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fieroavian
Mentally Sick



Registered: Jun 2002
Location: Netherworld
Paul van Dyk - The Politics of Dancing

ARTIST: Paul van Dyk
TITLE: The Politics of Dancing
RELEASE DATE: October 23, 2001
TONES: Smooth, Delicate, Energetic, Trippy
DURATION: 74:47 (disc 1), 74:48 (disc 2)


JOHN BUSH / AMG
Before this epic double-disc set for Ministry of Sound, the most respected spinner in progressive trance circles had never released a mix album (barring only a free CD given away with copies of Muzik magazine). While inside the booklet, Van Dyk discourses on the social ramifications of dance music as youth culture (therein the title), the music has a bit more energy. Trance fans will immediately gravitate to the driving one-note bass lines, unmissable breakdowns, and occasional vocal tracks from appropriately ethereal females, though The Politics of Dancing isn't at all dance-by-numbers. Besides venturing into breakbeat and even house territory, Van Dyk also indulges in much post-production of his mix. Though often considered a sin in DJ circles, it's wholly welcome here. Most listeners here are playing along at home, after all, and a few well-placed effects are all that's needed to keep attention up. He crafts a nice transition from "Killin' Me" by Timo Maas to "B.W.Y." by Maji Na Damu and plays with his own remix of U2's "Elevation," working it into the own-production "Autumn." As difficult as it is for any trance mix album to rise from the rut of inferior product, The Politics of Dancing accomplishes at least one of the missions in the title (yes, the liner-note essay is a bit daft).


anonymous customer:
Since the beginning of his producing career, PvD has had a split personality. He was either a standout DJ rocking clubs for hours, or a producer of the deepest, most meaningful trance music many (including myself) have ever heard. Paul has devoted time to both of these equally important fields, yet they are extremely different. Before anything else, let me set up the context for this cd.

PvD as a DJ:
As a DJ, he can make anyplace jump. He is known the world around for being able to hype up a crowd with non-stop beats until early morning. He commands precise power over the turntables that few have ever been able to match. I know this because last month he came to my state for the first time ever, and I had the unbelievable honor of getting to see him. So what if I was underage? It was definitely worth obtaining a fake ID to get in. The point is, those who are lucky enough to see him live, can truly appreciate the skill and talent he has in the booth. His is not a DJ set you will forget the next morning.

PvD as a producer:
As a producer, he can create depth to the music that in my opinion so many other artists lack. His music isn't just a catchy melody with a steady beat like so much of the genre has become. He can blend together sounds like the leader of a fine orchestra. The depth and feeling in his music produces a "wall" of sound that hits you with full force when you crank up the volume, and drift away...

Until now, both of these worlds were too far apart to compare. You can love him as a DJ, or love his music as a producer, but if someone asked me which was better, there would be no way I could answer. Apparently, Paul wanted to bridge the gap between two realms when he made this album. He has "produced" a DJ set. He has reworked tracks to make them his own, then mixed them all together. If ever both sides of his music could be compiled into one cd, this is it.
    You hear his outstanding tracks like "Autumn" and you hear fabulous remixes of other songs. This album is definitely unlike any other album I have ever heard. If you are new to this genre of music, you will become a fan with this cd. But I especially recommend this cd to any true PvD fan, as you will understand its significance on a higher level. This is not an ordinary DJ mix CD. No, it is a Paul Van Dyk CD, in a category of its own.


Dj Triple Helix, customer
I must admit I had reservations about buying this CD at first, fearing another lapse into the monotone and dying Digweed-ian prog-trance sound which is so over used and worn by now. What i actually heard after popping the Politics of Dancing into my CD player absolutely amazed me! I was right in one thing: this IS prog trance, but not like Iever heard it before. This is absolutely a top class and beautiful release equally good for spine tingling, bass pounding party atmosphere, while being cool enough to listen to while chilling out or doing homework. Let your volume knob adjust for either case.
    PvD starts things out with infectious vocals and rolling bass in Ashtrax - Digital Reason, which then leads into one of his own brilliant remixes, followed by a track made world famous by Max Graham, 'First' by Private taste, an amazing journey into deep progressive. Just when you settle into your prog groove, Paul turns it up a notch with his own mix of the universal club hit 'Rapture' followed by two more songs with excellent vocals and bass, esp. 'Superconscious' will have you humming under your breath after the CD is over and wanting to hear it again. His remix of 'Elevation' tops the original in my opinion by miles, and 'Furthermost' by Solicitous is enough to give me chills for all the awesome deep synths it has. Paul closes disc one with one of his favorites (and mine) 'Second Sun' by Empire, a track you've surely heard if you've seen him live recently, and the last song is his very own floorfiller, 'out There.'
    Disc 2 is more of the same, including club giants Sagitaire and Ralphie B, and Paul's own discovery, 'interference' by Connector, which has since become a staple of prog trance music. Blank and Jones's most recent cut spices things up towards the middle much like 'Rapture' on the first disc, which is topped only by 4 Strings' 'Into the Night' one of the best uplifting tunes of the year. 'Starchildren' is the clincher of the set, a beautiful and yet un-cheesy uplifting vocal trance song, another van Dyk favorite, and with good reason.
    What more can I say? The sound is worth a million words. You will be glad you bought Paul van Dyk's first ever mixed release.


DAVID FALSBERG, CUSTOMER
I was a little wary of this album only because PvD's recent e.p. productions have lacked the ethereal depth that was Paul's signature in "Seven Ways" and "Out There..." It is too early to tell where this new CD stands on my all-time greatest list, but the "Politics of Dancing" is definitely one of the finest products I have heard in a very long time. CD1 is PvD light. Paul remixing and composing, the best of which are his own "Autumn" and Subsky's "Four Days". He shows what he can do with mainstream pop like U2's "Elevation", a brilliant remix but not half as engaging as many of the electronica pieces. CD2 is in the heavyweight dimension, though what's so captivating about PvD's work is that it never bludgeons you with its brilliance. The CD plays like a seamless soundtrack from another planet. Paul takes diverse pieces, remixes and compiles so everything has that precious PvD sound. It's hard to pick favorites when the mix is so seamless, just for right now I choose 4 String's "Into the Night."


SAM AHMED, CUSTOMER
Over the past two years I've seen clubbers in Tokyo dancing franctically as Trance emerged as the most popular brand of club/dance music here. The likes of Du Monde/Lange/Ferry Corsten have become household names appearing quite often in the more popular clubs. However although such uplifting epic trance does create a feeling of euphoria and lends energy on the dance floor I've often felt that clubbers here are being fed music instead of actually listening to it.
    Paul Van Dyk's Politics of Dancing is not only arguably the most sophisticated electronic music CD out this year but its also highly innovative. I say its innovative because he is taking trance to a new age and dimension, combining traditional trance/minimalist techno/and progressive house sounds to create sharp layered beats with dark and yet driving bassline and occaisional haunting vocals...the first part has more of a loungey/surreal feel to it and as it progesses to the second CD we get the more uplifting sounds of progessive trance. In short, this is music not only to make you jump and dance but achieves the higher purpose of making the listener think, feel and apprecaite it.


TRACK LIST
(Disc 1)
01. Ashtrax - Digital Reason (Casselle/Christopher/Woods) - 4:48
02. Joker Jam - Innocence (Hoelters/Van Der Zwaan) - 4:17
03. Private Taste - First (Avrham/Miller/Ofir/Shmailov) - 1:40
04. Jimpy - Feeling Good [Original Version] (Jimpy) - 2:53
05. Paul van Dyk - Vega/I Want (Abel/Schilling/Van Dyk) - 5:31
06. Southern Comfort - Another Late Thursday (Christopher/Silvester) - 1:41
07. iio - Rapture (Tastes So Sweet) (Ali/Moser) - 6:14
08. Sippin Soma - Superconcious (So Alive) (Matson/Radford) - 3:51
09. Timo Maas - Killin' Me (Bolleshon/Buttrich/Maas) - 4:05
10. Maja Na Damu - B.W.Y (GND/Jun) - 3:45
11. U2 - Elevation (Bono/U2) - 8:04
12. Paul van Dyk - Autumn (Van Dyk) - 5:53
13. Viframa - Cristalle (Ruiz Dos Santos/Ruiz Dos Santos/Ruiz Dos Santos) - 5:30
14. Solicitus - Furthermost (d Heijden/d Voort/Sanders/v/v/Van Lamoen) - 4:14
15. Subsky - Four Days (Citci) - 5:30
16. Second Sun - Empire (Cavaluzi/Cerf/Frappier/Toupn) - 6:10
17. Paul van Dyk - Out There (Van Dyk) - 3:25

(Disc 2)
01. Sagitaire - Shout, C'mon (Hemstock/Jennings/Orzabel/Stanley) - 7:51
02. Micro De Govia - Epic Monolith (De Govia) - 7:36
03. Ralphie B - Massive (Barendse) - 5:06
04. David Forbes - Questions Must Be Asked (Forbes) - 2:47
05. Way Out West - Activity (Warren/Wisternoff) - 3:35
06. Connector - Interference (Bastiaans/Renes) - 6:40
07. Blank & Jones - Secrets and Lies (Blank/Jones/Kaufhold) - 2:58
08. Lexicon 4 - Reach Me (De Jager/Stovring/Tahay/Winter) - 4:35
09. Jamnesia - Reset (Lanni/Longiaru') - 0:54
10. 4 Strings - Into the Night (Resoort) - 5:32
11. Activex - Let's Go (Van Dongen/Van Der Steijn) - 4:55
12. Signum - In Progress (Hagen/Minnaard) - 2:58
13. Walter & Gelder - Section O (DJ Astrid/DJ Gelder/Hamish) - 4:34
14. Solid Sleep - Club Attack (Kramer/Pogadl) - 6:26
15. Guardian of the Earth - Starchildren (?/Olson) - 5:32
16. Nu-NRG - Dreamland (Micchiche/Ottaviani/Ribeca) - 5:41

Old Post Sep-19-2002 03:14  Canada
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Hybrid Junkie
Running Down The Way Up



Registered: Feb 2002
Location: Melbourne

Yeah sasha's the man


___________________
Needing a reason for being stuck in this seemingly demeaning whirlwind of ride with you

Old Post Sep-19-2002 03:15  Australia
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fieroavian
Mentally Sick



Registered: Jun 2002
Location: Netherworld
Future Sound of London - Dead Cities

ARTIST: Future Sound of London
TITLE: Dead Cities
RELEASE DATE: October 29, 1996
STYLES: Techno, Experimental Electronic


JONATHAN HIERHOLZER, CUSTOMER
When I first bought this, I had a mix of reactions, ranging from disgust to unjustified adoration.. Now that I've had plenty of time to expose myself to it, I can come up with a reasonable review. As this is my only FSOL purchase, I cannot compare it to their additional works (under this or any of their other ten thousand musical monikers). Nevertheless, if this opus is in any way representative of their other work, these guys are operating on genius level! They don't quite match up to Aphex Twin and Autechre level, yet they have a brand so unique that they are comparable. This album, along with about 99% of RDJ's SAW II and Ae's Tri Repetae, is quite possibly the closest you can safely get to a musical embodiment of a nightmare.. no joke. This music is so eerily beautiful it straddles the line between fear and seduction for the listener. Some songs are a bit of a turnoff, but others, such as #2ead Cities, #7:Max? Antique Toy? (stupid tracklisting),#10: Glass? Yage?, and #12: Through Your Gills..?? are absolutely blissful.. while others are in-your-face, almost to a maddening point, such as the ever-too-popular We Have Explosive (#4). Despite it's over use (everything from MTV to Wipeout XL to a homemade action flick :-), it's quite well constructed, and very energetic. As a whole, the tracks seem a tad flimsy.. not as solid as your stereotypical IDM or as deep, but upon further examination it becomes apparent that it's simply the sound of it.. it's actually more complex than you'd think. It has a very menacing, apocalyptic cityscape theme.. and is very death oriented (read the track titles). It creates a pretty strong vibe. The end is especially effective, as #12's calm and melancholic piano ballad with guitar and a girl's innocent laughter is sickeningly cut off by a harsher, morbid melodic permutation of the previous track, called First Death In The Family: an unpleasant reminder of how quickly happiness can change to dread. It's a fairly eclectic collection: Track #9 leaves you gasping for air as you die drowning all alone in a dense quagmire (hence the name, if I've got the tracks right..), you meander through the dreamlike afterlife of #10, until you are resurrected in the airy, breathing #11. My favorite track is #3: Her Face Forms In Summertime.. good night! If no other song proves their genius then this one will! Beautiful guitar strums swimming in reverb go in and out as more washes and FX pop up and rush in suddenly as melodic accompaniment with drums added later in the mix. This song, along with #10, is one of those tracks that actually makes you feel something as opposed to just analyzing it. These songs hit some core part of you when you don't expect it, and give you the sensation that you're no longer listening to music but are rather drawn into a separate world that is both created by the artist, but also present in the deepest recesses of your subconscious. (Sorry about that incomprehensible babble). It's almost as if these types of songs are what remain flowing through your head while lying in bed after waking up from a weird dream. Man, I can't say enough good about this album. It's not immediately appealing, but if you give it time, you will be rewarded!


NED RAGGETT / AMG
Dead Cities turned out to be the Future Sound of London's bow out from the spotlight — at least, nothing further was released by them for the rest of the decade and well into the next one. Compared to the crisp approach of Accelerator and Lifeforms' disorienting, surprising exploration into ambient sound, Dead Cities finds the group trying out something new yet again. The theme of the album, thoroughly explored in the art (as always, created by the group itself), seems to be one of futuristic urban decay, almost as if reacting against the perceived otherwordliness of Lifeforms, calmer moments like the acoustic guitar shimmer of "Her Face Forms in Summertime" aside. Hints of cyberpunk fetishism and atmospheres are everywhere, combined with a generally darker sound track for track and more upfront beats on a number of songs. "My Kingdom," a spooky choice for the initial single, blends in low-pitched drones with the echoing shuffle of the main rhythm, suggesting a Japanese city set somewhere in the outback after all the world's power finally ran out. As a further touch, the overall Blade Runner feeling of Dead Cities is heightened even more via the sampling of Mary Hopkin's haunting, wordless vocals from that film's soundtrack. The collage approach that has served the band well over the years recurs time and again — snippets from unreleased spoken word performances and reworked orchestrations float up and down in the mix, feeling like an unusual sonic tour. That said, two of the strongest moments on Dead Cities — the amazing single "We Have Explosive" and its semi-remix "Herd Killing," which starts the album — come from the same source, namely Run-DMC. The brutal guitar stab and accompanying wah-wah and shout, which define both tracks, come from the Tougher Than Leather album, here reshuffled into a brusque, memorable punch with a killer, buzzing bass line.


ANDREW HARRISON @ Q MAGAZINE
Years ago, electronic music meant severely-coiffed "art terrorists" shouting about Hiroshima over scar-eee DIY iron-foundry noises. Acid house saved us from all that, but post-rave conceptualists FSOL are determined to get back to their Dalek-voiced roots. Having created two of British techno's shining moments (Stakker's Humanoid in 1988, and FSOL's Papua New Guinea in 1992), Brian Dougans and Garry Cobain declared themselves bored with dance music and with '94's Lifeforms they set out to create a pure, unfettered psychic brain music. Dead Cities also rejects song structures in favour of an effects-laden stream of consciousness. Here you are as likely to run into the spectral beauty of an ersatz choir as you are the sound of exploding TVs. The keynote, though, is doom, death and decay: while Quagmire has a cryptic scat-jazz flavour reminiscent of Black Dog Productions, Herd Killing is hip-hop abattoir music and We Have Explosive is old-school Cabaret Voltaire. Is it art? Undoubtedly. Is it fun? Not without several stiff drinks inside you.


TRACK LIST
1. Herd Killing
2. Dead Cities
3. Her Face Forms in Summertime
4. We Have Explosive
5. Everyone in the World Is Doing Something Without Me
6. My Kingdom
7. Max
8. Antique Toy
9. Quagmire
10. In a State of Permanent Abyss
11. Glass
12. Yage
13. Vit Drowning
14. Through Your Gills I Breathe
15. First Death in the Family

Old Post Sep-19-2002 03:17  Canada
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fieroavian
Mentally Sick



Registered: Jun 2002
Location: Netherworld
Faithless - Outrospective

ARTIST: Faithless
TITLE: Outrospective
RELEASE DATE: July 10, 2001
STYLES: Progressive House, Club/Dance
TONES: Passionate, Rousing, Sensual, Sophisticated, Earnest, Party/Celebratory
AMG RATING: 1.5 stars



DEAN CARLSON / AMG
Precisely when they needed to reach down their own throats and pull out some high-energy guts and glory, Faithless return to offer one more sham: trance comedown into meaningless muttering and patented plasticine R&B. Thing is, while there's something to be said about understatement, Rollo and Sister Bliss — being Rollo and Sister Bliss — seem perennially preoccupied with chasing the tail of clubland zeitgeist, lacking ingenuity to recapture either their "Insomnia" or "God Is a DJ" ethereal highs, to ever get their heads around such a concept. Outrospective is a veritable cesspit of stained mattress introspection, happy to dish out varying MOR versions of Angelo Badalamenti's oeuvre, and gawk at the way sagging comeback singles like "We Come 1" flat line the whimsy of Underworld's "Oich Oich" with an utter lack of abandon. Pointless, in other words.


DAN GENNOE / AMAZON.COM
From the outset, with Donny X's spine-tingling synth-swathes and brooding sub-bass, it's evident that Outrospective plays to Faithless's strengths. The band has always been more than just a dance act. Deft practitioners of all areas of modern music, their specialties are texture, seductive atmosphere, and haunting melodrama. The single "We Come 1" has a familiar sound, combining Rollo's unnerving soundscapes, Sister Bliss's dance-floor mentality, and rapper Maxi Jazz's deadpan voice to recall the power of "Insomnia" from their 1997 release Reverence. "We Come 1," like "Tarantula" and "Machines R Us," also represents an increase in bpms that reasserts their club relevance--something which had diminished with their last long-player, the downcast Sunday 8pm. There's also a more up-tempo vibe present, with the gorgeous "One Step too Far" featuring the inevitable appearance of Rollo's sister Dido), and the Philly soul of "Muhammad Ali," with Maxi Jazz singing the praises of his childhood hero. But the lure of their third album, as ever, lies in Maxi Jazz's chilling monologues. The voice of inner thoughts, desires, and conflict, there's nothing quite as arresting as when he quietly muses on "Not Enuff Love": "Money in my pocket / But I just can't give no love."


WILLY VELA / DMADANCE.COM
Faithless' new album is scheduled for a overseas release date of June 18th followed by an American date of July 10th. Outrospective, the band's third studio album, is shaping up to be their best body of work yet. The trio of Rollo, Sister Bliss and vocalist/rapper Maxi Jazz are once again exploring dark themes and powerful imagery through a unique blend of electronic music and sing-song lyrical delivery. To kick off the album, the first single "We Come 1" has already been chosen and furiously remixed by a slew of notables including Dave Clarke, Pierre Hiver and M. Hammer as well as Rollo and Sister Bliss. This first 12" has dropped and will hopefully catch the ear of US radio stations thus promoting more domestic sales of the album. Interestingly enough, the video for this single has already generated controversy overseas with scenes being left on the cutting room floor. The scenes in question feature Maxi Jazz in a warehouse insensitively watching as a riot flashes in front of him. One of the opening shots depicts a police van being pushed over by protestors, while another scene shows mounted police attacking protestors with batons. Such controversy will only add to the buzz, cause as they say; "bad press is still better than no press at all." Ironically, Outrospective doesn't need the hype. It stands on its own with 12 excellent cuts that tell wonderful melodic stories. Shining moments include the Philly hip hop laced "Muhammed Ali," which is a tribute song to the great boxer, and the beautiful ballad "Crazy English Summer," sung by ex-Bent vocalist Zoe Johnson. Entertaining, innovative and ready for a slew of dance floor remixes, this album delivers the goods.


GVAZJR, CUSTOMER
In my opinion, this is perhaps their best work to date. If you enjoyed their previous works, you'll really get a jolt out of this new offering. "Outrospective" combines Fatithless' eclectic and funk laced beats with Maxi Jazz's vocals and deep lyrics yet again. But this time, the band has a couple of twists thrown in to keep you hitting the repeat button (listen to the vocals, there's a theme.) This album will fit any mood you're in, because it serves whatever need you have, mood-wise. From high-energy dance to music to just chill by, Outrospective is it!
    In addition to their Maxi Jazz's voice, this new album offers a new female voice to the Faithless faithful: Zoe Johnston (whose voice is gorgeous) is on tracks 4 "Crazy English Summer" and 10 "Evergreen". Of course, Rollo's sister Dido, appears on track 7 "One Step too Far" along with Maxi. Like Dido's other Faithless works this song is just phenomenal, (it's a nice treat to hear her voice in a new song!)
    Despite all of my accolades, the album will of course draw some to say the band has changed, and perhaps not everyone will be attracted to every song. But, alas, these 12 tracks that will keep even the most ardent Faithless fans glued to the CD.
    Bottom line, "Outrospective" is a must have for any Faithless fan. I haven't heard music that can morph so well in a long time.


TRACK LIST
1. Donny X - 4:08
2. Not Enuff Love - 5:55
* 3. We Come 1 - 8:20
4. Crazy English Summer - 2:43
5. Muhammad Ali - 4:21
6. Machines R Us - 3:45
* 7. One Step Too Far - 5:19
8. Tarantula - 6:43
9. Giving Myself Away - 4:41
10. Code - 1:36
11. Evergreen - 4:33
12. Liontamer - 5:50

Old Post Sep-19-2002 03:22  Canada
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fieroavian
Mentally Sick



Registered: Jun 2002
Location: Netherworld
Nirvana - In Utero

ARTIST: Nirvana
TITLE: In Utero
RELEASE DATE: September 21, 1993
STYLES: Grunge, Alternative Rock
TONES: Raucous, Intense, Confrontational, Paranoid, Nihilistic, Reckless, Aggressive, Tense/Anxious, Theatrical, Visceral, Wry, Rebellious, Cathartic, Angst-Ridden, Bleak, Volatile
DURATION: 41:23
AMG RATING: 5 of 5 stars


STEPHEN THOMAS ERLEWINE / AMG
Nirvana probably hired Steve Albini to produce In Utero with the hopes of creating their own Surfer Rosa, or at least shoring up their indie cred after becoming a pop phenomenon with a glossy punk record. In Utero, of course, turned out to be their last record, and it's hard not to hear it as Kurt Cobain's suicide note, since Albini's stark, uncompromising sound provides the perfect setting for Cobain's bleak, even nihilistic, lyrics. Even if the album wasn't a literal suicide note, it was certainly a conscious attempt to shed their audience — an attempt that worked, by the way, since the record had lost its momentum when Cobain died in the spring of 1994. Even though the band tempered some of Albini's extreme tactics in a remix, the record remains a deliberately alienating experience, front-loaded with many of its strongest songs, then descending into a series of brief, dissonant squalls before concluding with "All Apologies," which only gets sadder with each passing year. Throughout it all, Cobain's songwriting is typically haunting, and its best moments rank among his finest work, but the over-amped dynamicism of the recording seems like a way to camouflage his dispiritedness — as does the fact that he consigned such great songs as "Verse Chorus Verse" and "I Hate Myself and Want to Die" to compilations, when they would have fit, even illuminated the themes of In Utero. Even without those songs, In Utero remains a shattering listen, whether it's viewed as Cobain's farewell letter or self-styled audience alienation. Few other records are as willfully difficult as this.


TRACK LIST
  01. Serve the Servants (Cobain) - 3:34
  02. Scentless Apprentice (Cobain/Grohl/Novoselic) - 3:47
* 03. Heart Shaped Box (Cobain) - 4:39
  04. Rape Me (Cobain) - 2:49
  05. Frances Farmer Will Have Her Revenge on... (Cobain) - 4:07
* 06. Dumb (Cobain) - 2:29
  07. Very Ape (Cobain) - 1:55
  08. Milk It (Cobain) - 3:52
* 09. Pennyroyal Tea (Cobain) - 3:36
  10. Radio Friendly Unit Shifter (Cobain) - 4:49
  11. Tourette's (Cobain) - 1:33
* 12. All Apologies (Cobain) - 3:50

Old Post Sep-19-2002 03:28  Canada
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fieroavian
Mentally Sick



Registered: Jun 2002
Location: Netherworld
Quivver - Transport 5

ARTIST: Quivver
TITLE: Transport 5
RELEASE DATE: November 6, 2001
STYLES: Progressive Trance
TONES: Indulgent, Ethereal, Ominous, Hypnotic, Nocturnal, Eerie, Brooding
DURATION: 72:22
AMG RATING: 4 of 5 stars


BRADLEY TORREANO / AMG
Trance DJ John Graham, known to the masses as Quivver, was chosen to helm Kinetic Records' fifth entry in the Transport series. Mixing together some of the hottest tracks from his live performances, Quivver shows a remarkable talent for letting his mixes blend and flow with no audible effort. The music is always changing, always revolving, never relying on the same sounds or samples for longer than a minute. It is this effort that not only keeps the music interesting, but makes it incredibly dancefloor-friendly. No track truly stands out; the album works as a single entity more than a collection of songs. It has its dips and high points; for example, Quivver's own "Boz Boz" is strategically placed as the centerpiece to one of the album's most frantic points to bring everything back to the dancefloor. The end of the disc may be the best part, with Stephane K. and John Creamer's "I Love You" serving as a wild, sonic beast tearing through the music like a shark. The ever-mutating sounds and samples revolve around the beat with a charming inconsistency that brings the proceedings to an appropriate close. Transport 5 continues in the vein of the previous entries in the series, showcasing an underrated DJ and bringing an excellent trance mix to the masses.


JOHN GAUTHIER, CUSTOMER
First of all I would like to say that NYCU James Holden interia mix is probably the best tune on the CD!! What a great album from Quiver or John Graham. I was not aware that he DJ's until a couple months ago when it was released that he was doing the new transport album. Wow, did he do a great job on my new fav cd of the moment. dark driving, heavy, all killer no filler, full steam ahead kick arse compilation. I DJ myself and it was cool to see a couple records I love on this compilation. If you like deep, dark, driving, progressive house check this out you won t be disapointed. And its not boring dark progrssive house wich is giving progressive house a bad rep lately it has lots of substance and flavour. Check it out! And any one who calls this compilation boring is out of their minds... Sandra Collins cream comp was boring but not this banger...


RICHARD DIAZ, CUSTOMER
It sure seems as if allowing the smallest opening to critique has caused many top-profile trance DJs to veer from anything remotely pop-centric, seeking safety in the much lauded progressive/tech-ish records coming to predominance in 2001. Not that there's anything wrong with art-credible compositions (which John Graham, alias Quivver, packs in Transport 5) but in straining out the last elements of cheese (pop-accessibility) ultimately you're left with brow-furrowed craftsmanship best suited for admiration, not enjoyment.
    Certainly that describes most of Graham's debut release, a surprise veering for the mainstream-targeted Transport series that's devoid of peaks, dips, and ultimately a satisfying payoff. Granted, Aquilla's "Voodoo (Medway Mix)" offers a bass hook to sink your teeth into, while Mutiny UK delivers an electric dub on "The Virus" nearly worth the admission alone. Yet most of these tracks run high on texture, flat on flavor; excellent for appreciating the layered rhythms within, lousy for playing out to friends on the home stereo.


DOUG GREENBERG, CUSTOMER
OK, I admit I was wrong. In a recent review of Tarrentella & Redanka's mix cd, "Playback Engineering" I put forth the notion that the contemporary trend toward deep, dark, non-melodic electronic music under the rubric of "progressive" might be coming to an end. Certainly some of the big names in the world of dance music have veered a bit toward more uptempo styles (I'm mainly thinking of John Digweed here). However, the exploration of the darker side of progressive house/trance apparently continues, as this mix by John Graham aka Quivver demonstrates convincingly. This is a fine, hypnotic, mesmerizing piece of work that is nearly flawless in its conception and execution.
    Quivver has become renown over the past five years for his trancey compositions and remixes, including such recent "hits" (given the limited popularity of progressive music overall, the quotation marks seem necessary) as "She Does," which was featured on Dave Seaman's "Renaissance: Awakening" set last year. This latest volume in the Transport (formerly "Tranceport") series apparently is his first recorded cd mix effort, and he carries it off well. The mixing and sequencing are fine, and the overall mood of broodingly dark, slightly dissonant but beat-heavy progressive permeates the entire set. Even the cover art is appropriately sombrous, with its Olde English titling and its black-with-flames design.
    My only reservation about this fine product is the inclusion of not one but two versions of Loki's "NYCU," a somewhat experimental track that simply doesn't work for me. With its "late night urban ambient" sound effects including dissonant car horns and mumbled female vocal samples, it connotes a bad drug trip or some other sort of chemically influenced nightmare. I didn't care for its inclusion in James Holden's "Fear of a Silver Planet," and I was disappointed to find it in Quivver's mix, as well. However, eleven great tracks out of thirteen isn't bad.
    Overall, those who have grown to love the darker side of the progressive electronic music style (and I will admit that it's an acquired taste shared by few) will definitely like this mix. Similar cd's from recent months include not only the James Holden mix mentioned above but also Sandra Collins' "Cream," Fred Numf's "Universal Language," Taylor's "Synesthesia," Jimmy van M.'s "Bedrock," and Mark Shimmon's "Decoded." The darkness continues, and long may it reign.


TRACK LIST
*01. Loki - Nycu [Acappella] (Pannell) - 0:59 (00:59)
02. Dark Driver - Re-Vision 2 (Carbonell/Moskos) - 6:30 (07:29)
03. Aquila - Voodoo (Andrews/Edwards) - 6:44 (14:13)
*04. DJ Reme - Radiate (Unger) - 4:44 (18:57)
05. Mutiny - The Virus (Barnes/Davy/Scarlett) - 5:13 (24:10)
*06. Quivver - Boz Boz (Quivver) - 6:41 (30:51)
07. Hamel & Blackwatch - Discotek (Hamel/Thomas) - 4:56 (35:47)
08. SSSH - Hold That Body (Harris/Snell/Swain) - 5:38 (41:25)
09. Gardner & Thomas - Propaganda (Gardner/Thomas) - 5:40 (47:05)
10. Loki - Nycu (Pannell) - 7:04 (54:09)
11. Red Moon - Basis (Thomas/Watson) - 5:36 (59:45)
12. Paranoid Jack - Slave Driver (Berenguel) - 4:37 (64:22)
*13. John Creamer & Stephane K/Oliver Twisted - I Love You [Hybrid Mix] (Creamer/K./Mitchell) - 7:54 (72:16)

Old Post Sep-19-2002 03:33  Canada
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hey cheggy
like a tiger



Registered: Aug 2002
Location: Sydney, Australia

What a load of crap. Even for this thread, that was a pile of shit. No mor reviews, more bad baby jokes.

Like what's blue and yellow and sits at the bottom of a pool


___________________
1 out of every 4 people in this country are mentally disturbed. Look at your 3 closest friends. If they seem okay, then you're the one.

Old Post Sep-19-2002 03:34  Australia
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fieroavian
Mentally Sick



Registered: Jun 2002
Location: Netherworld
Paul Oakenfold - Bunkka

ARTIST: Paul Oakenfold
TITLE: Bunkka
RELEASE DATE: June 18, 2002
STYLES: Electronic
TONES: Indulgent, Ethereal, Boisterous, Rousing, Trippy, Hypnotic, Exuberant, Detached, Clinical, Druggy, Party/Celebratory
AMG RATING: 3 of 5 stars


JOHN BUSH @ AMG
Oakenfold a producer? Well, he may not release much other than mix albums (exceptions being the Swordfish soundtrack and scattered singles), but Paul Oakenfold and Steve Osborne once formed one of the most highly touted remixing teams in dance music -- though Perfecto is now known to British teenagers strictly as a label, not a sound aesthetic. So when a man who's not only the biggest DJ on earth but the producer of one of the greatest LPs of the '90s (Happy Mondays' Pills 'n' Thrills and Bellyaches) finally decides to turn in a full production LP, notice must be paid. Unfortunately, Oakenfold isn't much of a pioneer any more, and though it's clear his ear for a solid production hasn't deserted him, Bunkka sees him following the trends instead of pushing them. With a new partner, Andy Gray, Oakenfold shows often that he has the production gloss all taken care of, but track after track here tries, and fails, to capitalize on a familiar sound or a style, from stylish big-beat pastiche ("Ready Steady Go") to robotic experimentalism à la Radiohead ("Motion," with Grant Lee Phillips) to evocative female singer/songwriter electronica ("Southern Sun," "Hypnotised," "Hold Your Hand"). A pair of hip-hop tracks, the sublime "Starry-Eyed Surprise" and Ice Cube's hardcore "Get Em Up," are great productions, but "Zoo York" and the Hunter S. Thompson spoken-word feature "Nixon's Spirit" are potted examples of the very blandest ethnic fusion. With so much attention being paid to the production, the songs, unfortunately, just can't compete.


Pootle @ PLAYLOUDER
You already know the CV: vaunted as a DJ, producer and remixer, an understandable weight of expectation accompanied Roger Sanchez's debut album last year. In the event, 'First Contact' was remarkable only for how such a supposedly savvy bloke could spend so much time making a cosmically average piece of work. And such is Oakenfold's predicament today: after so many years playing and producing other people's tunes, he patently understands the form and structure of this music inside out. Like an MFI past-master, he knows exactly how it fits together but, unlike a flat-pack wardrobe, his music is (clinically) well made.
    If Oakenfold doesn't know his shit by now, though, he should give up and go home there's no room for naïve charm here and, when you really have had all the time in the world, it better smell of roses. More often, unfortunately, the aroma is too redolent of his current peers 'Ready Steady Go' reeks of 'Fat Of The Land'-era Prodigy and the whiff of sub-Hybrid progressive permeates 'Time Of Your Life'. Oakey claims not to have the loveliest singing voice, so he's bussed in a dozen showbiz chums to do the necessary but, consequently, 'Bunkka' suffers from 'Motty Syndrome'. Surely the BBC could have the pick of any commentator and, somehow, they opt for a fate-tempting, stat-obsessed gibbon.
    Ice Cube, Perry Farrell and Asher D admittedly make intriguing bedfellows but, Jesus H. Christ in a chicken basket, in what parallel universe does Shifty Shellshock out of Crazy Town vault to the top of your wish-list? Although Tricky's perennial midnight grumble complements Nelly Furtado's flighty warble, the final track's interminable refrain of "the harder they come, the harder they fall", becomes uncomfortably banal after about 0.3 of a second and too many of these all-star contributions don't live up to their billing.
    The notable exception is 'Hypnotised' which, whilst vocally derivative of Chicane's 'Saltwater', Ratty's 'Sunrise' and a host of others, nonetheless stands up as a glorious 6 minutes of plaintive strings, concluding with a charming bass judder. You may also like the sublime 'Zoo York' and you'd be right, it's gorgeous but, curiously, not Oakenfold's track an un-credited remix of Clint Mansell's 'Lux Aeterna', from the soundtrack to 'Requiem For A Dream'.
    Yes, it's eclectic and he hasn't just slapped together a ragbag of Ibeefa anfums, but this record essentially suffers from a lack of ambition. Whilst you might not expect to hear Hunter S. Thompson railing against the ills of the Nixon regime ('Nixon's Spirit'), the affable, commercial trance of current single, 'Southern Sun', is frustratingly predictable. And, like Sanchez's 'Another Chance', it might pass the time, but it won't change your life - where Oakenfold once set the pace, 'Bunkka' sees him caught in the slipstream of others.


Andy Battaglia @ The Onion A.V. Club
In the mid-'80s, Paul Oakenfold was a central figure in the embryonic London dance scene that spawned globe-trotting rave culture. Inspired by the sun-kissed sounds of the holiday hotspot Ibiza, and fawned over by an audience just getting wise to Ecstasy, he helped create the giddy stylistic mishmash that would develop into the soundtrack for early English hardcore parties. But while the history books cast him as an architect of rave's inspiring tastelessness, Oakenfold's reign as "the world's biggest DJ" has been marked mostly by worst-case-scenario excess. Given over to frilly trance anthems and a bad habit of stretching Dead Can Dance vocal theatrics past their breaking point, Oakenfold's countless mix-discs have been lessons in overindulgence. He curbs his tendencies a bit on Bunkka, his first album of original material, but even the highlights are bogged down by ambitious aims that translate blindness as blandness. The album starts strong with "Ready Steady Go," a monster club track with spacious laser echoes and explosive Chemical Brothers breaks. But the dense layers get pulled into wispy strands by the second track, "Southern Sun," whose warbling Celtic vocals signal the bad things to come. Perry Farrell lends his voice to a spooky, string-drenched morality tale that cooks up a nice rave-rock groove ("Time Of Your Life"), and Emiliana Torrini proves a worthy Björk stand-in on the stirring "Hold Your Hand." But most of the album wavers around overripe global crossings gaudy enough to make a Sex And The City location scout blush. Oakenfold fares far better with hip-hop, nailing down a spacey street-slam with Ice Cube ("Get Em Up") and building an unlikely Jeep-rocker out of the guitar line from Harry Nilsson's "Everybody's Talkin'" ("Starry-Eyed Surprise"). But while both songs boast an accomplished, less-is-more economy, the rest of Bunkka makes their elegance feel as out of place as "Nixon's Spirit," a bizarre spoken-word interlude in which Hunter S. Thompson tellingly remembers the ex-president as "a classic case of a smart man shitting in his own nest."


Jen Boyles @ CDNOW.COM
He served up some sizzling hot acid house to virgin British ears in the late '80s, produced a seminal Happy Mondays album (Pills N' Thrills and Bellyaches), started what would become a vastly successful label (Perfecto) several years later, and today is the most popular DJ in the world. Despite that tag, entrepreneur and trance tastemaker Paul Oakenfold is only now releasing an artist album featuring his own production; perhaps he'd just been too busy producing the Swordfish movie soundtrack and remixing Madonna ("What It Feels Like for a Girl") prior to the anticipated release of Bunkka.
    At first listen (and second, third, and fourth), one wonders if the master multitasker was just too busy while constructing the album, which spouts off on multiple tangents and never returns. Maybe he spent all his time rounding up the album's many cast members: Perry Farrell ("Time of Your Life"), Tricky and Nelly Furtado (who trade verses on "The Harder They Come"), Ice Cube ("Get 'Em Up," the only reason to put yo' back into it), author Hunter S. Thompson ("Nixon's Spirit"), and (oh no) Shifty Shellshock of goatee metal-rap act, Crazy Town ("Starry Eyed Surprise").
    Of the neurotic 11-track ensemble, Oakenfold told CDNOW that he hopes fans of his DJ career will like it, but that they should be mindful of his long history with a wide scope of music (which, one would think would aid him in creating worthier beats): "They'll know I've toured with U2, they'll know that I've worked with Massive Attack, they'll know I've worked on Snoop Doggy Dogg and signed Will Smith. There's a lot there for them to find out. It's part of anyone growing up." Surely nothing outstretches these growing pains.


TRACK LIST
01. Ready Steady Go - 4:13
02. Southern Sun - 6:57
03. Time of Your Life - 4:17
04. Hypnotised - 6:34
05. Zoo York - 5:25
06. Nixon's Spirit - 2:48
07. Hold Your Hand - 3:39
08. Starry Eyed Surprise - 3:48
09. Get Em Up - 3:50
10. Motion - 6:24
11. Harder They Come - 3:50

Old Post Sep-19-2002 03:43  Canada
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fieroavian
Mentally Sick



Registered: Jun 2002
Location: Netherworld

quote:
Originally posted by hey cheggy
What a load of crap. Even for this thread, that was a pile of shit. No mor reviews, more bad baby jokes.


umm, you fancy stories?


A Letter To Garcia
- by Semirrahge

When war broke out between Spain and the United States, it was very necessary to communicate quickly with the leader of the insurgence. Garcia was somewhere in the mountain vastness of Cuba - no one knew where. No mail or telegraph message could reach him. The President must secure his cooperation, and quickly. What to do!
    Someone said to the President, "There is a fellow by the name of Rowan. He will find Garcia for you, if anybody can." Rowan was sent for and given a letter to be delivered to Garcia.
    How the "fellow by the name of Rowan" took the letter, sealed it in an oilskin pouch, strapped it over his heart, in four days landed by night off the coast of Cuba from an open boat, disappeared into the jungle, and in three weeks came out on the other side of the island, having traversed hostile country on foot and delivered his message to Garcia - are things I have no special desire now to tell in detail.
    The point I wish to make is this: McKinley gave Rowan a letter to be delivered to Garcia; Rowan took the letter and did not ask, "Where is he at?" There is a man whose form should be cast in bronze and the statue placed on every college campus in the land. It is not book-learning young men need, nor instruction about this or that, but a stiffening of the vertebrae which will cause them to be loyal to a trust, to act promptly, to concentrate their energies: to do the thing - "carry the message to Garcia."
    General Garcia is dead now, but there are other "Garcias." No man who endeavored to carry out an enterprise in which many hands are needed has not been appalled by the inability or unwillingness of workers to concentrate on a task and do it.
    Slipshod assistance, foolish inattention, dowdy indifference, and halfhearted work seem to be the rule. Put this matter to a test: You are sitting now in your office - Six clerks are within call. Summon any one and make this request:
"Please look in the encyclopedia and make a brief memorandum for me concerning the life of Correggio."
    Will the clerk quietly say, "Yes, sir," and go do it? He will not. He will look at you out of a fishy eye and ask one or more of the following questions:
    "Who was he?" "Which encyclopedia?" "Was I hired for this?" "Don't you mean Bismarck?" "What's the matter with Charlie doing it?" "Is there any hurry?" "Should I bring you the encyclopedia and let you look it up?" "What do you want to know for?"
    After you answer his questions and explain how to find the information and why you want it, the clerk will no doubt go and get one of the other clerks to help him find "Garcia" - and then come back and tell you there's no such man.
This incapacity for independent action, this moral stupidity, this infirmity of the will, this unwillingness to cheerfully catch hold and lift - these are the things that drive employers to despair.
    We have recently been hearing much maudlin sympathy expressed for the "downtrodden denizens of the sweat shop" and the "homeless wanderers in search of honest employment" and often with it go many hard words for the men in power.
Nothing is said about the employer who grows old before his time in a vain attempt to get frowzy ne'er-do-wells to do intelligent work, and his long, patient striving after "help" that does nothing but loaf when his back is turned.
In every store and factory there is a constant weeding-out process going on. The employer is constantly sending away "help" that have shown their incapacity to further the interests of the business.
I know of one man who has not the ability to manage a business of his own and yet is absolutely worthless to anyone else because he constantly carries with him the suspicion that his employer is oppressing or is intending to oppress him. He cannot give orders, and he will not receive them. Should a message be given to him to take to Garcia? Tonight, this man walks the streets looking for work. No one who knows him dares hire him.
    In our pitying, let us drop a tear or two for the men who are striving to carry on a great enterprise, whose working hours are not limited by the whistle, who's hair is fast turning white through the struggle to hold in line indifference and heartless ingratitude which, but for their enterprise, would be both hungry and homeless.
    My heart goes out to the man who does his work when the boss is away as well as when he is at home, and the man who, when given a letter to Garcia, quietly takes it without asking any idiotic questions and delivers it.
    The world cries out for such. He is needed, and needed badly -- the man who can carry a letter to Garcia.

Old Post Sep-19-2002 03:53  Canada
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fieroavian
Mentally Sick



Registered: Jun 2002
Location: Netherworld
Bad Blood (from Trainspotting)

I first meet Alan Venters through the 'HIV and Positive' self-help group, although he wasn't part of that group for long. Venters didn't look after himself very well, and soon developed one of the many opportunistic infections we're prone to. In our culture, it seems to invoke some admirable quality. I think of the 'opportunism' of the entrepreneur who spots a gap in the market, or that of the striker in the penalty box. Tricky buggers, those opportunistic infections.

The members of the group were in a roughly similar medical condition. We were all anti-body positive, but still largely asymptomatic. Paranoia was never far from the surface at our meetings; everybody seemed to be furtively checking out everyone else's lymph glands for signs of swelling. It was disconcerting to feel people's eyes stray to the side of your face during conversation.

This type of behaviour added further to the sense of unreality which hung over me at the time. I really couldn't conceive of what had happened to me. The test results at first just seemed unbelievable, so incongruous with the healthy way I felt and looked. Part of me remained convinced that there had to be a mistake, in spite of taking the test three times. My self-delusion should have been shattered when Donna refused to see me, but it was always hanging on in the background with a grim resolution. We always seem to believe what we want to believe.

I stopped going to the group meetings after they put Alan Venters in the hospice. It just depressed me and, anyway, I wanted to spend my time visiting him. Tom, my key worker and one of the group counsellors, reluctantly accepted my decision.

"Look Dave, I think that you seeing Alan in hospital is really great; for him. I'm more concerned about you at the moment, though. You're in great health, and the purpose of the group is to encourage us to make the most of things. We don't stop living just because we're HIV positive..."

Poor Tom. His first faux pas of the day. "Is that the royal 'we' Tom? When you're HIV positive, tell me aw about it."

Tom's healthy, pink cheeks flushed. He couldn't help it. Years of intensive interpersonal skills practice had taught him to hide the nervy visual and verbal giveaways. No shifty eye contact or quavering voice from him in the face of embarrassment. Not old Tom. Unfortunately, Tom cannot do a thing about the glowing red smears which rush up the side of his face on such occasions.

"I'm sorry," Tom apoligised assertively. He had the right to make mistakes. He always said that people had that right. Try telling that to my damaged immune system.

"I'm just concerned that you're choosing to spend your time with Alan. Watching him wasting away won't be good for you and, besides, Alan was hardly the most positive member of the group."

"He was certainly the most HIV positive member."

Tom chose to ignore my remark. He had a right not to respond to the negative behaviour of others. We all had such a right, he told us. I liked Tom; he ploughed a lonely furrow, always trying to be positive. I thought that my job, which involved watching slumbering bodies being opened up by the cruel scalpel of Howison, was depressing and alienating. It's a veritable picnic however, compared to watching souls being wrenched apart. That was what Tom had to put up with at the group meetings.

Most members of 'HIV and Positive' were intravenous drug-users. They picked up HIV from the shooting galleries which flourished in the city in the mid-eighties, after the Bread Street surgical suppliers was shut down. That stopped the flow of fresh needles and syringes. After that, it was large communal syringes and share and share alike. I've got a mate called Tommy who started using smack through hanging aroung with these guys in Leith. One of them I know, a guy called Mark Renton, whom I worked with way back in my chippy days. It's ironic that Mark has been shooting smack for years, and is, so far as I know, still not infected with HIV, while I've never touched the stuff in my life. There were, however, enough smack-heads present in the group to make you realise that he could be the exception, rather than the rule.

Group meetings were generally tense affairs. The junkies resented the two homosexuals in the group. They believed that HIV originally spread into the city's drug-using community through an exploitative buftie landlord, who fucked hs sick junky tenants for the rent. Myself and two women, one the non-drug-using partner of a junk addict, resented everyone as we were neither homosexual nor junkies. At first I, like everyone else, believed that I had been 'innocently' infected. It was all too easy to blame the smack-heads or the buftie-boys at that time. However, I had seen the posters and read the leaflets. I remember in the punk era, the Sex Pistols saying that "no one is innocent". Too true. What also has to be said though, is that some are more guilty than others. This brings me back to Venters.

I gave him a chance; a chance to show repentance. This was a sight more than the bastard deserved. At a group session, I told the first of several lies, the trail of which would lead to my grip on the soul of Alan Venters.

I told the group that I had had unprotected, penetrative sex with people, knowing full well that I was HIV positive, and that I now regretted it. The room went deathly silent.

People shifted nervously in their seats. Then a woman called Linda began to cry, shaking her head. Tom asked her if she wanted to leave the meeting. She said no, she would wait and hear what people had to say, venomously addressing her reply in my direction. I was largely oblivious to her anger though; I never took my eyes off Venters. He had that characteristic, perpetually bored expression on his face. I was sure a faint smile briefly played across his lips.

"That was a very brave thing to say, Davie. I'm sure it took a lot of courage," Tom said solemnly.

I shrugged.

"I'm sure a terrific burden of guilt has been lifted from you," Tom continued, raising his brows, inviting me to come in. I accepted the opportunity this time.

"Yes, Tom. Just to be able to share it with you all. It's terrible... I don't expect people to forgive..."

The other woman in the group, Marjory, directed a sneering insult towards me, which I didn't quite catch, which Linda continued crying. No reaction was forthcoming from the **** who sat in the chair opposite me. His selfishness and lack of morality sickened me. I wanted to take him apart with my bare hands, there and then. I fought to control me senses, savouring the richness of my plan to destroy him. The disease could have his body; that was its victory, whatever malignant force it was. Mine would be a greater one, a more crushing one. I wanted his spirit. I planned to carve mortal wounds into his supposedly everlasting soul. Ay-men.

Tom looked around the circle: "Does anyone empathise with Davie? How do people feel about this?"

After a bout of silence, during which my eyes stayed trained on the impassive figure of Venters, Wee Goagsie, a junky in the group, started to croak nervously. Then he blurted out, in a terrible rant, what I'd been waiting from Venters.

"I'm glad Davie said that... I did the same... I did the fuckin same... an innocent lassie that never did a fuckin thing to nobody... I just hated the world... I mean... I thought, how the fuck should I care? What have I got from life... I'm twenty-three and I've had nothin, not even a fuckin job... why should I care... when I told the lassie, she just freaked..." he sobbed like a child. Then he looked up at us and produced, through his tears, the most beautiful smile I have ever seen on anyone in my life. "... but it was awright. She took the test. Three times over six months. Nothin. She wasn't infected..."

Marjory, who in the same circumstances *was* infected, hissed at us. Then it happened. That **** Venters rolled his eyes and smiled at me. That did it. That was the moment. The anger was still htere, but it was fused with a great calmness, a powerful clarity. I smiled back at him, feeling like a semi-submerged crocodile eyeing a soft, furry animal drinking at the river's edge.

"Naw..." wee Goagsie whined piteously at Marjory, "it wasn't like that... waitin for her test results was worse than waiting for my own... you don't understand... I didn't.. I mean I don't... it's not like..."

Tom came to the aid of the quivering, inarticulate mass he had become.

"Let's not forget the tremendous anger, resentment and bitterness that you all felt when you learned that you were anti-body positive."

This was the cue for one of our customary, on-going series of arguments to shunt into full gear. Tom saw it as 'dealing with out anger' by 'confronting reality'. The process was supposed to be therapeutic, and indeed it seemed to be for many of the group, but I found it exhausting and depressing. Perhaps this was because, at the time, my personal agenda was different.

Throughout this debate on personal responsibility, Venters, as was typical on such occasions, made his customary helpful and enlightening contribution. "Shite," he exclaimed, whenever someone made a point with passion. Tom would ask him, as he always did, why he felt this way.

"Just do," Venters replied with a shrug. Tom asked if he could explain why.

"It's just one person's view against the other's."

Tom responded by asking Alan what his view was. Alan either said: I'm not bothered, or: I don't give a fuck. I forget his exact words.

Tom then asked him why he was here. Venters said: "I'll go then." He left, and the atmosphere instantly improved. It was as if someone who had done a vile and odious fart had somehow sucked it back up their arsehole.

He came back though, as he always did, sporting that sneering, gloating expression. It was as if Venters believed that he alone was immortal. He enjoyed watching others trying to be positive, then deflating them. Never blatantly enough to get kicked out of the group, but enough to significantly lower its morale. The disease which racked his body was a sweetheart compared to the more obscure one that possessed his sick mind.

Ironically, Venters saw me as a kindred spirit, unaware that my sole purpose of attending the meetings was to scrutinise him. I never spoke in the group, and perfected a cynical look whenever anyone else did. Such behaviour provided the basis on which I was able to pal up with Alan Venters.

It had been easy to befriend this guy. Nobody else wanted to know him; I simply became his friend by default. We started drinking together; him recklessly, me carefully. I began to learn about his life, accumulating knowledge steadily, thoroughly and systematically. I had done a degree in Chemistry at Strathclyde University, but I never approached my studies of that subject with anything like the rigour or enthusiasm with which I approached the study of Venters.

Venters had got HIV infection, like most people in Edinburgh, through the sharing of needles while taking heroin. Ironically, prior to being diagnosed HIV positive, he had kicked the junk, but was now a hopeless pisshead. The way he drank indiscriminately, occasionally stuffing a pub roll or toastie into his face during a marathon drinking bout, meant that his weakened frame was easy prey to all sorts of potentially killer infections. During his period of socialising with me, I confidently prophesied that he would last no time.

That was how it turned out; a number of infections were soon coursing through his body. This made no difference to him. Venters carried on behaving as he had always done. He started to attend the hospice, or the unit, as they called it; first as an outpatient, then with a berth of his very own.

It always seemed to be raining when I made that journey to the hospice; a wet, freezing, persistent rain, with winds that cut through your layers of clothing like an X-ray. Chills equal colds and colds can equal death, but this meant little to me at the time. Now, of course, I look after myself. Then, however, I ahd an all-consuming mission: there was work to be done.

The hospice building is not unattractive. They have faced over they grey blocks with some nice yellow brickwork. There is no yellow brick approach road to the place, however.

Every visit to Alan Venters brought my last one, and my final revenge, closer to hand. The point soon came when there was no time left to try and illicit heartfelt apologies from him. At one stage I thought that I wanted repentance from Venters more than revenge for myself. If I got it, I would have died with a belief in the fundamental goodness of the human spirit.

The shrivelled vessel of skin and bone which contained the life-force of Venters seemed to be an inadequate home for a spirit of any sorts, let alone one in which to invest your hopes for humanity. However, a weakened, decaying body was supposed to bring the spirit closer to the surface, and make it more apparent to we mortals. That was what Gillian from the hospital where I worked told me. Gillian is very religious, and it suits her to believe that. We all see what we want to see.

What did I really want? Perhaps it was always revenge, rather than repentance. Venters could have babbled for forgiveness like a greetin-faced bairn. It might not have been enough to stop me from doing what I planned to do.

This internal discoursing; it's a by-product of all that counselling I got from Tom. He emphasised basic truths: you are not dying yet, you have to live your life until you are. Underpinning them was the belief that the grim reality of impending death can be talked away by trying to invest in the present reality of life. I didn't believe that at the time, but now I do. By definition, you have to live until you die. Better to make that life as complete and enjoyable an experience as possible, in case death is shite, which I suspect it will be.

The nurse at the hospital looked a bit like Gail, a woman I'd once gone out with, pretty disastrously, as it happens. She wore the same cool expression on her face. In her case she had good reason, as I recognised it as one of professional concern. In Gail's case, such detachment was, I feel, inappropriate. This nurse looked at me in that strained, serious and patronising way.

"Alan's very weak. Please don't stay too long."

"I understand," I smiled, benign and sombre. As she was playing the caring professional, I thought that I had better play the concerned friend. I seemed to be playing the part quite well.

"He's very fortunate to have such a good friend," she said, obviously perplexed that such a bastard abomination could have *any* friends. I grunted noncommittal and moved into the small room. Alan looked terrible. I was worried sick; gravely concerned that this bastard might not last the week, that he might escape from the terrible destiny I'd carved out for him. The timing had to be right.

It had given me great pleasure, at the start, to witness Venter's great physical agony. I will never let myself get into a state like that when I get sick; fuck that. I'll leave that engine running in the lock-up garage. Venters, shite that he is, did not have the guts to leave the gig of his own record. He's hang on till the grim end, if only to maximise the inconvenience to everyone.

"Awright Al?" I asked him. A silly question really. Convention always imposes its lunacy on us at such inappropriate times.

"Not bad..." he wheezed.



"Any pain?" I ask hopefully.

"Naw... they got drugs... just my breathin..." I held his hand and felt a twinge of amusement as his pathetic, bony fingers squeezed tightly. I thought I was going to laugh in his skeletal face as his tired eyes kept shutting.

I watched, stifling smirks, as he groped for breath.

"S awright mate. Ah'm here," I said.

"You're a good guy, Davie..." he spluttered. "...pity we never knew each other before this..." He opened his eyes and shut them again.

"It was a fuckin pity awright you trash-faced little ****..." I hissed at his closed eyes.

"What? ... what was that..." he was delirious with fatique and drugs.



"I said, it's a shame we had to meet under such circumstances."

He groaned contentedly and fell into a sleep. I extracted his scrawny fingers from my hand.



The nurse came in to check on my man. "Most anti-social. Hardly the way to treat a guest," I smiled, looking down on the slumbering near-corpse that was Venters. She forced a nervous laugh, probably thinking it's the black humour of the homosexual or the junky, or the haemophiliac or whatever she imagines me to be. I don't give a toss about her perception of me. I see myself as the avenging angel.

Killing this shitebag would only do him a big favour. That was the problem, but one which I managed to resolve. How do you hurt a man who's going to die soon, knows it, and doesn't give a toss? Talking, but more crucially, listening to Venters, I found out how. You hurt them through the living, through the people they care for.

The song says that "everybody loves somebody sometime", but Venters seemed to defy that generalisation. The man just did not like people, and they more than reciprocated. With other men Venters saw himself in an adversarial role. Past acquaintances were described with bitterness: "a rip-off merchant," or derision: "a fuckin sap". The description employed depended on who had abused, exploited or manipulated whom, on the particular occasion in question.

Women fell into two indistinct categories. They either had "a fanny like a fish supper", or "a fanny like a burst couch". Venters evidently saw little in a woman beyond "the furry hole", as he called it. Even some disparaging remarks about their tits or arses would have represented a considerable broadening of vision. I got despondent. How could this bastard ever love anybody? I gave it time, however, and patience reaped its reward.

Despicable shite though he was, Venters did care for one person. There was no mistaking the change in his conversational tone when he employed the phrase: "the wee felly". I discreetly pumped him for information about the five-year-old son he had by this woman in Wester Hailes, a "cow" who would not let him see the child, named Kevin. Part of me loved this woman already.

The child showed me how Venters could be hurt. In contrast to his normal bearing, he was stricken with pain and incoherent with sentiment when he talked about how he'd never see *his* son grow up, about how much he loved "the wee felly". That was why Venters did not fear death. He actually believed that he would live on, in some sense or other, through his son.

It hadn't been difficult to insinuate myself into the life of Frances, Venter's ex-girlfriend. She hated Venters with a vitriol which endeared her to me even though I wasn't attracted to her in any other way.

After checking her out, I cruised her accidentally-on-purpose at a trashy disco, where I played the role of charming and attentive suitor. Of course, money was no object. She was soon well into it, obviously having never been treated decently by a man in her life, and she wasn't used to cash, living on the breadline with a kid to bring up.

The worst part was when it came to sex. I insisted, of course, on wearing a condom. She had, prior to us getting to that stage, told me about Venters. I nobly said that I trusted her and would be prepared to make love without a condom, but I wanted to remove the element of uncertainty from her mind, and I had to be honest, I had been with a few different people. Given her past experience with Venters, such doubts were bound to be present. When she started to cry, I thought I had blown it. Her tears were due to gratitude however.

"You're a really nice person, Davie, do you know that?" she said. If she knew what I was going to do, she wouldn't have held such a lofty opinion. It made me feel bad, but whenever I thought of Venters, the feeling evaporated. I would go through with it alright.

I timed my courtship of Frances to coincide with Venter's decline into serious illness and his attendant incapacity in the hospice. A number of illnesses were in the frame to finish Venters, the leader of the field being pneumonia. Venters, in common with a lot of HIV-infected punters who take the junk route, escaped the horrible skin cancers more prevalent amongst gays. The main rival to his pneumonia was the prolific thrush which went into his throat and stomach. Thrush was not the first thing to want to choke the living shit out of the bastard, but it could be the last unless I moved quickly. His decline was very rapid, at one stage too rapid for my liking. I thought that the **** would cash in his chips before I could execute my plan.

My opportunity came, in the event, at exactly the right time; in the end it was probably fifty-fifty luck and planning. Venters was struggling, no more than a wrinkled parcel of skin and bone. The doctor had said: any day now.

I had got Frances to trust me with the babysitting. I encouraged her to get out with her friends. She was planning to go out for a curry on the Saturday night, leaving me alone in her flat with the kid. I would take the opportunity presented to me. On the Wednesday before the big day, I decided to visit my parents. I had thought about telling them of my medical condition, and knew it would probably be my last visit.

My parents' home was a flat in Oxgangs. The place had always seemed so modern to me when I was a kid. Now it looked strange, a shanty town of a bygone era. The old girl answered the door. For a second she looked tentative. Then she realised it was me and not my younger brother, and therefore the purse could be kept in mothballs. She welcomed me, her enthusiasm generated by relief. "Hu-low stranger," she sang, ushering me in with haste.

I noted the reason for the hurry, Coronation Street was on. Mike Baldwin had apparently reached a point where had had to confront live-in-lover Alma Sedgewick and tell her that he was really into rich widow Jackie Ingram. Mike couldn't help it. He was a prisoner of love, a force external to him, which compelled him to behave the way he did. I could, as Tom would have put it, empathise. I was a prisoner of hate, a force which was an equally demanding taskmaster. I sat down on the couch.

"Hello stranger," my old man repeated, not looking at me from behind his Evening News. "What have you been up to then?" he asked wearily.

"Nuthin' much."



"Two million Chinkies. Two million of the buggers. That's what we're gonna have over here when Hong Kong goes back to China." He let out a long exhalation of breath. "Two million Wee Willie Winkies," he mused.

I said nothing, refusing to rise to the bait. Ever since I'd gone to university, jacking in what my parents habitually described as "a good trade", the old man had cast himself as hard-nosed reactionary to my student revolutionary. At first it had been a joke, but with the passing years I grew out of my role as he began to embrace his more firmly.

"You're a fascist. It's all to do with inadequate penis size," I told him cheerfully. Coronation Street's vice-like grip on my Ma's psyche was broken briefly as she turned to us with a knowing smirk.

"Don't talk bloody nonsense. I've proved *my* manhood son," he belligerently replied, digging at the fact I'd managed to reach the age of twenty-five without obtaining a wife or producing children. For a second I even thought that he was going to pull out his cock to try and prove me wrong. Instread he shrugged off my remark and returned to his chosen theme. "How'd you like to million Chinkies in your street?" I thought of the term 'Chinky' and visualised loads of aluminium cartons of half-eaten food lying in my road. It was an easy image to call to mind, as it was a scene I observed every Sunday morning.

"It sometimes seems like I already have," I thought out loud.

"There you are then," he said, as if I'd conceded a point. "Another two million are on their way. How'd you like that?"

"Presumably the whole two million won't move into Caledonian Place. I mean, conditions are cramped enough in the Dalry ghetto as it is."

"Laugh if you like. What about jobs? Two million on the dole already. Houses? All they perr buggers livin in cardboard city." God, was he nipping my head. Thankfully, the mighty Ma, guardian of the soap box, intervened.

"Shut up, will you! I'm trying to watch the TV!"



I decide not to mention my HIV. My parents don't have very progressive views on such things. Or maybe they do. Who knows? At any rate, it just did not feel right. Tom always tells us to keep in tune with our feelings. My feelings were that my parents married at eighteen and had produced four screaming brats by the time they were my age. They think I'm 'queer' already. Bringing AIDS into the picture will only serve to confirm this suspicion.

Instead I drank a can of Export and quietly talked football with the old man. He hasn't been to a game since 1970. Colour television had gone for his legs. Twenty years later, satellite came along and fucked them up completely. Nonetheless, he still regarded himself as an expert on the game. The opinions of others were worthless. In any event, it was a waste of time attempting to venture them. As with politics, he'd eventually come around to the opposite viewpoint from the one he'd previously advocated and express it just as stridently. All you needed to do was put up no hard front for him to argue against and he'd gradually talk himself around to your way of thinking.

I sat for a while, nodding intently. Then I made some banal excuse and left.

I returned home and checked my toolbox. A former chippie's collection of various sharp implements. On Saturday, I took it round to Frances's flat in Wester Hailes. I had a few odd jobs to do. One of them she knew nothing about.

Fran had been looking forward to the meal out the her pals. She talked incessantly as she got ready. I tried to respond beyond a series of low groans which sounded like 'aye' and 'right', but my mind was spinning with thoughts of what I had to do. I sat hunched and tense on the bed, frequently rising to the window to peer out, as she put her 'face' on.

After what seemed like a lifetime, I hearded the sound of a motor rolling into the deserted, shabby car park. I sprang to the window, cheerfully announcing: "Taxi's here!"

Frances left me in custody of her sleeping child.

The whole operation went smoothly enough. Afterwards I felt terrible. Was I any better than Venters? Wee Kevin. We had some good times together. I'd taken him to the shows at the Meadows festival, to Kirkcaldy for a League Cup tie, and to the Museum of Childhood. While it doesn't seem a great deal, it's a sight more than his old boy ever did for the poor wee bastard. Frances said as much to me.

Bad as I felt then, it was only a foretaste of the horror that hit me when I developed the photographs. As the prints formed into clarity, I shook with fear and remorse. I put them on the dryer and made myself a coffee, which I used to wash down two valium. Then I took the prints and went to the hospice to visit Venters.

Physically, there was not a great deal left of him. I feared the worst when when I looked into his glazed eyes. Some people with AIDS had been developing pre-senile dementia. The disease could have his body. If it had also taken his mind, it would deprive me of my revenge.

Thankfully, Venters soon registered my presence. his initial lack of response probably a side-effect of the medication he was on. His eyes soon fixed me in their gaze, acquiring the sneaky, furtive look I associated with him. I could feel his contempt for me oozing through his sickly smile. He thought he'd found a sappy **** to indulge him until the end. I sat with him, holding his hand. I felt like snapping off his scrawny fingers and sticking them into his orifices. I blamed him for what I had to do to Kevin, as well as all the other issues.

"You're a good guy Davie. Pity we didn't meet in different circumstances," he wheezed, repeating that well-worn phrase he used on all my visits. I tightened my grasp on his hand. He looked at me uncomprehendingly. Good. The bastard could still feel physical pain. It wasn't going to be that kind of pain which would hurt him, but it was a nice extra. I spoke in clear, measured tones.

"I told you I got infected through shooting up, Al. Well, I lied. I lied to you aboot tons of things."

"What's aw this, Davie?"

"Just listen for a minute, Al. I got infected through this bird I'd been seein. She didn't know that she was HIV. She got infected by a piece of shite that she met one night in a pub. She was a bit pished and a bit naive, this wee bird. Y'know? This **** said that he had a wee bit of dope back at his gaff. So she went with the ****. Back to his flat. The bastard raped her. You know what he did, Al?"

"Davie... what is this..."

"I'll fuckin tell ye. Threatened her with a fuckin blade. Tied her down. Fucked her fanny, fucked her arse, made her go down on him. The lassie was terrified, as well as being hurt. Does this sound familiar then ****?"

"I don't... I don't know what the fuck you're on about Davie..."

"Don't fah-kin start. You remember Donna. You rememeber the Southern Bar."

"I was fucked up man..." "You remember what you said..."

"That was lies. Bullshit. I couldn't have got a fuckin root on if I knew I had that shite in *my* come. I couldn't have raised a fuckin smile."

"Wee Goagsit... mind of him?"

"Shut your fuckin mouth. Wee Goagsie took his fuckin chance. You sat there like it was a fuckin pantomime when you had yours," I rasped, watching drops of my gob disseminate into the film of sweat which covered his shrunken coupon. I composed myself, continuing my story.

"The lassie went through a heavy time. She was strong-willed though. I would have fucked up a lot of women, but Donna tried to shrug it off. Why let one spunk-gobbed **** ruin your life? Easier said than done, but she did it. What she didn't know was that the scumbag in question was HIV positive. Then she meets this other guy. They hit it off. He likes her, but he knows that she's got problems with men and sex. No fuckin wonder, eh? I wanted to strangle the perverse force which passed for life out of the ****'s body. Not yet, I told myself. Not yet, you doss ******." I drew a heavy breath, and continued my tale, reliving the horror of it.

"They worked it out, this lassie and the other guy. Things were barry for a bit. Then she discovered that the rapist fuckbag was HIV. Then she discovered that she was. But what was worse for this person, a *real* person, a fuckin *moral* person, was when she found out that he new felly was. All because of *you*, the rapist ****. *I* was the new felly. *Me*. Big fuckin sap here," I pointed to myself.

"Davie... I'm sorry man..." "what can I say? You've been a good mate... it's that disease... it's a fuckin horrible disease, Davie. It kills the innocent, Davie... it kills the innocent..."

"It's too late for that shite now. You had your chance at the time. Like Wee Goagsie."

He laughed in my face. It was a deep, wheezing sound.

"So what are you... what are you gonna do about it? ... Kill me? Go ahead... you'd be doing me a favour... I don't give a fuck." His wizened death mask seemed to become animated, to fill with a strange, ugly energy. This was not a human being. Obviously, it suited me to believe that, made it easier to do what I had to do, but in cold light of day I believe it still. It was time to play my cards. I calmly produced the photographs from my inside pocket.

"It's not so much what I'm gonna do about it, more what I already have done about it," I smiled, drinking the expression of perplexed fear which etched onto his face.

"What's this... what do you mean?" I felt wonderful. Shock waves tripped over him, his scrawny head oscillating as his mind grappled with his greatest fears. He looked at the photographs in terror, unable to make them out, wondering what dreadful secrets they held.

"Think of the worst possible thing I could do to make you pissed off, Al. Then multiply it by one thousand... and you're not even fuckin close." I shook my head mournfully.

I showed him a photograph of myself and Frances. We were posing confidently, casually displaying the arrogance of lovers in their first flush.

"What the fuck," he spluttered, trying pathetically to pull his scrawny frame up in the bed. I thrust my hand to his chest and effortlessly pushed him back home. I did this slowly, savouring my power, and his impotence in that one gorgeous motion.

"Relax, Al, relax. Unwind. Loosen up a little. Take it easy. Remember what the doctors and nurses say. You need your rest." I flipped the first photo over, exposing the next picture to him. "That was Kevin that took the last picture. Takes a good photo for a wee laddie, eh? There he is, the wee felly." The next photograph showed Kevin, dressed in a Scotland football strip, on my shoulders.

"What have you fuckin done..." It was a sound, rather than a voice. It seemed to come from an unspecific part of his decaying body rather than his mouth. The unearthliness of it stung me, but I made the effort to continue sounding nonchalant.

"Basically this." I produced the third photo. It showed Kevin, bound to a kitchen chair. His head hung heavily to one side, and his eys were closed. Had Venters looked at the detail, he may have noticed a bluish tint to his son's eyelids and lips, and the almost clownish whiteness of his complexion. It's almost certain that all Venters noticed were the dark wounds on his head, chest, and knees, and the blood which oozed from them, covering his body, at first making it hard to note that he was naked.

The blood was everywhere. It covered the lino in a dark puddle underneath Kevin's chair. Some of it shot outwards across the kitchen floor in squirted trails. An assortment of power tools, including a Bosch drill and a Black and Decker sander, in addition to various sharpened knives and screwdrivers, were laid out at the feet of the upright body.

"Naw... naw... Kevin... for god's sake naw... he done nuthin... he hurt nobody... naw..." he moaned on, an ugly, whingey sound devoid of hope or humanity. I gripped his thim hair crudely, and wrenched his head up from the pillow. I observed in perverse fascination as the bony skull seemed to sink to the bottom of the loose skin. I thrust the picture in his face.

"I thought that young Kev should be just like Daddy. So when I got bored fucking your old girlfriend, I decided I'd give wee Kev one up his... eh... tradesman's entrance. I thought, if HIV's good enough for Daddy it's good enough for his brat."

"Kevin... Kevin... he groaned on."

"Unfortunately, his arsehole was a bit too tight for me, so I had to extend it a little with the masonry drill. Sadly, I got a wee bit carried away and started making holes all over the place. It's just that he reminded me so much of you, Al. I'd love to say it was painless, but I cannot. At least it was relatively quick. Quicker than rotting away in a bed. It took him about twenty minutes to die. Twenty screaming, miserable minutes. Poor Kev. As you said, Al, it's a disease which kills the innocent.

Tears rolled down his cheeks. He kept saying "no" over and over again in low, choking sobs. His head jerked in my grip. Worried that the nurse would come, I pulled out one of the pillows from behind him.

"The last word wee Kevin said was 'Daddy'. That was your bairn's last words, Al. Sorry pal. Daddy's away. That was what I told him. Daddy's away." I looked straight into his eyes, all pupils, just a black void of fear and total defeat.

I pushed his head back down, and put the pillow over his face stifling the sickening moans. I head it firmly down and pressed my head on it, half-gasping, half-singing the paraphrased words of an old Boney M song: "Daddy, Daddy Cool, Daddy, Daddy Cool... you been a fuckin fool, bye bye Daddy Cool..."

I merrily sang until Venter's feeble restance subsided.

Keeping the pillow firmly over his face, I pulled a Penthhouse magazine off his locker. The bastard would have been too weak to even turn the pages, let alone raise a wank. However, his homophobia was so strong that he'd probably kept it on prominent display to make some absurd statement about his sexuality. Rotting away, and his great concern is that nobody thinks he's a buftie. I set the magazine on the pillow and thumbed through it in a leisurely manner before taking Venter's pulse. Nothing. He'd checked out. More importantly, he'd done it in a state of tortured, agonised, misery.

Taking the pillow off the corpse, I pulled its ugly frail head forward, then let it fall back. For a few moments I contemplated what I saw before me. The eyes were open, as was the mouth. It looked a stupid, a sick caricature of a human being. I suppose that's what corpses are. Mind you, Venters always was.

My searing scorn quickly gave way to a surge of sadness. I couldn't quite determine why that should have happened. I looked away from the body. After sitting for another couple of minutes, I went to tell the nurse that Venters had left the stadium.

I attended Venter's funeral at Seafield Crematorium with Frances. It was an emotional time for her, and I felt obliged to lend support. It was never an event destined to break any attendance records. His mother and sister showed up, as did Tom, with a couple of punters from 'HIV and Positive'.

The minister could find little decent to say about Venters and, to his credit, he didn't bullshit. It was a short and sweet performance. Alan had made many mistakes in his life, he said. Nobody was contradicting him. Alan would, like all of us, be judged by God, who would grant him salvation. It is an interesting notion, but I feel that the gaffer in the sky has a fair bit of graft ahead of him if that bastard's checked in up there. If he has, I think I'll take my chances in the other place, thank you very much.

Outside, I checked out the wreaths. Venters only had one. 'Alan. Love Mum and Sylvia.' To my knowledge they had never visited him in the hospice. Very wise of them. Some people are easier to love when you don't have to be around them. I pumped the hands of Tom and the others, then took Fran and Kev for some de luxe ice-cream at Lucas in Musselburgh. Obviously, I had deceived Venters about the things I did to Kevin. Unlike him, I'm not a fuckin animal. I'm far from proud about what I *did* do. I took great risks with the bairn's well being. Working in a hospital operating theatre, I know all about the crucial role of the anaethetist. They're the punters that keep you alive, not sadistic fuck-pigs like Howison. After the jab puts you under, you're kept unconscious by the anaethetic and put onto a life-support system. All your vital signs are monitored in highly controlled conditions. They take care.

Chloroform is much more of a blunt instrument, and very dangerous. I still shudder when I think of the risk I took with the wee man. Thankfully, Kevin woke up, with only a sore head and some bad dreams as a remnant of his trip to the kitchen.

The joke shop and Humbrol enamel paints provided the wounds. I worked wonders with Fran's makeup and talc for kev's death mask. My greatest coup, though, was the three plastic pint bags of blood I took from the fridge in the path lab at the hospital. I got paranoid when that ****** Howison gave me the evil eye as I walked down the corridor past him. He always does though. I think it's because I once addressed him as 'Doctor' instead of 'Mister'. He's a funny ****. Most surgeons are. You'd have to be to do that job. Like Tom's job, I suppose.

Putting Kevin under turned out to be easy. The biggest problem I had was setting up and dismantling the entire scene inside half an hour. The most difficult part involved cleaning him up before getting him back to bed. I had to use turps as well as water. I spent the rest of the night cleaning up the kitchen before Frances got back. It was worth the effort however. The pictures looked authentic. Authentic enough to fuck up Venters.

Since I helped Al on his way to the great gig in the sky, life has been pretty good. Frances and I have gone our separate ways. We were never really compatible. She only really saw me as a babysitter and a wallet. For me, obviously, the relationship became largely superfluous after Venter's death. I miss Kev more. It makes me wish that I had a kid. Now that'll never be. One thing that Fran did say was that I had revived her faith in men after Venters. Ironically, it seems as if I found my role in life —— cleaning up that prick's emotional garbage.

My health, touch wood, has been good. I'm still asymptomatic. I fear cold and get obsessive from time to time, but I take care of myself. Apart from the odd can of beer, I never bevvy. I watch what I eat, and have a daily programme of light exercises. I get regular blood checks and pay attention to my T4 count. It's still way over the crucial 800 mark; in fact it's not gone down at all.

I'm now back with Donna, who inadvertently acted as the conduit for HIV between me and Venters. We found something that we probably wouldn't have got from each other in different circumstances. Or maybe we would. Anyway, we don't analyse it, not having the luxury of time. However, I must give old Tom at the group his due. He said that I'd have to work through my anger, and he was right. I took the quick route though, by sending Venters to oblivion. Now all I get is a bit of guilt, but I can handle that.

I eventually told my parents about my being HIV positive. My Ma just cried and held me. The old man said nothing. The colour had drained from his face as he sat and watched A Question of Sport. When he was pressed by his wailing wife to speak, he just said: "Well, there's nothin to say." He kept repeating that sentence. He never looked me in the eye.

That night, back at my flat, I heard the buzzer go. Assuming it to be Donna, who had been out, I opened the stair and house doors. A few minutes later, my old man stood in the doorway with tears in his eyes. It was the first time he'd ever been to my flat. He moved over to me and held me int a crushing grip, sobbing, and repeating: "My laddie." It felt a world or two better than: "Well, there's nothin to say."

I cried loudly and unselfconsciously. As with Donna, so with my family. We have found an intimacy which may have otherwise eluded us. I wish I hadn't waited so long to become a human being. Better late than never though, believe me.

There's some kids playing out in the back, the strip of grass luminated an electric green by the brilliant sunlight. The sky is a delicious clear blue. Life is beautiful. I'm doing to enjoy it, and I'm going to have a long life. I'll be what the medical staff call a long-term survivor. I just know that I will.

Old Post Sep-19-2002 03:57  Canada
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fieroavian
Mentally Sick



Registered: Jun 2002
Location: Netherworld
Bang To Rites (from Trainspotting)

It's beautiful day. That seems to mean

Concentrate. On the job at hand. My first burial. Somebody says: "C'moan Mark," a gentle voice. I step forward and grab a length of the cord.

I help my father and my uncles, Charlie and Dougie, to lower the remains of my brother into the ground. The army's put up the money for this do. Leave it to us, the softly-spoken Army Welfare Officer told Ma. Leave it to us.

Yes, this is the first burial I've been at. Usually it's cremations these days. I wonder what's in the boax. Not much of Billy, that's for sure. I look over at my Ma and Sharon, Billy's bird, who are being comforted by an assortment of aunties. Lenny, Peasbo and Naz, Billy's mates, are here, along with some of his squaddie pals.

Billy Boy, Billy Boy. Hello, hello, we are the. It's nothing to do with

I keep thinking of that old Walker Brothers number, the one Midge Ure covered: There's no regrets, no tears goodbye. I don't want you back etcetera, etcetera.

I can't feel remorse, only anger and contempt. I seethed when I saw that fuckin Union Jack on his coffin, and watched that smarmy, wimpy **** of an officer, obviously out of his depth here, tryin to talk to my Ma. Worse still, these Glasgow ****s, the old boy's side, are through here en masse. They're fill of shite about how he died in the service of his country and all that servile Hun crap. Billy was a silly ****, pure and simple. Not a hero, not a martyr, just a daft ****.

A fit of giggles hits me, threatening to completely overwhelm me. I nearly cowped over laughing hysterically, when my father's brother, Charlie, grabbed me by the arm. He looked hostile, but that **** always does. Effie, his wife, pulls the ****** away sayin: "The boy's upset. It's just his way Chick. The boy's upset."

Get a fuckin wash ya soupdodgin Weedjie ****s.

Billy Boy. That's what these ****s called him as a laddie. It was: Awright Billy Boy? With me, skulking behind the couch, it was a grudging: Aye son.

Billy Boy, Billy Boy. I remember you sitting on top of me. Me helplessly pinned to the floor. Windpipe constricted to the width of a straw. Praying, as the oxygen drained from my lungs and brain, that Ma would return from Presto's before you crushed the life out of my skinny body. The smell of pish from your genitals, a damp patch on your short trousers. Was it really that exciting, Billy Boy? I hope so. I can't really grudge you it now. You always had a problem that way; those inappropriate discharges of faeces and urine that used to drive Ma to distraction. Who's the best team, you'd ask me, crushing, digging or twisting harder. No respite for me until I say: Hearts. Evern after we'd fucked you seven-nil on New Year's Day at Tynecastle, you still made me say Hearts. I suppose I should have been flattered that an utterance from me carried more weight than the actual result.

Ma beloved brother was on Her Majesty's Service, on patrol near their base at Crossmaglen in Ireland, the part under British rule. They had left their vehicle to examine this road block, when POW! ZAP! BANG! ZOWIE!, and they were no more. Just three weeks before the end of this tour of duty.

He died a hero they said. I remember that song: "Billy Don't Be A Hero". In fact, he died a spare prick in a uniform, walking along a country road with a rifle in his hand. He died an ignorant victim of imperialism, understanding fuck all about the myriad circumstances which led to his death. That was the biggest crime, he understood fuck all about it. All he had to guide him through this great adventure in Ireland, which led to his death, was a few vaguely sectarian sentiments. The **** dies as he lived: completely fuckin scoobied.

His death was good for me. He made the News at Ten. In Warholian terms, the **** had a posthumous fifteen minutes of fame. People offered us sympathy, and although it was misguided, it was nice to accept anyway. You don't want to disappoint folk.

Some ruling class ****, a junior minister or something, says in his Oxbridge voice how Billy was a brave young man. He was exactly the king of **** they'd have branded as a cowardly thug if he was in civvy street rather than on Her Majesty's Service. This fuckin walking abortion says that his killers will be ruthlessly hunted down. So they fuckin should. All the way to the fuckin Houses of Parliament.

Savour small victories against this white-trash tool of the rich that's no no no

Billy being tormented by the Sutherland Brothers and entourage, who certainly made him quiver ha fuckin ha as they danced around him singing: YOUR BROTHER'S A SPASTIC, one of the great Leith street hits of the seventies, generally a-side game of football. Were they talking about Davie, or perhaps even me? Didn't matter. They didn't see me looking down from the bridge. Billy, your head stayed bowed. Impotence. How does it feel Billy Boy? Not good. I know because

It's weird by the graveside. Spud's here somewhere, clean, just out of Saughton. Tommy and all. It's crazy, Spud lookin healthy, and Tommy looked like death warmed up. Complete role reversal. Davie Mitchell, a good mate of Tommy's, a guy who I once worked with on site as an appropriate chippy way back, has shown up. Davie caught HIV from this lassie. Brave of the **** to come. That's fuckin real bravery. Begbie, just when I could make use of the ****'s evil presence and capacity to cause chaos, is on holiday in Benidorm. I could do with his immoral support vis-a-vis my Weedjie relations. Sick Boy's still in France, livin out his fantasies.

Billy Boy. I remember sharing that room. How the fuck I did it for all the years beats

The sun has a power. You can understand why people worship it. It's there, we know the sun, we can see it, and we need it.

You had first call on the room Billy. Fifteen months my senior. Might is right. You'd bring gaunt-faced, vicious-eyed, gum-chewing lassies back to fuck, or at least heavy pet. They'd look at me with android contempt as you banished me, whoever was with me, and my Subbuteo into the lobby. I particularly recall the needless crunching of one Liverpool and two Sheffield Wednesday players under your heel. Unnecessary, but then total domination requires its symbolism, eh no Billy Boy?

My cousin Nina looks intensely shaftable. She's got long, dark hair, and is wearing an ankle-length, black coat. Seems to be a bit of a Goth. Noting some of Willie's squaddy pals and my Weedjie uncles getting on well, I find myself whistling "The Foggy Dew". One squaddy with big, protruding front teeth, cottons on and looks at me in surprise and then anger, so I blows the **** a kiss. He stares at me for a bit, then looks away, shit up. Good. Wabbit season.

Billy Boy, I was your other spastic brother, the one who'd never had a ride, as you'd tell your mate Lenny. Lenny'd laugh and laugh until he'd almost he an asthma attack. It wasn't particularly Billy no you stupid, fuckin ****

I give Nina a broad wink and she smiles, embarrassed. My father's been clocking this and he steams over to me.

"Wahn fuckin bit of crap out of you and that's us finished. Right?"

His eyes were tired, sunk deep into their sockets. There was a sad and unsettling vulnerability about him I've never seen before. I wanted to say so much to the man, but I resented him for allowing this circus to take place.

"See ye up the house, father. I'm going to see Ma."

An overheard conversation in the kitchen, fuck-knows when. Father goes: "There's something wrong with that laddie Cathy. Sittin in all the time. It's not natural. I mean, look at Billy."

Ma says back: "The laddie's just different Davie, that's all."

Different from Billy. Not a Billy Boy. You won't know him by his noise, but by his silence. When he comes for you, he won't come screaming, announcing his intentions, but he'll come. Hello, hello. Goodbye.

I get a lift from Tommy, Spud and Mitch. They aren't for comin in. They depart quickly. I see my old lady, delirious, being helped out of the taxi by her sister Irene, and sister-in-law Alice. The Weedjie aunties are clucking around in the background, I can hear these horrible accents; bad enough on a man, fuckin revolting on a woman. These hatchet-faced old boots don't look comfortable. Obviously, they're more in their niche at the funeral of an elderly relatie when there's goodies up for grabs.

Ma grabs the arm of Sharon, Billy's burd, who's got a big fun in her oven. Why the fuck do people all grab each other's arms at funerals?

"He would've made an honest woman of you hon. You were always the one for him." The way she said it, it was like she was trying to convince herself as much as Sharon. Poor Ma. Two years ago, she had three sons, now she's only got one, sho's a junky. The game's not straight.

"Do you think the army'll have anything for me?" I heard Sharon asking my Auntie Effie, as we got into the house. "I'm carrying his bairn... it's Billy's bairn..." she pleads.

"Do you think the moon's made out of green fuckin knob cheese?" I remark.

Fortunately, everyone seems too loast in themselves to pick it up.

Like Billy. He started to ignore me when I became invisible.

Billy, my contempt for you just grew over the years. It displaced the fear, just sorta squeezed it out, like pus from a pluke. Of course, there's the blade. A great leveller, very good at negating plysical assets; as Eck Wilson found out to his cost in second year. You love us for that, once you got over your shock. Respected and loved me as a brother for the first time. I despised you more than ever.

You knew that your strength became superfluous once I'd discovered the the blade. You knew that, ya crappin bastard. The blade and the bomb. Just like the Naw. Not the fuckin bomb. No

My embarrassment and discomfort grows. People fill their glasses and say what a great **** Billy was. I can't really think of anything good to say about him, so I shut up. Unfortunately, one of his squaddy mates, the rabbit-toothed punter I blew a kiss at, sidles up to me. "You were his brother," he says, choppers hanging out to dry.

I might've guessed. Another Weedjie Orange bigot. No wonder he's hit it off with father's side. It put me on the spot. Every ****'s eyes focus on me. Dwat that pesky wabbit.

"Indeed I was, as you say, his brother," I jocularly agree. I can feel the resentment mounting up against me. I have to play to the crowd.

The best way I knew to strike a chord without compromising too much to the sickening hypocrisy, perversely peddled as decency, which fills the room, is to stick to the cliches. People love them at this time, because they become real, and actually mean something.

"Billy and me never agreed on that much..."

"Ah well, vive le difference..." said Kenny, an uncle on my Ma's side, tryin to be helpful.

"... but one thing we had in common was that we both liked a good drink and a good crack. If he can see us now, he'll be laughin his head off at us sittin here all moosey face. He'd be sayin, enjoy yourself, for god sake! I've got friends and family here. We've not seen each other for ages."

An exchange of cards:

-------------------------------------------------------
| |
| To Billy |
| |
| Merry Christmas and a Happy New Year |
| |
| (except between 3.00 and 4.40 |
| on New Year's Day) |
| |
| From Mark. |
| |
-------------------------------------------------------


-------------------------------------------------------
| |
| Mark |
| |
| Merry Christmas and a Happy New Year |
| |
| Billy |
| |
| HMFC OK |
| |
-------------------------------------------------------


-------------------------------
| |
| To Billy, |
| |
| Happy Birthday |
| |
| From Mark |
| |
-------------------------------


-------------------------------
| |
| Mark |
| |
| Happy Birthday |
| |
| From Billy and Sharon |
| |
-------------------------------


In Sharon's handwriting, which is like

The Weedjie white trash that were my father's family, came through for the Orange walk every July, and occasionally when Rangers were at Easter Road or Tynecastle. I wished the ****s would stay in Drumchapel. They receive my touching little tribute to Billy well enough through, and all nod solemnly. All except Charlie, who saw through my mood.

"It's all a fuckin game to you, isn't it son?"

"If you must know, yes."

"I feel sorry for you." He shook his head.

"No you don't," I tell him. He walks away, still shakin his head.

More McEwan's Export and whisky follows. Auntie Effie starts to sing, a nasal, country-style whine. I move over to Nina.

"You've really blossomed into a wee honey, know that?" I drunkenly slaver. She looks at me as if she's heard it all before. I was gonna suggest that we sneak away over to Fox's, or back to my flat at Montgomery Street. Is it against the law to shag your cousin? Probably. They've got laws for stoping you doin everything else.

"Shame about Billy," she says. I can tell she thinks I'm a total wanker. Of course, she's completely right. I thought that every **** over twenty was a toss and not worth speaking to, until I hit twenty. The more I see, the more I think I was right. After that it's all ugly compromise, all timid surrender, progressively until death.

Unfortunately, Charlie, or Chick-chicy-chic-chicky-chicky, has clocked the solicitous nature of my conversation, and moves in to protect Nina's virtue. Not that she needs the assistance of a fat soapdodger.

The bastard gestures me aside. When I ignore him, he takes my arm. He's pretty drunken. His whisper is hard, and I can smell the whisky on his breath.

"Listen son, if you don't get on your fuckin bike, I'm gonna tan your jaw. If it wasn't for your father there, I've done it a long time ago. I don't like you son, I never have. Your brother was ten times the man you'll ever be, ya fuckin junky. If you knew the misery you've caused your Ma and Da..."

"You can speak frankly," I cut in, anger throbbing in my chest but nonetheless contained by a delicious glee that comes from knowing that I've upset the ****. Stay cool. It's the only way to fuck a self-righteous bastard over.

"Oh I'll speak frankly all right, Mr University smart ****. I'll knock you through that fuckin wall." His chunky, indian-inked fist was just a few inches from my face. My grip tensed on the whisky glass I was holdin. I wasn't gonna let this **** touch me with the fuckin hands. If he moved he was getting this glass.

I pushed his raised hand aside.

"If you did give me a kickin, you'd be doing me a favour. I'd just have a wank about it later on. We University drop-out smart **** junkies are kinky that way. 'Cause that's all you're worth, ya fuckin trash. You're also takin a wee bit for granted. You want to go outside, just say the fuckin word."

I gestured at the door. The room seemed to shrink to the size of Billy's coffin, and be populated only by myself and Chick. But there were others, People were looking around at us now.

The **** pushed me gently in the chest.

"We've had wahn funeral in the family the day, we're not wahnting another."

My Uncle Kenny came over and pulled us away.

"Ignore these orange bastards. C'moan Mark, look at your Ma. It would fuckin kill her if you got involved here, it's Billy's funeral. Remember where you are, for fuck sakes."

Kenny was right, well a bit of a fuckin arse if the truth be told, but for all their faults, I'd rather have an ayesur than a soapdodger. I come from some stock, right enough. Ayesur papish bastards on my Ma's side, soapdodging orange ****s on my father's.

I gulped at the whisky, enjoying the burning sour taste of it in my throat and chest, wincing as it hit my queasy stomach. I went through to the toilet.

Sharon, Billy's burd, was coming out. I barred her way. Sharon and me have maybe spoken about half-a-dozen sentences to each other. She was drunk and dazed, her face flushed and bloated with alcohol and pregnancy.

"Hold on the now Sharon. You and me need to have a wee blether, likes. It's pretty confidential in here." I usher her into the toilet and lock the door behind us.

I start to feel her up, while rabbitin a load of shite about how we have to stick together at a time like this. I'm feeling her lump, and going on about how much responsibility I felt towards my unborn niece or nephew. We start kissin, and I move my hand down, feelin the visible panty lines through the cotton material of her maternity dress. I was soon fingerin her fanny, and she had got my prick out of my trousers. I was still bullshittin, tellin her that I'd always admired her as a person and a woman, which she doesn't really need to hear because she's going down on me, but it's somehow comfortin to say. She takes my semi into her mouth and I firm up quickly. There's no doubt about it, she gives a good blow-job. I think about her doing this with my brother, and wondered what had happened to his prick in the explosion.

If only Billy could see us now, I'm thinking, but in a surprisingly reverential way. I wondered if he could, and hoped so. It was the first good thoughts about him I'd had. I withdraw just before comin, and guide Sharon into the doggy position. I hike up her dress and pulled her panties down. Her heavy belly sags towards the floor. I try to put it into her arsehole first but it's too tight and it hurts my dick end to force it.

"Not that way, not that way," she's saying, so I stopped my rummage for some cream, and scoop my fingers into her fanny. She has a powerful ivy smell. Then again, my cock also smells pretty foul and and flecks of dick cheese are visible on the helmet. I've never really been too much into personal hygiene; probably the soapdodger in us, or the junky.

I concur with Sharon's wishes and fuck her in the fanny. It's a wee bit like throwing the proverbial sausage up a close, but I find my stroke and she tightens up. I think about how close she is to poppin and how far up I am, and I can see myself stickin it in the foetus's mouth. Some concept, a shag and a blow-job simultaneously. It torments me. They say that a shag is good for an unborn child, they get the circulation of blood, or some shite. The least I can do is take an interest in the bairn's welfare.

A knock on the door, followed by Effie's nasal voice.

"What you doin in there?"

"It's alright, Sharon's bein sick. Too much drink in her condition," I groaned.

"Are you seein to her son?"

"Aye... I'm seein to her..." I panted as Sharon's groans grew louder.

"Alright well."

I blurt out my much and pull out. I gently push her prostrate, helping her turn over, and scoop her huge milky tits out of her dress. I smuggle into them like a bairn. She starts strokin my head. I feel wonderful, so at peace.

"That was fuckin barry," I gasp contentedly.

"Will we keep seein each other now?" she says. "Eh?" There's a desperate, pleading edge to her voice. What a fuckin radge.

I sat up and kissed her face, which was like a swollen, overipe piece of fruit. I didn't want to get heavy here. The truth was, Sharon repulsed me now. This radge thinks that with one fuck she can substitute one brother for the other. Thing is, she's probably not far wrong.

"We've to get up Sharon, get cleaned likes, y'know. They wouldn't understand if they caught us. They don't know anything. I know that you're a good lassie, Sharon, but they don't understand fuck all."

"I know you're a nice laddie," she said supportively, but without a great deal of conviction. She was certainly far too good for Billy, then again Myra Hindley or Margaret Thatcher were far too good for Billy. She was caught in this get-a-man, get-a-bairn, get-a-house shite that lassies get drummed into them, and had no real chance of defining herself outside of the mashed-potato-for-brains terms of reference.

There was another knock at the door.

"If you don't open that door, I'm gonna knock it down." It was Charlie's son, Cammy. A fucking young policeman who looked like the Scottish Cup; big jug ears, no chin, slender neck. The **** obviously thought that I was shootin up. Well, I was, but not in the sense he imagined.

"I'm alright... we'll be out in a minute. Sharon wipes herself and tugs up her pants and re-arranges things. I'm fascinated at the speed with which she moves for a heavily pregnant lassie. I couldn't believe I'd just shagged her. I'd feel bad about it the morning, but, as Sick Boy's prone to saying, the morning takes care of itself. There isn't an embarrassment in the world that can't be erased by a bit of blether and a few drinks.

I open the door.

"Take it easy, Dixon of Dock Green. Not seen a lady up the kite before?" His glaikit, open-mouthed expression inspired my instant contempt.

I didn't like the vibes, so I took Sharon back to my flat. We just talked. She told me a lot of things that I wanted to hear, things my Ma and father never knew, and would hate to know. How Billy was a **** to her. How he battered her on occasions, humiliated her, and generally treated her like an exceptionally foul piece of shite.

"What did you stay with him for?"

"He was my fellow. You always think it'll be different, that you can change them, that you can make a difference."

I understood that. But it's wrong. The only ******s that ever made a difference to Billy were the Provos, and they were ****s as well. I've no illusions about them as freedom fighters. The bastards made my brother into a pile of catfood. But they only pulled the switch. His death was conceived by these orange ****s, stupid head with nonsense about crown and country and all that shite. They'll go home chuffed from the day. They can tell all their mates about how one of the family died, murdered by the IRA, while defending Ulster. It'll fuel their pointless anger, get them bought drinks in pubs, and establish their doss-bastard credibility with other sectarian arseholes.

I don't want any **** fuckin about with my brother. Those were the words Billy Boy spoke to Pops Graham and Dougie Hood as they came into the pub hassling me, determined that I had to pay for my drugs. Billy's statement. Oh yes. Delivered with such clarity and assurance, that it went beyond a threat. My irritants just looked at each other and skulked off out of the pub. I s******ed. So did Spud. We were high, and about fuck all. Billy Boy sneered at us, something like: You're a fuckin arse, and joined a couple of his mates, who looked disappointed that Pops and Dougie had fucked off, depriving them of an excuse for a brawl. I still giggled. Thanks guys, it's been

Billy Boy told me that I was ruining my life with that shite. He told me this on numerous occasions. It's been real

Fuck. Fuck. Fuck. What's it all about. Aw Billy. Aw fuck sakes. I didn't

Sharon was right. It's hard to change people

Every cause needs its martyrs though. So now I'm wishing that she would fuck off so I can get to my stash, cook up a shot and get a hit, in the cause of oblivion.

Old Post Sep-19-2002 04:00  Canada
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fieroavian
Mentally Sick



Registered: Jun 2002
Location: Netherworld
LAME 3.90 Manual

code:
usage: lame [options] [outfile] and/or can be "-", which means stdin/stdout. RECOMMENDED: lame -h input.wav output.mp3 PRESETS: --r3mix -b112: on 3.9: "--nspsytune --vbr-mtrh -V1 -mj -h -b96 --lowpass 19.5 --athtype 3 --ns-sfb21 2 -Z --scale 0.98" on 3.88b: "-V1 -mj -h --athtype 3 --lowpass 19.5 -b112" OPTIONS: Input options: -r input is raw pcm -x force byte-swapping of input -s sfreq sampling frequency of input file (kHz) - default 44.1 kHz --mp1input input file is a MPEG Layer I file --mp2input input file is a MPEG Layer II file --mp3input input file is a MPEG Layer III file Operational options: -m (s)tereo, (j)oint, (f)orce, (m)ono or (a)auto default is (s) or (j) depending on bitrate force = force ms_stereo on all frames. auto = jstereo, with varialbe mid/side threshold -a downmix from stereo to mono file for mono encoding -d allow channels to have different blocktypes --freeformat produce a free format bitstream --decode input=mp3 file, output=wav -t disable writing wav header when using --decode --comp choose bitrate to achive a compression ratio of --scale scale input (multiply PCM data) by --voice experimental voice mode --preset type type must be phone, voice, fm, tape, hifi, cd or studio "--preset help" gives some more infos on these Verbosity: --disptime print progress report every arg seconds -S don't print progress report, VBR histograms --nohist disable VBR histogram display --silent don't print anything on screen --quiet don't print anything on screen --verbose print a lot of useful information Noise shaping & psycho acoustic algorithms: -q = 0...9. Default -q 5 -q 0: Highest quality, very slow -q 9: Poor quality, but fast -h Same as -q 2. Recommended. -f Same as -q 7. Fast, ok quality CBR (constant bitrate, the default) options: -b set the bitrate in kbps, default 128 kbps ABR options: --abr specify average bitrate desired (instead of quality) VBR options: -v use variable bitrate (VBR) (--vbr-old) --vbr-old use old variable bitrate (VBR) routine --vbr-new use new variable bitrate (VBR) routine --vbr-mtrh a merger of old and new (VBR) routine -V n quality setting for VBR. default n=4 0=high quality,bigger files. 9=smaller files -b specify minimum allowed bitrate, default 32 kbps -B specify maximum allowed bitrate, default 320 kbps -F strictly enforce the -b option, for use with players that do not support low bitrate mp3 (Apex AD600-A DVD/mp3 playe -t disable writing Xing VBR informational tag ATH related: --noath turns ATH down to a flat noise floor --athshort ignore GPSYCHO for short blocks, use ATH only --athonly ignore GPSYCHO completely, use ATH only --athtype n selects between different ATH types [0-5] --athlower x lowers ATH by x dB --ath-adjust n ATH auto adjust types 1-3, else no adjustment --adapt-thres-type n n=1 total energy or n=2 approximated loudness --adapt-thres-level x ?? PSY related: --short use short blocks when appropriate --noshort do not use short blocks --allshort use only short blocks --cwlimit compute tonality up to freq (in kHz) default 8.8717 --temporal-masking n use temporal masking effect n=0:no n=1:yes --notemp disable temporal masking effect --nspsytune experimental PSY tunings by Naoki Shibata --nssafejoint M/S switching criterion --ns-bass x adjust masking for sfbs 0 - 6 (long) 0 - 5 (short) --ns-alto x adjust masking for sfbs 7 - 13 (long) 6 - 10 (short) --ns-treble x adjust masking for sfbs 14 - 21 (long) 11 - 12 (short) --ns-sfb21 x change ns-treble by x dB for sfb21 experimental switches: -X n selects between different noise measurements -Y lets LAME ignore noise in sfb21, like in CBR -Z toggles the scalefac feature on/off MP3 header/stream options: -e de-emphasis n/5/c (obsolete) -c mark as copyright -o mark as non-original -p error protection. adds 16 bit checksum to every frame (the checksum is computed correctly) --nores disable the bit reservoir --strictly-enforce-ISO comply as much as possible to ISO MPEG spec Filter options: -k keep ALL frequencies (disables all filters), Can cause ringing and twinkling --lowpass frequency(kHz), lowpass filter cutoff above freq --lowpass-width frequency(kHz) - default 15% of lowpass freq --highpass frequency(kHz), highpass filter cutoff below freq --highpass-width frequency(kHz) - default 15% of highpass freq --resample sampling frequency of output file(kHz)- default=automati ID3 tag options: --tt audio/song title (max 30 chars for version 1 tag) --ta <artist> audio/song artist (max 30 chars for version 1 tag) --tl <album> audio/song album (max 30 chars for version 1 tag) --ty <year> audio/song year of issue (1 to 9999) --tc <comment> user-defined text (max 30 chars for v1 tag, 28 for v1.1) --tn <track> audio/song track number (1 to 255, creates v1.1 tag) --tg <genre> audio/song genre (name or number in list) --add-id3v2 force addition of version 2 tag --id3v1-only add only a version 1 tag --id3v2-only add only a version 2 tag --space-id3v1 pad version 1 tag with spaces instead of nulls --pad-id3v2 pad version 2 tag with extra 128 bytes --genre-list print alphabetically sorted ID3 genre list and exit Note: A version 2 tag will NOT be added unless one of the input fields won't fit in a version 1 tag (e.g. the title string is longer than 30 characters), or the '--add-id3v2' or '--id3v2-only' options are used, or output is redirected to stdout. MPEG-1 layer III sample frequencies (kHz): 32 48 44.1 bitrates (kbps): 32 40 48 56 64 80 96 112 128 160 192 224 256 320 MPEG-2 layer III sample frequencies (kHz): 16 24 22.05 bitrates (kbps): 8 16 24 32 40 48 56 64 80 96 112 128 144 160 MPEG-2.5 layer III sample frequencies (kHz): 8 12 11.025 bitrates (kbps): 8 16 24 32 40 48 56 64 80 96 112 128 144 160 <hr></pre></blockquote><FONT face="verdana, arial, helvetica" size="2" color="#98dcdc"></font></p><!-- google_ad_section_end --> <p></p><p></p> </td></tr></table> </td></tr> <tr bgcolor="#222222"> <td width="175" valign="middle" height="16" nowrap> <a href="javascript:openeditsigwindow(780,720,'4a7e0103dc10c85de42efe8da1014df1','10693', '777409')" onmouseover="window.status='';return true;" onmouseout="window.status=' ';return true;" rel="nofollow"><img src="https://tranceaddict.com/forum/images/posticon.gif" border="0" alt="Old Post"></a> <FONT face="verdana,arial,helvetica" size="1" color="#33ccff">Sep-19-2002 04:11  <img 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and next/prev --> <!-- /spacer --> </td><td width="10"><img width="10" height="1" src="https://tranceaddict.com/forum/images/space.gif" alt=""></td></tr></table> <!-- /spacer --> <!-- restart content table from header --> <table cellpadding="10" cellspacing="0" border="0" width="100%" bgcolor="#000000" align="center"> <tr> <td> <!-- thread options links --> <table cellpadding="0" cellspacing="0" border="0" bgcolor="#000000" align="center"><tr><td> <table cellpadding="4" cellspacing="1" border="0" width="100%"> <tr><td align="center"> <FONT face="verdana,arial,helvetica" size="1" color="#33ccff"><img id="question" src="https://tranceaddict.com/forums/images/questionmark.png" height="19" width="19" align="absmiddle"><style> #play,#pause{ float: left; width: 40px; } .play:hover, .pause:hover { cursor: pointer; } .pause { display: none;</style><audio id="playerID339391" class="audio" src="https://tranceaddict.com/forums/mp3/TOID-bobthealien041806-arcade.mp3 "></audio><img id="play339391" class="play" onClick="toggleAudio(339391)" src="https://tranceaddict.com/forums/images/paperclip.png" alt="Click here to listen to the sample!" border="0" align="absmiddle" height="19" width="19"><img id="pause339391" class="pause" onClick="toggleAudio(339391)" src="https://tranceaddict.com/forums/images/pause.gif" alt="Pause playback" border="0" align="absmiddle" height="19" width="19"><a href="https://tranceaddict.com/forums/showthread.php?threadid=339391" target="_blank" title="Know this tune? Click through to visit the thread and reply!">i need some help </a>[<a href="https://tranceaddict.com/forums/showthread.php?threadid=339391" target="_blank" title="Year">2006</a>] [<a href="https://tranceaddict.com/forums/showthread.php?threadid=339391" target="_blank" title="# of replies">0</a>]<br><br> <FONT face="verdana,arial,helvetica" size="1" color="#33ccff"><style> #play, #pause { float: left; width: 40px; } .play:hover, .pause:hover { cursor: pointer; } .pause { display: none;</style><audio id="playerID70506" class="audio" src="https://tranceaddict.com/forums/mp3/TOID-NightCreature102002-voila01.mp3 "></audio><img id="play70506" class="play" onClick="toggleAudio(70506)" src="https://tranceaddict.com/forums/images/paperclip.png" alt="Click here to listen to the sample!" border="0" align="absmiddle" height="19" width="19"><img id="pause70506" class="pause" onClick="toggleAudio(70506)" src="https://tranceaddict.com/forums/images/pause.gif" alt="Pause playback" border="0" align="absmiddle" height="19" width="19"><a href="https://tranceaddict.com/forums/showthread.php?threadid=70506" target="_blank">Sasha - Wavy Gravy </a>[<a href="https://tranceaddict.com/forums/showthread.php?threadid=70506" target="_blank" title="Year sample was posted for IDing">2002</a>]</td></tr> <tr> <td bgcolor="#000000" align="center"> <br> <FONT face="verdana,arial,helvetica" size="1" color="#33ccff"> <a href="printthread.php?s=4a7e0103dc10c85de42efe8da1014df1&threadid=64295">Show Printable Version</a> | <a href="member2.php?s=4a7e0103dc10c85de42efe8da1014df1&action=addsubscription&threadid=64295">Subscribe to this Thread</a> </font> </td> </tr> </table> </td></tr></table> <!-- /thread options links --> <!-- forum jump and rate thread --> <table cellpadding="2" cellspacing="0" border="0" width="100%" align="center"> <tr > <td valign="top"><table cellpadding="0" cellspacing="0" border="0"> <form action="https://tranceaddict.com/forums/forumdisplay.php" method="get"><tr><td> <FONT face="verdana,arial,helvetica" size="1" color="#33ccff"> <input type="hidden" name="s" value="4a7e0103dc10c85de42efe8da1014df1"> <input type="hidden" name="daysprune" value=""> <b>Forum Jump:</b><br> <select name="forumid" onchange="window.location=('forumdisplay.php?s=4a7e0103dc10c85de42efe8da1014df1&forumid='+this.options[this.selectedIndex].value+'&daysprune=')"> <option value="-1" >Please select one:</option> <option value="-1">--------------------</option> <option value="nm" >View New Posts</option> <option value="pm" >Private messages</option> <option value="search" >Search</option> <option value="home" >Home</option> <option value="-1">--------------------</option> <option value="18"> Main Forums</option> <option value="1">-- Music Discussion</option> <option value="16">-- Chill Out Room</option> <option value="11">-- Album Reviews / New Releases Discussion</option> <option value="47" > DJing / Production / Promotion</option> <option value="73" >---- DJ Promotion</option><option value="74" >---- Music Producers Promotion</option> <option value="8">-- DJ Booth</option><option value="48" >-- Production Studio</option> <option value="23"> Tracks Section</option> <option value="6">-- Tracklist Requests / Postings</option> <option value="2">-- Unknown Tracks</option> <option value="21"> Local Scene Info / Discussion</option> <option value="49">-- Australia</option> <option value="57">-- Canada</option> <option value="12">---- Canada - Toronto & Southern Ont.</option> <option value="77">---------- Event Listings</option> <option value="25">---- Canada - Montreal</option> <option value="103">---------- Event Listings</option> <option value="59">-- USA</option> <option value="86">---- USA - Atlanta & Southeast USA</option> <option value="119">---------- Event Listings</option> <option value="62">---- USA - Chicago, Detroit & N. 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