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    The Phantom Tollbooth 1998/Hydro
    Hydro — Aborigination cover

    Hydro

    Aborigination

    (1997)

    Reviewed by John Vanden Heuvel

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    Label N*Soul RecordsThe Phantom Tollbooth1998
    drum and basselectronic

    NSoul Records has finally done it again! Aside from Virus's brilliant work on Analogue, I have enjoyed most of the label's releases, but found them lacking. As a result, I have usually been reluctant to hand them to friends. That's definitely not the case here.

    From the opening title track to the closing, a remix of "Rawar" (originally on their debut Spiritualisation), this album is an electronic music masterpiece. Imaginative ethnic samples, breakbeats, and the occasional haunting vocals combine to make Aborigination a wonder to hear. Special mention goes to the first two tracks on side two of the tape, "Crystal Throneroom" and "Liquid Prayers." The former is a beautifully worshipful piece with Everything but the Girl influences. The latter, again poignantly beautiful, features Nigel Fair singing prayers in Russian.

    In another example of the album's musical diversity, this track feels like something from the Pet Shop Boys' Very/Relentless period.

    Despite the individual stylistic differences between various songs, Aborigination is extremely cohesive, and is best enjoyed played start to finish. Aborigination is an enjoyable album that definitely has me waiting for more material from Robbie Bronnimann et al.

    4.5 tocks

    Other coverage for this album

    7ball #19Reviewed by Derek WalkerThose under the impression dance music is a one trick pony, restricted to technobabble and "get the people moving" rave anthems, will be pleasantly surprised by Hydro, the production collaboration of Robbie Bronnimann and Ray Goudie. On Aborigination, the duo's long-awaited sequel to Spiritualization, Hydro marries globe-spanning instrumentals to hard dance beats to present a thoroughly enjoyable…The Phantom Tollbooth 1998Reviewed by James StewartAt the start of 1997, I wouldn't have been caught dead listening to what I describe as 'dance music.' Last year changed all that, though, and this album was one of the reasons. My problem with dance music was that most of what I'd heard was cheesy chart-techno, with pathetic lyrics and absolutely no melody. This album is far from that. Known to me previously as "that band that remixed Iona," this…

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