Description
Aborigination is the sophomore album by the British techno project Hydro (a side project for Robbie Bronnimann of dba, his wife Shaz Sparks, Ray Goudie of Unity and Heartbeat fame, and DJ/composer Andy Hunter), released on Orange Records in 1997, a division of NGM (“A New Generation” is a Bristol, UK based pioneering ministry established in 1987, engaging youth culture), marketed and distributed by Alliance Music in Europe. As well released on N•Soul Records in the US. The album was produced by Ray Goudie and Robbie Bronnimann.
Before you start reading this, think about experimental tribal club music. Like it? Okay, if you do, you will be lyrical about the new album from Hydro, ‘Aborigination’. This studio project is produced by Robbie Bronnimann and Ray Goudie and includes collaborations of deejays Kenny Mitchell and Andy Hunter, Shaz Sparks (dba) and Steve Apirana. With featuring tribal tunes on the first track «Aborigination» along with Apirana’s Maori shouts the album gets a grip on you right from the beginning. Also, this first cut gives you a feeling of the atmosphere on the album. Having discovered a common thread that links all tribes and lands as they worship the One, Hydro take you on a rhythmic excursion that spans the globe. All the tracks are outstanding! Let me highlight some of my favourites. «Celtech» takes you back into Medieval times, featuring Celtic monks together with a banging techno beat. «Push» gives you some “in yer face’ lyrics: “I push the rhythm and touch tha’ Healer.” Brilliant! The easy listening mix of «Serengeti Storm» is not easy listening at all; the stirring jungle beat makes you want to move. My favourite track is «Crystal Throneroom». It features Shaz’ vocals, combined with a drum ‘n bass sound. Words fail here, all I can say is that this song is beautiful. Anyway, all the tracks mentioned above are just a few of 12 brilliant tracks, including the 12″ remixes of «Birth» and «Rawar». I nominate ‘Aborigination’ to be the dance album of the year! [Manja Visser, Cross Rhythms, August 1997]
At 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 album sees Hydro taking their eclectic influences one step further with samples from Maori chants and Russian orthodox prayers, to their own synthesized jig and various kicking dance tracks. The group is really a side project from Robbie Bronnimann (dba) and Ray Goudie (formerly Heartbeat), and they have collected around them a group of collaborators who have each added to the album with their own special talents.
The night before sitting down to write this review, I saw a guy called Rob Lacey do a one-man play based on his own life, which culminated in an amazing stream-of-consciousness, babble-of-nonsense ending with “would you mind if I have a break . . . down?” That monologue is used here in the track, «The Beginning Of The End», and it is an excellent piece to use, working very well with the drum machine-dominated sounds surrounding it.
Some tracks have elements reminiscent of Dead Can Dance (particularly «Celtech») and Iona (parts of «Crystal Throneroom»). The dancier side borrows mainly from the housey-techno and ambient sounds that were prominent a couple of years back, but the combination of influences keeps this from sounding dated (other sub-genres have obviously influenced the producers also).
As something of a Celtic music purist I was a little skeptical about the track «Jiggle», which is a jig produced by the Hydro team. Unfortunately, while the track may be popular with some clubbers, it sounds far too artificial to work for me. Another track which doesn’t fit very well for me is «Birth» – particularly the beginning. The sounds used (the groans of a woman during labour) grated on my ears after a while.
The vocalists used on the album are excellent. Shaz Sparks (dba) is especially prominent, and the vocals provide both sound effects and some lyrics. The lyrics in English are mainly explicitly Christian, and are fairly simple but not cliched. The album has a worshipful feel in many places, since the Hydro project was begun as an attempt to birth some top-class dance music in a worshipful environment.
One track that has excited a lot of people in dance clubs is the anthemic «Rawar», which closes the album. This borrows from a rock guitar lead riff and builds a strong beat alongside it. Presumably excellent live, I’m not sure quite how long a lifespan this will have as a recorded track. Being at the end of the disc, that isn’t too big a problem.
Many attempts at dance music coming from Christian circles have been accused of being dated, and not very creative, but this is an album which can’t really be criticized in those ways. While there are aspects that could be developed, and perhaps a couple of ideas dropped, this is an excellent release for anyone looking for creative dance music. [James Stewart, The Phantom Tollbooth, 1998]
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 ‘Spiritualization‘), 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’s 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 definately has me waiting for more material from Robbie Bonnimann et al. [John Vanden Heuvel, The Phantom Tollbooth, 1998]
> Apple Music (https://music.apple.com/us/album/aborigination/205192934)
CD tracklist:
01. Aborigination – 6:08
02. Celtech (Jubente Petrus) – 4:57
03. The Beginning Of The End – 7:01
04. Push – 4:50
05. Didgital – 5:46
06. Serengeti Storm – 6:09
07. Crystal Throneroom – 4:55
08. Liquid Prayers (Текущие Молитвы) – 5:29
09. Jiggle – 5:43
10. Serengeti Storm (The Easy Listening Mix) – 5:36
11. Birth (The Bright And Breezy Stingray Mix) – 5:59
12. Rawar (The Mad Axeman Mix) – 6:39
Note: Samples on Celtech used with kind permission from Linn Records / Taken from the recording Jubente Petrus.
Interview with Hydro, Celtech live, 1998
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