Sasha

Just to prove that I have nothing against Sasha, I continue buying and listening to his music, good or bad. And I do so hoping (for a very long time now) that Sasha will be resurrected from his self inflicted wounds that lead to his musical demise as I have stated before in another review. I mean, he is an icon whether we like it or not. But it just hurts (at least for me) all that more every time this legend's downfall is substantiated. I mean The EmFire Collection got absolutely nowhere and now we have Invol2ver in our hands, with fond memories of the old involver, and a big letdown.

The work:
What's with all the other reviews of "more of the same", "just like the first one" & "as good as the first one" really mean? I honestly don't believe that that should be understood as a complement to Sasha's Invol2ver work. Although Sasha's original involver was stellar for it's time, not to mention its merits as a compilation, the work was done more than 4 years ago and things have changed drastically since then with works such as Digweed's Transitions (4). Therefore, such statements resembling the old work with the new (a point I would agree with by the way) carries hidden negative perception than meets the eye. Before I ordered Invol2ver from Amazon, I took a look at the reviews, and even though I cringed from what I had read I still went ahead and purchased it. The outcome, after such a long time between the original involver and the new one is more of the same, I am afraid. That's not good. It's like if Ferrari made another Testarossa for 2008. Yes, the Testarossa was breathtaking in 1984 and it broke all super-car molds, but with car design envelopes being shattered right and left, it would look out of place right now. And although it's not appropriate to compare works of different arts, the comparison here resonate similarity to the point I am trying to make, whether I am successful or not that's a different story.

The music:
CD intro is so classic Sasha, with the emphasis on the word `classic'. Atmospheric sounds swirling right and left with bits of ticks and tacks here and there reminiscent of all his work since Airdrawndagger. The music continue on its trancy feel with vocal tracks carrying the mood up to track 4, at which the tempo picks up a notch and you begin to sink your teeth into the meat of the comp; however, the "taste" is not what you would expect from a master chef. Vocal, vocal and more of empty vocal tracks seem to be the theme here, all wedged in a stale formula. The only highlight of the whole comp is track 5 (Lowlife - Sasha vs. Adam Parker), and although I admire Thom Yorke's work a lot, the remix of The Eraser is nothing to brag about and seem engineered only as a vehicle to reach pop charts. The ending track of Invol2ver is, to say the least, boring.

It is interesting to see that the last 4 words in Amazon's Editorial Review of Sasha's Invol2ver were "mixing you the future".... I beg to differ my friends. It is more like "mixing us the past".

I am disappointed with the direction Sasha has taken over the last several years, compared to the days of Global Underground Ibiza and the first Involver. These CDs had so much emotion, so many melodies and chords that would take you through an uplifting journey.

However, with the new Invol2ver, Sasha has unfortunately fallen into the recent trends of club music; that is, he has embraced the minimal sound since it became so popular and this has sadly influenced his music overall.

Of course, the tracks on this CD are labeled as "progressive house," and although there are some good ones (M83 "Couleurs" and Thom Yorke's "The Eraser"), I felt that most of the other tracks were really lacking, carrying to much of the minimal sound.

With that said, I should be fair by adding that the Sasha team did encounter a lot of legal issues with which tracks they could add to this compilation; in an interview floating around, Charlie May mentions that they had some really great tracks lined up for the CD, but due to legal issues, they had to fill the gap for these pre-conceived tracks.

If you are expecting the same sound of Involver, one that had more emotion and uplift, you are not going to find it in this new compilation.

Great disc, a bit too reminicient of GU13 and Involver, but great stuff nonetheless! Gets played over and over and over!

Loved it...If you're a fan of Sasha, and know what he does with music, listen to it.

Now, I wouldn't consider myself a hardcore trance/ electronic fan, but I've been following Sasha since the late nineties. It began with the Northern Exposure series and continued on to Airdrawndagger. I thought Sasha had reached his peak. Surely, he couldn't top Airdrawndagger and then he hit us with Involver. Sasha gave us an eclectic sample of electronic music that was true to the scene, but accessible to the casual listener. That was one of his strengths; that was why I followed him.

Sasha proceeded to release Fundacion NYC and the EmFire collection. Suffice it to say that those were two of the worst albums I have ever purchased and that I almost lost total respect for Sasha as an artist and DJ. I thought Sasha pulled a DJ Shadow and was calling it a career, not by retiring, but by creating such a ridiculously wacky album. And not just one wacky album like DJ Shadow's "Outsider", but TWO wacky albums in succession.

Honestly, Sasha was off my radar. I didn't care if he ever released anything again. I had his previous work and that's what i wanted to remember him by. And then a funny thing happened. I was browsing music at a local record store today while my friends were looking at vinyl LPs. I discovered Invol2ver and immediately experienced an entire range of emotion: happiness, apprehension, grief, and skepticism. Would my fandom of Sasha be rekindled? Is this truly another Involver or just another way to trick me out of $20 (I bought the limited edition).

So I went ahead and purchased the album and immediately put it in my CD player. The music started playing and happiness and relief washed over me, and in that order. Sasha is back and I'm elated for him. With this release, he has solidified himself in my pantheon of respected artists. For all the impact he's had on the electronic music world for who knows how long... I'm glad he could come back after all these years and hit us with maybe, just maybe... one last home-run. I've been waiting for you, old friend. Thanks for not letting me down (again).

Just to prove that I have nothing against Sasha, I continue buying and listening to his music, good or bad. And I do so hoping (for a very long time now) that Sasha will be resurrected from his self inflicted wounds that lead to his musical demise as I have stated before in another review. I mean, he is an icon whether we like it or not. But it just hurts (at least for me) all that more every time this legend's downfall is substantiated. I mean The EmFire Collection got absolutely nowhere and now we have Invol2ver in our hands, with fond memories of the old involver, and a big letdown.

The work:
What's with all the other reviews of "more of the same", "just like the first one" & "as good as the first one" really mean? I honestly don't believe that that should be understood as a complement to Sasha's Invol2ver work. Although Sasha's original involver was stellar for it's time, not to mention its merits as a compilation, the work was done more than 4 years ago and things have changed drastically since then with works such as Digweed's Transitions (4). Therefore, such statements resembling the old work with the new (a point I would agree with by the way) carries hidden negative perception than meets the eye. Before I ordered Invol2ver from Amazon, I took a look at the reviews, and even though I cringed from what I had read I still went ahead and purchased it. The outcome, after such a long time between the original involver and the new one is more of the same, I am afraid. That's not good. It's like if Ferrari made another Testarossa for 2008. Yes, the Testarossa was breathtaking in 1984 and it broke all super-car molds, but with car design envelopes being shattered right and left, it would look out of place right now. And although it's not appropriate to compare works of different arts, the comparison here resonate similarity to the point I am trying to make, whether I am successful or not that's a different story.

The music:
CD intro is so classic Sasha, with the emphasis on the word `classic'. Atmospheric sounds swirling right and left with bits of ticks and tacks here and there reminiscent of all his work since Airdrawndagger. The music continue on its trancy feel with vocal tracks carrying the mood up to track 4, at which the tempo picks up a notch and you begin to sink your teeth into the meat of the comp; however, the "taste" is not what you would expect from a master chef. Vocal, vocal and more of empty vocal tracks seem to be the theme here, all wedged in a stale formula. The only highlight of the whole comp is track 5 (Lowlife - Sasha vs. Adam Parker), and although I admire Thom Yorke's work a lot, the remix of The Eraser is nothing to brag about and seem engineered only as a vehicle to reach pop charts. The ending track of Invol2ver is, to say the least, boring.

It is interesting to see that the last 4 words in Amazon's Editorial Review of Sasha's Invol2ver were "mixing you the future".... I beg to differ my friends. It is more like "mixing us the past".

I am disappointed with the direction Sasha has taken over the last several years, compared to the days of Global Underground Ibiza and the first Involver. These CDs had so much emotion, so many melodies and chords that would take you through an uplifting journey.

However, with the new Invol2ver, Sasha has unfortunately fallen into the recent trends of club music; that is, he has embraced the minimal sound since it became so popular and this has sadly influenced his music overall.

Of course, the tracks on this CD are labeled as "progressive house," and although there are some good ones (M83 "Couleurs" and Thom Yorke's "The Eraser"), I felt that most of the other tracks were really lacking, carrying to much of the minimal sound.

With that said, I should be fair by adding that the Sasha team did encounter a lot of legal issues with which tracks they could add to this compilation; in an interview floating around, Charlie May mentions that they had some really great tracks lined up for the CD, but due to legal issues, they had to fill the gap for these pre-conceived tracks.

If you are expecting the same sound of Involver, one that had more emotion and uplift, you are not going to find it in this new compilation.

Great disc, a bit too reminicient of GU13 and Involver, but great stuff nonetheless! Gets played over and over and over!

Loved it...If you're a fan of Sasha, and know what he does with music, listen to it.

Now, I wouldn't consider myself a hardcore trance/ electronic fan, but I've been following Sasha since the late nineties. It began with the Northern Exposure series and continued on to Airdrawndagger. I thought Sasha had reached his peak. Surely, he couldn't top Airdrawndagger and then he hit us with Involver. Sasha gave us an eclectic sample of electronic music that was true to the scene, but accessible to the casual listener. That was one of his strengths; that was why I followed him.

Sasha proceeded to release Fundacion NYC and the EmFire collection. Suffice it to say that those were two of the worst albums I have ever purchased and that I almost lost total respect for Sasha as an artist and DJ. I thought Sasha pulled a DJ Shadow and was calling it a career, not by retiring, but by creating such a ridiculously wacky album. And not just one wacky album like DJ Shadow's "Outsider", but TWO wacky albums in succession.

Honestly, Sasha was off my radar. I didn't care if he ever released anything again. I had his previous work and that's what i wanted to remember him by. And then a funny thing happened. I was browsing music at a local record store today while my friends were looking at vinyl LPs. I discovered Invol2ver and immediately experienced an entire range of emotion: happiness, apprehension, grief, and skepticism. Would my fandom of Sasha be rekindled? Is this truly another Involver or just another way to trick me out of $20 (I bought the limited edition).

So I went ahead and purchased the album and immediately put it in my CD player. The music started playing and happiness and relief washed over me, and in that order. Sasha is back and I'm elated for him. With this release, he has solidified himself in my pantheon of respected artists. For all the impact he's had on the electronic music world for who knows how long... I'm glad he could come back after all these years and hit us with maybe, just maybe... one last home-run. I've been waiting for you, old friend. Thanks for not letting me down (again).

This classical crossover album is truly wonderful. I just wish Sasha and Shawna would make another one like it!

They've completely butchered not only a classic Kansas song, but also my all-time favorite Radiohead song. If you can't write your own music, the least you could do is not recreate songs that don't need recreated to begin with. Some things are definitely better untouched.. or unsung in this case.

These "opera" singers sound so much better singing more contemporary/pop style vs. the full-on classical...not they are horrible singers, but you know when you hear a vocal that is just nearly there but still isn't? Most of the track is JUST Ok. Period. If I had known this I would never had wasted my money on this CD. :(

excellent sounding cd from two very talented singer. Something that you could listen to over and over again and not get tired of. The big orchestra very shines through.

I heard their voices on pbs while on the computer, I found out who they were and was amazed. Check out their web site for samples.

I bought this after I was blown away by Xpander back in 98 or so and I can recall not really being impressed at the first listen.
As time went on and you give it more listens, you can't helpt but get captivated by what these guys are able to create. All the textures you hear (esp with headphones) are amazing and the way the tracks all build on each other is awesome. My favorite build up is track 6 and track 7 (Spooky's Little Bullet) they come together like a single track.
Only thing that sucks is when i try to introduce something like this to others, it flies past a lot of people! Might be better to get them in slightly altered states to more effectively pull them in.

This mix truly surpasses most others.

It showcases what DJs can do to tunes. It proves that they can indeed be artists.

Starting off with the gorgeous sounds of Gus Gus and Chicane; atmospheric, earthy and organic, before voyaging into the main room progressive sounds of Frontside, Spooky and Uberzone; dark, dirty and sexy.. landing with blissful montage which is Hybrid's "Unfinished Symphony".. Sasha and Digweed truly deliver an aural journey so layered, so complex, so textured yet so unmistakably classy. Truly, this is a masterpiece.

This mix transcends genres and sub-genres and simply delivers a musical journey indescribable by words.

The fact that this CD was recorded from vinyl rather than through use of computer software, adds to the natural feel which has come synonymous with the `Northern Exposure' series..

A beautiful, dark, sensual journey through the underground as only Sasha and Digweed can deliver.

Midnight Magic.

GET INTO IT!

The set featured on this album originally accompanied that found on Northern Exposure II: West Coast as a two disc offering. Ahhh, strategic marketing.

I'd have to say that this set scores an easy second place for the Northern Exposure series. However it still falls short compared to the quality and creativity of the first.

3.5/5 stars for this half of Northern Exposure, volume 2.

This album IS the definition of a perfect progressive trance collaboration between Sasha and John Digweed. It even surpasses Northern Exposure I (U.S. edition) because of the variability in tracks. The transitions between tracks one, two and three quite literally brought tears to my eyes the very first time I popped it in my car, and my highest opinion of this album has only further solidified with repeated listening.

If you bought NEII:West Coast first, do yourself a favor and check out the good ol' East. It w.i.l.l. blow you away by comparison, and I love the West Coast edition. While West has fantastic tracks which are more relaxed, consistent, bubbly and soothing... East takes that formula, bends it, twists it, makes suitable additions and comes out with something so much more intensly pleasing to the ear. The vocal selections on tracks 1-3 make the album hauntingly appealing at first, and remind me of the cover of the album due to their blue/white liquid texture and composition... but just when you sit back to enjoy the smooth relaxation Sasha and Digweed serve up first, it is only an appetizer.

The next set of perhaps 6 tracks up the ante on the tempo and profundity of the listening experience, especially on Geomantik, Blue-->Little Bullet and Botz. These tracks are, to me, so reminiscent of those found on Disc 1 of John Digweeds GU006:Sydney release. Tribal, with the "evil frog" croak and beats which create a spiraling intensity about them as the listener is propelled through the vortex of sound.

The album ends with lovely track slections and mixes by Lost Tribe, Gus Gus's "Purple" (An early trance classic and staple Tranceport remix by Sasha), and Hybrid's "Symphony". I have to say I was a bit surprised by their slection of Hybrid's track, but pleasntly so; a unique artist with a unique track to end a rewardingly unique listening experience.

I would recommend this album to anyone with an ear for audible appreciation: if you really dig albums like Sasha's Involver, Lexicon Avenue's mix on Dave Seaman's "Therapy Sessions Vol. 3", or any of the other Northern Exposure series (particularly NEI and NEIII:Disc 1), you will love this album to death.
If you are looking for Global Underground comparisons, GU006:Sydney and GU013: Ibiza come to mind; not surprising, as they are the cream of the Sasha and Digweed GU crop.

If you have not even heard of any of the aforementioned albums, you will still love this album to death.

My absolute favorite among the greatest collaboration series of two of the greatest DJ's on Planet Home.

~Lex

Mindblowing cd and the best of all the NE'S. I highly recommend this disc to anyone.

Sasha Lazard made her first mark on me when I borrowed her CD from a library a couple of years ago. I was amazed by what I heard and wanted to hear so much more! I couldn't borrow it from the library again, and it was hard to order all of her cds from local distributors. Because of limitations, it was a purchase that was forced to wait.
It remained in my mind until this year, and I was lucky she had released 3 more cds! (two of which were on cdbaby, who I am equally satisfied with) I am constantly amazed at the force and integrity of her vocal prowess, though nothing has come close yet to my first impression, the Myth of Red.
The Battle of Erishkigal was a passionate performance, I constantly imagine a scenario when listening to it. Armies clashing on a giant field. So vivid is the sound that it feels like every sound creates an image in my mind. Not many people can effect imagination like that with just their voice.

I am more than pleased, and I show everyone Sasha Lazard's music.

I've owned this CD for over a year. Usually like most CD's I buy, once I listen to them a plethora of times, it becomes somewhat of old news. However, this is not the case for Myth of Red. I find even now it gives me chills down my spine. What's more, when I'm feeling stressed for any reason, these songs just put me at ease. I dunno, the chills I get from music like this just relaxes me a lot.
I especially loved the Princess Mononoke theme song. I admit, I loved the anime a lot, so when I found that Sasha Lazard had done the theme song for English, I was sold. It's a bummer the song is so short, but I've found that my top 5 favorite songs of all music are all under 2m 30s. Short and sweet.
I recommend that anyone who listens to the samples and likes what they hear, to buy the CD. You'll thank yourself later.

Remember that weirdly wonderful techno-aria sung by the character Plavalaguna in "The Fifth Element"? Well, here's an entire CD of opera/tek grooves like that one. But unlike the blue diva in "Element," Sasha Lazard doesn't need to synthetically enhance her soaring soprano pipes. Here she mixes her classical background with Electronica, overdubs, plus some funky World beats, to a surprisingly successful end. Such hybrid music isn't for everyone: if you don't believe in messing with sainted Old Masters (Rachmaninoff and Rimsky-Korsakov; Ave Maria), steer clear. But if you're open to some audio fun that marries old and new (Princess Mononoke's Theme Song, DJ Spooky), go for it. These tracks are light clean fun guaranteed to evoke smiles at your next cocktail party.

What inspired me into purchasing this item is the Avé Maria from Caccini, wonderfuly mastered in such a wonderful way. I absolutely flip over this track. I find this entire cd an absolute blessing and a must have in a collection!

her voice is lovely and the whole cd was a delight to listen to.

When this CD was first released my partner and I listened to it every night and sometimes twice. We thought what a perfect vehicle for Patti and you could tell it was written for her vocal range. All the characters were fabulous and George Hearn as Max was cast in stone.~~~~~New Year's Eve and Glenn Close stopped into Andrew Loyd Weber's party where all were celebrating the success of Sunset Blvd. Close got up on the piano, cleavage showing, and sang one of Patti's songs. ~~~~~~~ Patti was replaced, handsomely, but with a slap from a girl who should have never left her side of the tracks. ~~~~~~~ So here we are with Patti soaring as she did from the start. She made this show. It was stolen. All that remains is her voice as Norma Desmond. ~~~~~ Webber, go pet your cats!Sweeney Todd in Concert

this is an exellent product!! has exellent qualaty and very good singers. its has diologue so it's like having the "thearter play" right in your own cd player!!

Sadly, I haven't seen the show on stage. I found it quite enjoyable on CD. Enough of the dialogue is included to follow the story. Plus both versions include printed lyrics and dialogue.

This is a terrific dramatic musical. I give 4 stars to Lloyd Webber, et al, for songs and lyrics. I would have gone 5 stars, but there are a few songs where they get a good angsty mood going, then suddenly turn to a softer, sweeter mood. I felt they could hold the angst longer. Example: Joe singing to Betty in the final scene (after the phone call).

I purchased both London and Los Angeles CDs. I listened to each carefully and tried not to imprint on one version. Result: I favor the Los Angeles cast, because they do a better job of conveying the emotion. I also recommend L.A. if you like a darker, angsty tale. London is good if you prefer a younger, more innocent Joe & Betty.

** London (4 stars)
1. Patti LuPone (Norma) has a better voice than Glenn Close.
2. Kevin Anderson (Joe) has a sweeter, younger, higher voice.
3. Meredith Braun (Betty) has a sweeter, higher voice.

** Los Angeles (5 stars)
1. Glenn Close (Norma) does a fabulous job of conveying emotion through her voice. Because she plays a "fading" 50-something, her less perfect voice didn't detract.
2. Alan Campbell (Joe) has a deeper, darker, smoother, more adult voice. He sings most of the songs and he's better at carrying the show.

Technical note: A Windows Media Player v 11.0 bug affects the London version: you can't easily rip all the songs into Media Player, because several have the same title. There may be a work-around, but I didn't find it.

Los Angeles Version Link:
Sunset Boulevard (1994 Los Angeles Cast)

Of the two cast recordings of Sunset Boulevard available, this original version got it right the first time. There is a perfect flow and rhythm. In particular, "The Lady's Paying" is much tighter here than in the Glenn Close recording, which screws with the momentum by adding a couple of humor changes that are unnecessary and do not add to the enjoyment of the song. Patti LuPone is spectacular, sad and maddening. The first act CD is cut just perfect. A perfect blend of song, lyric, and book.

Great cd. just a shame it took so long to get to me....however when i wrote in, amazon customer services did rectify this and get the product to me in a matter of days.... thanks Amazon.

you remember those moments, when you listen to something so profund, you just sit there and can't move. It really busts your a$$ to pieces. Sasha's Involver had one of those effects for me. Too much has been said, too much has been analyzed, too much has been praised by the other reviewers. This CD rates in my top ten albums ever (genre not being considered). Its mindblowing in a manner that will engulf you, the only other time i got this whacked was when i listened to Shpongle's 'Are you shpongled?' release.
If you reading reviews of this CD to find that camaraderie with what you have just experienced, trust me keep reading and listen to the reviews for this one. you have hit the jackpot!
-- i heard invol2ver is scheduled for release --

This is meant for tripping.. I don't necessarily mean drugs but I have found that road trips with this cd are quite moving. A kaleidescope of emotions oozes from the speakers as one traverses the countryside. The man is in tune with the human psyche unlike many others. Join him and experience the thrill that is "the man like....." Unbelievable!

When I first heard of Sasha, it was I believe his tune "Wavy Gravy" that had raised my awareness of him in the year 2003. I was only getting into progressive house music at the time. Later that year, a friend of mine was playing Involver in the car and I asked him to give me a copy.

He gave me a copy, and for that whole SUMMER of '04, that CD, has not ONCE left my cd player. Where ever I would drive, Involver was playing. I fell in love with the music so much, that whenever I was going somewhere the best part about it was the cruise from point A to point B listening to the music. The mixing is flawless, and the choice of tracks is so lush and beautiful. When you ask yourself what is progressive - progressive is Involver.

I must agree with the majority of reviewers in regards to this album...it is difficult to deny the quality and skill of this remix. For this fact alone, I truely can appreciate Sasha's Involver.

However, I wasn't overly thrilled with the track selection. For the most part, Sasha's talent for intricate and complex multilayering of sound shines through. This significantly improves on the original releases of many of the tracks featured on Involver. The difference for me in reviewing this album? Despite Sasha's (improved) remixed versions, the original tracks transform from average to very good...just not spectacular.

Overall I give this album 4/5 stars.

As a follow-up to his seamlessly silky "Airdrawndagger," Sasha put out "Involver," a collection of songs individually remixed to bear the trademark Sasha appeal: light-as-a-feather frequencies co-mingling with a sly-n-slushy subversiveness. It's mastered as, yet again, an uninterrupted thread of music, but this time each song really does stand alone.

The name is a tad ironic, since Sasha's style is more conducive to detachment, to transcendence. In that vein, he builds this album's style on a foundation of dark, rolling thunderheads. Billowing, roiling, harsh as a whisper, there is still the promise of rumbling power, a fashionable tremble of something electric going on. There is trance music's usual sense of elevation, but Sasha adds a hint of danger and foreboding that remains everpresent, giving an album that could've been fluffy and dismissable a delicious edge of ozone.

The heady intro to this CD is "Talk Amongst Yourselves," a moody number by Grand National that Sasha stirs up with an antsy beat that seems eager to jump up and run. Sasha never lets go of the reins, though, guiding the mood through the sashaying salsa sparks of Shpongle's "Dorset Perception," the soft sighs of U.N.K.L.E.'s "What You Mean to Me," and even through the mechanical energy of Felix Da Housecat's "Watching Cars Go By." He caps the record off with a gorgeous refiguring of Ulrich Schnauss's already gorgeous "On My Own."

It's a fitting finale on a record that walks the fuzzy border between sleeping and awake, between day dreams and nightmares, between a sprint, a stroll, and a soar. It's a summer storm of sound, sometimes crashing and dark, but always warm, always fun, and always always refreshing.

This has got to be one of the best electronica albums! The music is always evolving, never stagnant, never boring. A definite aural candy- this is one album you listen from beginning to end. Sasha- your the best!

Disputeably, Sasha's most controversial album amongst his fans. Airdrawndagger has Sasha exploring the dreamier side of electronica versus pleasing those on the dancefloor. The album is not a true mixed set when condidering Sasha's choice to minimally blend (and sometimes not at all) the featured tracks. Defintely not for the tastes of all, but should be appreciated by fans who support a broader spectrum of electronica and by those that realise it doesn't always have to be about popping a couple of pills and dancing to an uplifting set at some nightclub.

4/5 stars.

A great price for an album that I thought I'd never see again (lost in a move). Do not judge him by his partnership w/ Digweed: Sasha's debut solo is the chillout lounge you go to after wrecking the dance floor, only to find yourself bobbing to the infectious beats with an energy you thought you had already expended. This album is in my opinion a modern classic.

Favorite Track: Mr. Tiddles

A wonderful album! There are melodies that can put the listener into a trance.

I lose track of time when listening to 'Cloud Cuckoo.'

'Wavy Gravy' is equally a piece where the music flows around you, through you, and becomes part of the air one breathes.

I have listened to this disc hundreds of times over the years. It is, in my opinion, Sasha's best work by far. This is not a collection of remixed dancefloor tunes. These are original compositions. This is something I desperately wish Sasha would do more often. A few reviewers here that have not loves this album, probably don't like it for the very reason it is so good. It requires multiple listenings. It is complex and mature. It doesn't grab you instantly with four on the floor cliche'd beats. This was my favorite album in the electronica genre for a long time. It may have recently been edged out by BT's "This Binary Uniiverse", (a very atypical BT album which MUST be heard) but I kind of feel that this is an unfair comparison. They are both masterful works in their own rights. I don't think Sasha was trying to push musical envelopes in quite the experimental way that BT was.

The second volume in the Northern Exposure Series follows that very well known trend amongst movies where the original is usually considered the best while the sequel ends up being a disappointment.

The first release is a classic that will stand against the test of time despite being two years the junior to this album. Northern Exposure II: West Coast is outdated with tacky-sounding trance. Glowsticks and pacifiers anyone?

2.5/5 stars.

I don't go buck wild over every cd I buy and give 5 stars because it sounds cool. But as others have said - NE: West coast stands the test of time and is worth the price listed. The buildup to Pete Heller's remix of Netherworld is one of the best I've heard.
Be sure to check out the East Coast edition - it's very different, but a good purchase still (I'd give it 4 stars).

once again sound rotation bpm off sync wrong meshed unstructured sound lends no focus to the true artist who by the way if your heard him live raw at various venues or clubs throughout the world you would be impressed and say hey were did all the energy bpm pitch and loud sound structure go it aint here on this cd. i would say fire the production sound team for they lend themselves to nothing cant anybody just record his live sets in clubs and put it on cd i mean its that simple he will make millions but this nonsense is so laughable but sorry i mean these music critics here lend themselves to so sorry cant anybody know the differnce fom slow bpms to fast bpms send everybody back to music school

The follow-up to Sasha & John Digweed's Northern Exposure does not disappoint. Similar to Vol. 1, the UK and US versions were released differently. Whereas Northern Exposure 2 was released as a single, two CD set in the UK, the US version was split into separate releases, or different editions: the West Coast and East Coast editions. Don't be fooled however, they are completely different sets with different tracks. And both are absolutely essential purchases!

The West Coast edition is the more danceable of the two NE2s, with some of the best progressive house tracks of the era/ever. Opening with Cygnus X's "Protison" (incorrectly listed as "Superstrings" on the back cover), a lush, bouncy, euphoric mood is instantly created only to be torn down by the stabbing melodies and abrasive percussion Speedy J's "Fusion". Humate's classic "3.2" is mixed in creating a dark, atmospheric sound, that melds perfectly with William Orbit's remix of Sven Vath's techno classic "An Accident In Paradise". The Light's "Panfried" and Third Man's "Solar Cycle" keep the beat steady, before the duo really turn up the energy with L.S.G.'s "Netherworld". The Jules Vern mix heard on this album is the best version of the song I've ever heard emphasizing the best elements of the song, and creating a hard hitting progressive house floor-filler. Taucher's melodic "Waters" is perfectly mixed holding the peak created by "Netherworld" to over ten minutes of sheer electronic bliss. "Teach Me" by Art Of Silence is a serene break from the energy, but we're soon brought back to 4/4 floor-stomping energy with Transa's anthemic "Enervate", before slowly closing with the trance inducing groove of Armin's "Blue Fear".

While not as timeless as it's predecessor or the East Coast Edition, this is still a classic piece of progressive house. Although more immediately accessible, it is ultimately less rewarding than it's counterpart. Still, an essential purchase for progressive house/trance fans.

They are incredible artists. I find this mix to be similar to a live set I heard in '98 or '99. It is vintage Sasha and Digweed. It builds up so beautifully and hits "Netherworld" by LSG, which is the climax track. Although, the remainder is great. Very tight mixing where you don't know where one track ends and one begins. They are masters at slowly introducing one to another. I haven't found an electronic artist with their style and this mix is indicative of that uniqueness. I am definitely going to buy the others after listening to this one.

For months, this CD I bought on an Amazon whim, became my favorite cd of my collection. I cannot really describe why it is amazing, all that I know is that it is. It is easy to hear the whole CD and there are numerous tracks with tangible meanings and all with her beautiful voice. If you do like it, you will love it. Sample some songs, if the voice on Modern Romance does not immediately resonate with you, this is probably not your type of music. I give this cd 5+.

First rate album ! ! man,this gal can sing - - - and with a style that's all her own.

The daughter of notable jazz musicians -- pianist Smith Dobson and singer Gail Dobson -- Sasha Dobson has the genes and a strong musical foundation to make powerful, uplifting music.

She carries on in the jazz tradition of past greats like Ella Fitzgerald, with a sultry voice and extensive performance experience, but she remains an unconventional performer. Now 26, Dobson has been performing professionally since she was 16, in the process crafting a unique fusion of Brazilian and American jazz.
With 10 years of professional experience under her belt -- she's long performed with the Dobson Family Band and the Chris Byars Octet -- Dobson likely has amazing success ahead of her.
"Modern Romance", Dobson's new album, is a fine collection of originals and genre-bending covers of the Yeah Yeah Yeahs' "Modern Romance" and Duke Ellington's "Mood Indigo".
Like many young jazz singers nowadays, Sasha is trying for a mellow pop-jazz groove à la Norah Jones.
Her plangent, almost vibrato-free voice rides over a mélange of island rhythms, bossa nova and folky acoustics, mostly in new songs she has co-written. They go down as easily as frozen margaritas, never more beguilingly than when she slips in scat syllables like "dit-doo, die-yah-da-doo" in 'Four Leaf Clover', or simply "ooh-ooh-ooh, ooh-ooh-ooh" in 'Cold to Colder'.
Listen to this very nice album and enjoy.

I don't know. I thought I had read about this under new jazz releases, but I'm not sure I'd categorize it as jazz. I'm really not sure what category it falls under. But it is a very pleasant experience listening to this young woman sing and the very nice production of this album. All of the songs sound very similar; obviously the same producer had his fingers in each track and had a particular "feel" that he was going for. But it works, and I highly recommend it.

What a discovery! If you love good jazz perfectly performed, you'll enjoy Dobson.