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.
~James Woodruff
