A new taste of Hybrid
579701
When i saw this album, i had no idea it was even out.  So without a second thought i grabbed it and to my delight it was everything i wanted it to be.  I had long thought that after all the remixes i have heard from Hybrid, that they should put out a remix CD. Though there are a few missing that i would love to be on the album such as the Moby Southside remix.  All in all this is a great remix CD to tide me over for there follow up to Wide Angle.
4314688
It has been a while since I've purchased an album based solely on Amazon.com reviews and sound files. With the price of CDs quickly approaching $20 a pop and the quality of releases declining even faster, it is turning into a no-win situation that I avoid in preference of my already-existing collection.

Rhea's Obsession is a pleasant surprise. I think the other reviewers are partly right on the repeated references to Dead Can Dance, but I have to reiterate that this is only a passing similarity and not an imitation. If anything, the electronic goth elements remind me more of Collide, but I stress again that this comparison is to illustrate stylistic touches and not to imply that they are copycats.

I'm beginning to love Sue Hutton's voice; her singing is a welcome relief from the oversatured Delerium angelic-voice style. While she can certainly achieve the tremulous vocal quivers of Lisa Gerrard (DCD) and sexy murmur of kaRIN (Collide), she employs a variety of approaches to her songs and the result is a pleasant, rich listening experience.

While the obvious hooks are "Mortal Ground," "Spiritual Fear," "Dreaming Blade," and "Matrika," I am most attracted to the quiet beauty of "Nightshade" and "Spill Elixir." This is one musical couple that works very well together.
4016020
One of the most fun things about receiving a new Paul Adams release is that you never know what kind of music or fusion of elements it will be, considering that he has had nine critically acclaimed albums in five different musical genres. On the opening track entitled Just Such Beauty, East meets West fusion, and echoes of Ravi Shankar are heard on this dreamy ambient soundscape that features the Native American flute of Paul Adams and the bansuri flute of Pravin Godhindi. Paul also plays guitar and an electric sitar he made. Elizabeth Geyers spacious piano accents add to the ambiance.

The enigmatically titled Panda Bears at Breakfast is a laid-back toe tapper with a contemporary down-tempo chill vibe set to an electronic rhythm track and fretless bass. I thought it was interesting that Elizabeth played acoustic piano in the songs extended intro and then switched to electric piano when the groove hit, adding a nice jazzy atmosphere to the piece. Although it is unusual to have two flute players on a song, as heard here and throughout the album, they have a different sound and work well together. This, as well as many other aspects of the recording, reinforced my perception of Pauls formidable abilities as an arranger, as well as a composer and multi-instrumentalist. The ensemble is rounded out by the amazing David Hoffman on trumpet, who played with Ray Charles for 13 years, as well as with Willie Nelson and other major artists.

A track called The Mysteries of Mood, is certainly appropriately titled, as it is both mysterious and moody, taking the listener deep into an enchanted dreamscape. This type of ambiance extends into the next four songs, right up to the end of the album. There is a drifting-on-a-cloud kind of feeling that is serene and sublime, leaving behind the rhythmic elements heard earlier. Listening to this series of tracks with headphones, put me right into the zone, and left me with a peaceful glow that lingered for some time.

Imaginings had a bit more of an archetypal new age sound than Id heard from Paul before, with a good deal of ambient synthesizer pads and lush electronic textures helping to enhance the soundscape. Although, there are a variety earthy world music elements such as sitar, percussion, and ethnic flutes woven in as well which expand the tonal pallet of this diverse recording. Paul Adams is a true original  something that is increasingly rare in the world of music these days. While I have always been impressed with his many albums over the years, with Imaginings, Ive found a new favorite.
3001245
One of the benefits to some singles IMO are the alternative takes.  While it can be risky hearing or seeing a song altered so much from the original, sometimes as a listener I think you can benefit as well from a different perspective.  Nicola Conte's fantastic at remixes because through the years he's added a distinct, classy touch to the songs.  Same with Senor Coconut.  When I see those two, you know to expect quality.  And on this Jiva remix, you've got

Maybe those names aren't here, but you have that level of quality.  Jiva's "Love Chooses Lovers" is still IMO their best song to date - it's breezy, light and just so underrated by the mainstream.  Rarely do remixes eclipse the originals (with the exception of trance/dance genre), but the innovative two takes found here are terrific.  The Heart Chakra mix, a play on one of the verses as well, has a nice 'soul' batucada feel to it which funnily enough is very easy to cross-fade into just about any song if you wanted.  But even on it's own, it's quite nice.  But there's something really special about the Soul Sessions remix of the cut.  It's incredibly nostalgic with a real magical mid-70's - early 80's ambiance to it.  Great wavy keyboard and well placed samples, I've listened to it for a few years now and maybe that ambiance makes the song timeless.  This particular remix to "I Realized" is also one of the better ones.  Also heard on Khari Simmon's "Soul Com Bossa" import from Japan, it's slowed down a bit and given an easy going mood.

This is a great single.  I'm a big fan of Jiva and their approach to making music.  Khari's a terrific young producer with vision and hopefully he keeps pushing forward and releasing new tunes.  Check this one out if you haven't heard them already.  And if you have listened to this, and are familiar with Jiva, check out Khari's work with Julie Dexter as well.
2033401
Even though her only other album that I have is 'Jagged Little Pill', I'm quite a fan of Alanis Morissette; but her distinctive music is an acquired taste and will not appeal to everyone. 'Flavors of Entanglement' is a collaboration with Guy Sigsworth - electronica whizz kid from my own sunny shores; he produced the album and co-wrote the songs (but AM wrote the lyrics - and can't you just tell). Her vocals sound a little mellower than on 'Jagged', but they still retain much of her earlier quirkiness - and she is definitely in fine form vocally.

The combination of electronica and AM's idiosyncratic style isn't quite a 'marriage made in heaven' (more a burgeoning love affair), but I think the balance is about right - thanks, in no small part, to some gutsy vocals from AM, which she projects with laser-guided precision. The synthesized sounds are both interesting and exhilarating, but there can be no denying that the real substance of this album, is in the songs (especially the lyrics) and AM's delivery of them. One only has to listen to 'Not As We' and 'Torch', to realize that AM is still more than capable of rendering some stirring songs with well crafted lyrics, without resorting to an over-reliance upon electronic wizardry.

Some comments about may favourite tracks :

CITIZEN OF THE PLANET - The song starts with synth laden strains of 'Arabian Nights' - pleasant, 'easy on the ear' stuff. However, don't get too 'cumfy', because the chorus which follows, with its fusion of powerful vocals and high density synths, will literally blast you into the cosmos. Strange lyrics (but great to listen to) - something to do with sacrificing family ties to go forth and seek 'enlightenment' by experiencing the wider world (I think).

VERSIONS OF VIOLENCE - Another high-octane offering, with pulsating electronic pyrotechnics aplenty - including some noteworthy bass harmonics. AM sings in two different keys on this one. The overall sound is somewhat reminiscent of Evanescence and, arguably, the track is a little over-produced.

NOT AS WE - A wistful, slow tempo song with piano accompaniment only, and featuring ethereal vocals and exceptionally fine lyrics. AM reflects, with sadness, upon (yet another) relationship which has crumbled. She puts on a brave face ('I'm faking it, 'til I'm pseudo making it') - but, at the same time, the song is tinged with a sort of 'life goes on' resilience ('...... begin again but this time I as I, And not as we'). 'Torch' has a similar theme, and is also fairly light on the electronics.

MORATORIUM - Fans of sequenced drum loops (at least, I think that's what they are) should enjoy this track; also, listen out for some ghostly chorals (electronic, of course) in the background. I liked the song for its lyrics - AM is telling us that emotional relationships are all 'getting a bit too much' for her, and she needs a break. Scarcely original, but she manages to convey this sentiment in four different ways by her colourful use of words - and besides, any songwriter who can work a word(?) like 'focusless-ness' into the lyrics, gets my vote.

Of the remaining songs, only 'Underneath' comes as a disappointment; it's due for release as a single, so it must have something about it. I guess a lot of people will like it, but I'm afraid it didn't push many of my buttons. I don't dislike 'Incomplete', it's a pleasant (almost folksy) song but, within the context of the album', it's a bit too 'pretty' for me.

To sum up, 'Flavors of Entanglement' is a rather mystifying melange of disparate vocals, sharp (if occasionally impenetrable) lyrics, frequent tempo changes and techno trickery. It's an album that can be enjoyed in it's entirety - but I found it easier to take in small doses. 'Flavors of Entanglement' is a good example of well executed modern pop-rock (but for grown-ups only?). Apart from maybe 2 or 3 tracks, not recommended for lovers of soothing music.
2363632
Sounds like a bit of a joke doesn't it? A bit of a gimmick. I wondor who's idea in the band it was to mix melodic electro/space-rock with extreme metal and melodic shredding but whoever it was I applaud them. Not only is this a hybrid of different styles, its also a hybrid of two different approaches to songwriting - making serious and melodic music and making fun, catchy and quirky music. Cloak Of Love really is a great little EP. Its only 12 minutes long, but those 12 minutes are so good you'll find yourself listening to it two or three times in a row. If you want something a little different that doesn't sound like its trying too hard to be different, I suggest picking it up.
2616133
You might think that the mix of post-punk and soft brazilian pop is for an aquired taste, but the rather alternative rhytmic universe is not what this album is about. The true unique quality here is the insanely beautiful and strangely simple melodies. One of my top ten favorite musical productions.
379011
On the first listen, I was not immediately drawn in by Dralion. The music was not my usual genre: it seemed overly dissonant and electronic. There did not seem to be any sense of continuity between the tracks. Some had a pseudo-African drum beat, one reminded me of the intro to Ricky Martin's "La Copa de la Vida"...it sounded like a synth-induced roaring soccer crowd.
Twenty or so listens later, I've grown to love Dralion, mostly for the solos by Erik Karol, French countertenor and poet of sorts. His voice is clear and soaring, angelic and genderless. I had not heard of him before Dralion, but the instant I heard his voice I fell in love with it.
I still have not seen all of Dralion (I have ordered the DVD), but after listening to the music repeated times I have come to understand the blend of futuristic electronic music and Asian, African, and Hispanic influences, much as the show is a blend of mythology and international influences. Although it is not something I would normally buy, I have to recommend Dralion for its amazing blend of cultures and themes and its gorgeous vocals by Erik Karol and Agnes Sohier.
514662
This band is probably one of my favorite discoveries of the year. They're so great at making things really organic and folky, but they also occasionally implement really great electronic flourishes and larger orchestration. They love the old but they infuse it with the new. And they do it in a way that if you had never listened to folk, you wouldn't be sure if folk came before or after Akron/Family. In other words it's less of an indie schtick and more of a thoughtful fusion. The usage of family in the band name makes me imagine a resolution between 2 brothers that share a profound love of music but within different genres. "Gravelly Mountain on the Moon" is a great example. It starts out being this nice little plucky folk number but evolves into this sweeping rock jam without you questioning it. In a sonic climate where listeners have an increasingly shorter attention span, their ability to keep things interesting will likely bring them substantial rewards.
4105732
I'm a fan of American composers like Robert Rich, Steve Roach, and Michael Stearns.  All of their music is well made, but even though they were influenced and got their start from European synthesists, their music is distinctly American in style.  The ambient music of the U.S. is great but after listening to Centrozoon, a duo presumably from Germany, I am reminded of why I enjoy this music in the first place.  The music is fresh yet has an underscore of warped and mutating sounds made from vintage synthesizers.  It's more than just a novelty sound.  For it to be interesting, the sounds must go somewhere, and the here the music really conjures up a truly otherworldly feel.  Having said this, the music is not of the exciting roller coaster variety.  It lingers like some of the darker music by Harold Budd; in fact, one piece sounds like it could have been an outtake from Lovely Thunder.  Take that lingering, icy drift and combine the slow alien machine bubblings of the modular synths and something quite fresh takes form.
4398098
Great flavors! Purchase variety pack and you can mix to create new flavor combinations.
218706
This is the most creative first album I've heard in a long time. Great mix of electronic, funk grooves with avant-garde jazz/Sun Ra touches.

When I first heard this I assumed it was a DJ, and was shocked upon picking it up to learn it's a live band with a little synthesizer thrown in. The drummer is that good. There's also some odd instrumentation (Thai guitar) that provides something a little different.

The only downside to this album is that once you start listening, it's hard to stop.
4712466
I am going to be the odd one out. I really liked it for what it is. It's a Geffen output with Steven playing the role of producer and mixer. SW has been putting out some innovative, challenging prog rock compositions for the most part. In this album, I have to admit, it's not a SW album,  is a welcome break from the progressive output.
The songs may be short and in some cases not fully explored, but boy it's extremely accessible and I can sit through the entire album without getting exhausted by the music.
All tracks have a pop, melodic trait to them elevated by Wilson's mix and inclusion of strings. Each track is short to the point, and almost gets you humming but stops short due to it's length.
Tracks are though pop/rock oriented are reasonably varied, one track in particular "The only fool is me" if played as a single, would have Mercury Rev fans jumping for joy.
The 5.1 mix is warmly done, sounds are more immerse instead of ping ponging around the speakers. Nothing less is expected from a SW 5.1 remixed record.
So all I can say is that while this may disappoint intense SW fans, audio listeners who appreciate short and melodic compositions should pick this up.
388120
I was trying to think of how to best describe the sound of this music. It really wasn't fantasy per say, nor was it sci-fi. Then I noticed the description on the album itself: Hybrid Action. Problem solved! The man who made it knew best how to name it, go figure :)

Anyway, the music is definitely nice and dramatic, heavier, with no elements of whimsyshire (light and fluffy). Some of the music has a semi-future feel to it while some others have more of a fantasy edge. Most of the tracks are laden with nice edgy mood. A couple alternative tracks in there (mostly track Merciless) that I feel maybe are a little too alternative or weird. But overall an awesome album with music that ramps up slow and then generally kicks into some form of Epic high gear music.

I tossed the non-choir versions of the music since the standard versions were well done and the choir never detrimentally overpowers the music. A great quality album from beginning to end. Other than Merciless which I found to be almost a little too weird for my tastes, I enjoy every track on the album. A great effort from Todd to be sure as I had no idea what to  expect. I look forward to checking out volume 2 to see if the quality was carried over. (Volume 2 is several tracks shorter as well)
4251386
I've had sweet potato fries before, and they really are delicious where I had them, so I wanted to give these a shot. From the first bite I'm pretty sure I got a hilarious look of astonishment on my face. It's like nothing I ever tasted before--weird, but quite good, which is about how I felt when I first bit into a properly ripe mango. Definitely the spices are unique when balanced with the sweet potato flavor. I think I tasted some garlic, but I know there's a very faint smidgeon of cayenne, and the cilantro was noticeable as well, but no one flavor or spice overwhelms the others, which is good.

If you like any sort of spiced potato chips, like mesquite barbecue or jalapeno or the buffalo ranch doritos, I'd give these babies a try. They're healthy and you might find a nice occasional alternative to the not-so-healthy stuff. Hey, if it tastes good, why not? One thing these chips prove is that not all "health food" has to taste bland or nasty. Sort of like spelt bread and Newman's ginger cookies, and Izze's luscious pear soda. Terra's spiced sweet potato chips have a surprising flavor and are probably not for everyone, but if you like the spicy kind of regular chips, pick up a bag of these somewhere--they'll probably be just your sort of thing.
2472779
A bit harder than their studio album WIDE ANGLE (and in some countries released as a bonus disc with the album) this live set by Distinct'ive Records' HYBRID does not disappoint. This disc consists of a six track live set performed in Sydney, AUSTRALIA; and three previously unreleased studio tracks/remixes.
The live set is without a doubt the best representation of their music. Unfortunately they don't use many (if any) of the vocals by Julee Cruise but it's still fantastic. It picks up the pace a fair bit in comparison to their studio album, and you'd think with each of the tracks being over seven minutes that you could get bored but Hybrid keep you interested. Keep your ears open for a great remix of HIGH LIFE and a previously unreleased track called ACCELLERATOR (which I've heard is a remix they did of an Alanis Morissette track that was not approved - also available on REMIX & ADDITIONAL PRODUCTION BY HYBRID).
The studio tracks are KID 2000 which features the vocals of Chrissy Hynde from the Pretenders, a new track called KILL CITY and a remix of the closing track from their studio album called ALTITUDE.
All in all... a most worthy purchase! Good warm up cd for a night out! Check out the other stuff by Distinct'ive Records including the Y3K series, Way Out West's "Intensify" and Hybrid's other releases.
52496
I've not heard anything quite like this.  Electronics are heavily mixed in with the varied instrumentation.  Some sort of psychedelic electronic aural orgasm.  The whole thing is overall wonderfully bizarre and unique.  It's a shame nobody knows about Whales & Cops, this is way too unique--and good--to fall by the musical wayside.  I'm desperately hoping we see more of their output.