Must Hear Before You Die

Electronic music is almost automatically associated with dance, for better or for worse. The stereotypical image is of young people drinking and waving glow-sticks during a rave. Richard “Aphex Twin” James, an already established club DJ, had other ideas. His work on his debut under the Aphex Twin name, “Selected Ambient Works 85-92” was like a shot of insulin to rave’s adrenaline: calming and ambient.

Many of the tracks on “SAW” work just fine for dancing, but the method has an element of control often hard to find in faster-paced club fare. James slows down his beats and adds the titles “Ambient” factor by adding echoes to much of the synths used. The calm pace of acts like Aphex Twin led to the term/genre “intelligent dance music,” a subgenre I find to be overly generalized. Suggesting that less constrained acts aren’t intelligent simply for being fast is ridiculous, but there’s no doubt one can’t simply start bouncing around when listening to “SAW.”

All critics use the term “ambient” en masse when describing “SAW,” but the reader has to be careful not to take the word for as one simple definition. Every one of the 13 tracks is truly ambient, but it’s impressive how many shades of ambient James can produce on the album. Some are prototypically ambient: slow synthesizers and dreamy echo effects. Others, like “Ptolemy” are perfectly suited for dancing with programmed open-close hi-hats in full force, while others like “Schottkey 7th Path” are downright creepy. All use the same echo effects to get the ambience across.

Perhaps the most difficult tracks to contemplate as being ambient are the dance tracks. James uses layering nicely to merge the seemingly paradoxical terms. For example, on the track “Tha,” one layer is a slow synth that sounds almost new wave by itself. Below it is a click-track percussion that sounds like a regular dance-worthy electronic track. Together, the best half-and-half you’ve ever had in your musical coffee.

James has mastered uniting the counteracting moods. Often, when an artist tries a balancing act between two genres like Aphex Twin does, the outcome is an overly watered-down product. Selected Ambient Works is not.

INTERESTING FACT: Two movies are sampled during the album. The obvious is Gene Wilder’s quote from “Willy Wonka and The Chocolate Factory,” but Green Calx is a constant barrage of sound effects (but no vocals) from “Robocop.”

"Ageispolis"