Review: 'The Man-Machine' is closer to the sound and style that would define early new wave electro-pop. Less minimalistic in its arrangements and more complex and danceable in its underlying rhythms. Like its predecessor, 'Trans-Europe Express', there is the feel of a divided concept album, with some songs devoted to science fiction-esque links between humans and technology, often with electronically processed vocals ("The Robots," "Spacelab," and the title track); others take the glamour of urbanization as their subject ("Neon Lights" and "Metropolis"). Plus, there's "The Model," a character sketch that falls under the latter category but takes a more cynical view of the title character's glamorous lifestyle. More pop-oriented than any of their previous work, the sound of 'The Man-Machine' in particular among Kraftwerk's oeuvre had a tremendous impact on the cold, robotic synth pop of artists like Gary Numan, as well as Britain's later new-romantic movement.
Review: 'M 6' consists of two heavy stomping dub house tracks that are dominated by a multiple modulated sequence that reaches from considerable depths to the heights of coloured noises. All is surrounded by a warm and organic sound sphere of the usual characteristics. A deep groove experience is guaranteed.
Review: Carl Craig's annus mirabilis for remixing continues in similar vein as his work on Theo Parrish and Delia Gonzales, the take here of Bobo Shanti's "Poor People Must Work" should be hugely popular at all this summer's parties. Rhythm & Sound construct, by their own admission, a hard-steppin-funk Basic reshape of Willi Williams' by-now epochal "See Mi Yah" a true dub anthem for the dancefloor.
Review: At the third release on their deep house division Basic Channel keeps introducing new singers. Paul St Hilaire brings in a refreshing reggae flavour to the rather classic deep house set-up. The main vocal mix one A-side is allied with an instrumental on the B-side that reminiscent of Maurizio or Basic Channel releases.