COLLECTION

Overall these 18 tracks cover quite a bit of musical territory with a consistent focus on Drum'n'Bass, a staple of British clubs at the times these tracks were originally released. As a result, the musical element of choice is percussion and breakbeat is king on all of these tracks. Each artist, however, has a radically different way of applying those beats. Mick Harris is best known for his creeping and ebbingly slow dub version with immensely thick beats overlaying the traditional breakbeat. Interceptor has an edgy groove to its tracks that urge the body to gyrate so bewilderingly slow that you might confuse the music for a ballad. One thing that stands out among these tracks is the prevalent use of vocal samples, absent form a large majority of Drum'n'Bass. It is these vocal samples that give the tracks their personality and ultimately make them rise above their incessantly repetitive brethren.

Jester (courtesy of the Sonic Boom website)

Overall impression: great. This double disc set collects tracks from the defunct Possible label (run by Mick Harris of Scorn) which Invisible has now taken under it's wing. All of the tracks are from '96 and '97. If you're familar with recent Scorn, such as "Zander" and "Whine", then you'll have an idea of what to expect on this set:  big-nasty-phat-ambient-dub- drum 'n bass. The tracks range in tempo from the slow grind of Scorn to the manic snare fills of Ambush, but the general theme is present throughout. These guys do it as good as anyone out there. Very nice stuff, a little hard to listen to all in one sitting, but one heck of a single cd priced value (once again, Invisible treats their fans right). Highly recommended to Scorn lovers and the like ...

mark@southwind.net

Founded by Mick Harris, Possible Records is a Birmingham-based label specializing in releasing "breakbeat" 12"s -- trancy music relying dominantly on drums and bass. The double-CD Sonics Everywhere compiles material originally recorded in 1996/7, and is released for the first time in the US by Invisible at single CD price. Aside from tracks by Mick Harris' own project Scorn, the set also contains music by Jim Plotkin's Jupiter Crew, Eraldo Bernocchi's Interceptor, as well as PCM, SIMM, Ambush and Quoit. Harris has described Possible as "[a]n open label with an open mind, an array of sound and color." Be that as it may, the music on Sonics Everywhere does have a very consistent sound. There are slight variations between the tracks by the various artists featured on the compilation, but Possible (at least as represented on this release) has a very recognizable sound.

The four tracks by Scorn are strongly reminiscent of the later Scorn albums Logghi Barogghi and Whine. Harris displays his superb percussions over a background of groaning bass grooves. Sound effects ranging from piercing, drilling pulses to stuttering, reverbed samples cut or sail through the dense walls of drone. Further in the distance of the music, subtle harmonic textures course along, adding a melodic element to Scorn's selections that is largely absent on the rest of the material on Sonics Everywhere.

Ambush is also represented by four tracks, and appear to have been more dynamically mixed than any of the other projects, making one jump out of the seat, especially as "Tracking" kicks in. On a couple of the pieces, the bass is comparatively subdued, but on "Inside Out" it is extremely dominant. The driving acoustic percussions, however, are the prominent presence on all of Ambush's cuts. The arrangements are minimal even for this compilation, with only a few, sparse additional elements aside from the rhythms and bass, and a sound that tends strongly towards the monotone.

The two tracks by PCM have the strongest sense of development and variation of the set. "Year Zero" incorporates a number of effect sounds, and samples concerning the collapse of civilization and order. The percussions are accelerated, and a foreboding bass theme underscores the piece, which plays much like a soundtrack for an apocalyptic action thriller. PCM's other track - "In the Cooler" -- is more in the general vein of the compilation, although an extended sequence of sampled alarms and sirens opens the piece, and are used throughout the piece for texture.

While still relying heavily on percussions and bass drone, the tracks by SIMM and Quoit are generally a little more ambient in nature. Other instruments and elements play a larger role in the compositions of these two projects. "These Days" by SIMM especially stands out by the introduction of a virtuoso saxophone performance about halfway through the piece, and both of Quoit's selections feature simple progressions of chords looped over and over as musical backdrop.

Jupiter Crew sports the highest bpm rate of the roster -- at times the percussions free-wheel along with a jazzy attitude, at other times the machinegun beats are suddenly reversed and play backwards. Plotkin's creations are some of the more textured on the compilation, with distorted guitar harmonics and other thematic elements used consistently in conjunction with the perennial deep bass chords.

Both CDs of the set are gracefully closed by Interceptor. The beats of these songs are slower and more soulful, and feature actual song (or, very extensive voice samples?) The backgrounds of the songs are painted with occasional effect sounds, and high-pitched ringing sound waves that add an element of unease to the otherwise warm compositions.

Sonics Everywhere is a big mouthful to swallow in one sitting, unless one is a fanatic bass and drums addict. Most of the tracks are very appealing when listened to individually, as one would have in their original appearances on 12". However, lumped together on a double-CD, the tracks lose some of their listening potential and integrity.

Michael C. Lund (courtesy of the Last Sigh website)