Search - DJ John Kelley :: High Desert Soundsystem 2

Sweet and heavy

Scott Swanson | Albuquerque, nm United States | 06/30/2000

(5 out of 5 stars)

"The fifth of the DJ John Kelley releases on Moonshine records proves (at least in my eyes) that Kelley is the premiere studio DJ in the states. I am sad to say I've never heard him spin live, but his recorded CDs are nothing but a pleasure to listen to.High Desert Sound System 2 seems to pick up right where its predecessor left off. The beats are painfully funky with a little trance thrown in for good measure. Kelley seems to always focus on a driving beat rather than melody. There is always a dash of lyric warmth included just to remind you that you are a person and not a machine tied into a drum machine, but the mood is always deep and dark. He seems to also understand that as a DJ the fusion of songs and the way the songs flow is important, not just the songs themselves; many of the tracks only last for a few minutes before moving on to the next groove-laden tune. Kelley also seems to use the songs natural peaks and valleys to build his momentum and drop you into an anxious moment of anticipation before continuing his onslaught of funkiness rather than using the breaks between songs for the same purpose.My biggest complaint of this album as with all the Kelley mixes is that it is barely over an hour long. I've been spoiled recently with the Global Underground series and its 140 minute/2 CD disks. But, unlike most other mixes, John Kelley seems to be aware of the way his CD begins and ends. The first song always is a nice slow build up and the last song a gradual, gentle end; he just doesn't fade in then out.To be more album and song specific, HDSS2 begins with Samuel Session's "A Bastard's Work is Never Done:Cycling." It builds rather quickly from a fade in, but within a few minutes sets the tone of the rest of the album. It is an intense blend of trance and breakbeat that effortlessly moves into two Timo Maas songs. There are a few relaxed moments where the lights can dim, but they only serve to remind you of how driving the beat is when it kicks back in. The emphasis remains on beats and rythym for most of the first half. The first real taste of a human voice kicks in with G Flame and Mr. G's "How Knows." It is actually a welcome relief from the almost excessive breaks that have pounded us for the past 20 minutes or so. But, as the lyrics die off and the beat kicks back in things get back on track. "Bumpy Ride" by Switch is a perfect example of Kelley's use of a song as a bridge. From the initial opening lyrics of "How Knows," "Bumpy Ride" guides us nicely into maybe the most interesting song of the album in the lyric-based funk-fest of "Pumpin'." The remainder of the CD never really strays very far from this formula. Trancesetter's "Roaches" is another lyrical song that seems to come straight out of the darkest urban parts of America. It is surrounded by more heavy breakbeats, but eventually we're taken in for a soft landing with Carissa Mondavi's "Solid Ground."Kelley seems to have aptly named his 5 Moonshine releases and grouped them accordingly. The 2 Funky Desert Breaks have a distinct feel that have more obvious peaks and valleys as well as a more varied sound than his other releases. They may be the best of the group. Knee Deep is very trance heavy with less of a funky sound until the end. Now he's moved onto his High Desert Sound System CDs. Both tend to have a more intense feeling to them than any of the other mixes and they rarely let you catch you breath.But, one thing remains the same throughout. John Kelley is a master DJ that has unparalleled mixing skills and the selections in his CDs are consistant and unique, making him in my eyes the most interesting and groundbreaking DJ out there. Buy this CD!"

Uncompromising

Electrohound | Los Angeles, CA USA | 02/22/2001

(5 out of 5 stars)

"This review is mostly in response to Stan Kwon's review below. While yes, the mixing isn't totally "perfect," let's remember that very few mix-CDs have totally perfect mixes. Perhaps none. And those that do, sound timid, or worse, they sound exactly like studio CD mixes with no personality, which certainly is not what DJing and the dance experience is all about. Rather, it's about the energy, intensity and looseness of the dance floor. Many that do sound perfect, like many of Sasha's Northern Exposure CDs use Pro-Tools software to edit and assemble the mixes. The result is a nice, pretty listening experience, but one that is lifeless more or less. That said, yes, there are a few flubs, a few, but they're not all over the place. And if you listen carefully, as the mix corrects, you'll notice how fast they do. John is giving some insight into his style here, which is to throw on a record and mix it on the go, to stay loose, and keep it open, and to go anywhere you want to as a DJ, in seconds. DJ Dan, Carl Cox and a few other more experienced DJs do this with more precision, but no one is perfect, especially in the live context. John also plays a percussive-heavy style of tribal techno and house, and so sometimes it is easier to hear the strains between rhythms in his mixes, as opposed to a rhyhtmically stale trance mix. Also, I know John personally and have asked him why he doesn't aim for the perfect, perfect mix on his CDs, because he's more than capable of doing flawles mixes. His answer is that he likes to do the mix in one or two go's, and that he tries to recreate the live experience as much as possible, to give that seat-of-your-pants feel when the DJ is being inspired by the crowd and matching the energy with a more intense and in-your-face mix. It simply sounds more "live" this way he feels. This means that the mixes are not to be entirely seamless. A little tension, whether in rhythm or in harmonic keys is okay. Because for those in the moment, it rather builds energy and keeps it from getting stale. Also, the flow of this CD is superb, moving quickly but never too quickly, many of the tracks actually being mixed in and out long before they even come in. It's about feel over cold, clinical precision. Also, this is an LA sound, homegrown in our underground. It's emphasis is different. It's not concerned or obsessed with the precise, excellent, but relatively cold mixing of say Richie Hawtin. This mix is rather for those who want it a bit fiercer and freer, and also want to have fun. It's about tearing up the dance floor rather than bringing in an abstract chin-stroking techno journey. Even so, it still works well on this level also. Either way, this CD doesn't need defense for those who get where it's coming from. I think the only real problem it may have is that it's much harder than his earlier CD mixes and this might turn some off. I know some who find it a bit repetitive. But if you're up for an uncompromising mix of techno and hard house with a little accessible flare, check it out and play it loud!"

Not as buzzworthy but cohesive and well executed

Richard Diaz | 11/22/2000

(4 out of 5 stars)

"This is John Kelley's fifth mix for Moonshine, and a bit of a departure from his fabulous prior release Highdesertsoundsystem; he's leaving the funk in the crate to spin faster techno rhythms, a move that will likely disappoint some and please others, yet still maintains the feeling of his energetic style.Of course, you can't have chugging tech beats without Timo Maas, and the German ubermixer pops in for three tracks, setting the tome early. Ultimately, the set drones in the middle after the sixth or seventh similar pattern of pulsating drums (though in the right state of mind or with the right speakers it probably works). The reward for a bit of patience is Novy vs Eniac's "Pumpin'" which rightfully restores the bounce you've been waiting for. Kelley ends on a surprisingly trancey note, with the Twilo tribute "West on 27th" and "Solid Ground," which he moulds neatly into place.Not as buzzworthy as the predecessor, but cohesive and well executed. Grade: B"