Music : Transitions 4 |
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Rating: - * Powerful, Detailed, Full on ... I have heard Digweed live and I have purchased his commercial releases. I have always been impressed with his live sets and typically underwhelmed by the cds. This Transitions, however, is a change, quickly and easily capturing some of the incredible talent of the live sets, in the studio. Transitions Vol. 4 is incredible mixing, with a decent selection of music that keeps you interested, and wanting more. It is so hard to describe dance music these days with its varying categories and subgroups (from House, to Techno, to Tech-House, progressive, trance, electro and the like). But this set is a little bit of it all, done masterfully. The tracks evolve and tell you Digweed was paying attention to every bit vs. some DJs that throw on a track, leave the room only to return to throw on another track. That's not being a DJ, that's being a jukebox. Never boring and without being totally repetitive (a problem that plagues too many commercial releases), this cd dives right in with layers of powerful music, innovative and stylist mixing that keeps Digweed relevant in this genre. Techno without being tedious, at last. There are a few weak spots, however. I will continually pan DJs that forget that alarm clock sounds are designed to be annoying to the ear and, therefore, should not be allowed in their mixes, but those instances are rare and mildly forgivable. I consider this one of the best Transitions and look forward to hearing more like it. Rating: - * After a smashing start.. what happened? ... With one of the best starting sequences I've ever in any album, I was excited about transitions 4. However, the truth is there is nothing worth writing home about beyond track 3 (which is absolutely delicious, I may add). What a shame, after that opening. Rating: - * Deep, dark club house ... This is a very good set. I didn't like Transitions 3, or about half of Digweeds commercial sets (preferring live sets) but this was a suprise. Great heavy drums in the middle and at the end. Rating: - * Tight emFire edits & lush soundtrack, mostly weak remixes ... This is a mixed bag -- the gems here are on the 2nd disc, because most of the remixes on the 1st disc are droney, boring, and don't add substantially to the originals' worth. For example, "Park It In The Shade (Audion Deep Steeple Mix)" is 12:20 min. long, but fails to really evolve aside from formulaic adding/removing elements in 8-bar sections. As background filler, it sort of works, but isn't compelling active listening. Overall, the remixes package is regressive, sad, and aimless -- the only one I'd speak up for is "Mongoose (The Fields Disco Mix)", because The Field has a rare gift to float hypnotic loops without being mind-numbingly boring. That's really rare in electronic music, and to give you a better idea where I'm coming from, I love it when producers can weave loops together with solo melodies, or introduce little bits and edits to spice things up (key example: James Holden's "A Break in the Clouds"). If you're new to Sasha's (and his collaborators) music, the 2nd disc is a fine dish, because the tighter edits are shorter (removing the long intros/outros meant for DJs to mix), punchier by virtue, and the melodies are in fine form. Progression abound! "Who Killed Sparky?" is a fine piece of melodic tech-prog-house-whatever-they-call-it-nowadays, peppered with glitchy edits that a fan of James Holden would love -- infact, it's reminiscent of Holden's ostinato-laden remix of Nathan Fake's "The Sky Was Pink". The emFire melodies find their way into the "New Emissions Of Light & Sound Film Score", which is overall ambient/chill-out in mood and features variations of some of the aforementioned at slower tempos. For example, the distinctive lines of "Coma" find their way shortly past 13 minutes in. Very nice to go to sleep or relax to. As a mix that goes over 40 min., there are some parallels to past mixes Sasha's done, like Involver (Involver 2 coming up!): long pads, cloppy mid-tempo beats, and swirling arpeggiations bind the groove. It's a seamless, rewarding listening, which makes me wonder why some of the individual themes weren't developed more and included as unmixed tracks instead of the uninspiring remixes. Rating: - * A very boring mix. I sold it after 3 listens. ... A very boring mix. I sold it after 3 listens. It's the tracks... very uneventful and flat. Vol. 3 was not very good either. Digweed is either way on point or totally off for me. Never inbetween. Transitions 2 is the best by far. Checkout his djmag mix. It's pretty good overall. |

The prize must have come, at least in part, because alongside the poverty and dispossession, Steinbeck chronicled the Joads' refusal, even inability, to let go of their faltering but unmistakable hold on human dignity. Witnessing their degeneration from Oklahoma farmers to a diminished band of migrant workers is nothing short of crushing. The Joads lose family members to death and cowardice as they go, and are challenged by everything from weather to the authorities to the California locals themselves. As Tom Joad puts it: "They're a-workin' away at our spirits. They're a tryin' to make us cringe an' crawl like a whipped bitch. They tryin' to break us. Why, Jesus Christ, Ma, they comes a time when the on'y way a fella can keep his decency is by takin' a sock at a cop. They're workin' on our decency."
The point, though, is that decency remains intact, if somewhat battle-scarred, and this, as much as the depression and the plight of the "Okies," is a part of American history. When the California of their dreams proves to be less than edenic, Ma tells Tom: "You got to have patience. Why, Tom--us people will go on livin' when all them people is gone. Why, Tom, we're the people that live. They ain't gonna wipe us out. Why, we're the people--we go on." It's almost as if she's talking about the very novel she inhabits, for Steinbeck's characters, more than most literary creations, do go on. They continue, now as much as ever, to illuminate and humanize an era for generations of readers who, thankfully, have no experiential point of reference for understanding the depression. The book's final, haunting image of Rose of Sharon--Rosasharn, as they call her--the eldest Joad daughter, forcing the milk intended for her stillborn baby onto a starving stranger, is a lesson on the grandest scale. "'You got to,'" she says, simply. And so do we all. --Melanie Rehak

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