Sasha "Xpander"

For me, to remember every single detail of where I was, what I was doing, the clothes I was wearing, at the moment I knew that this EP was a historic work of genius is surely a testament to what is a definite legacy in electronic dance music. I was on the promenade in Lloret de Mar, the sun obliterating the streets, the morning far too early for the sandy beach to be cluttered with tourists. I was walking into town to buy some breakfast, the brilliantly warm Summer weather lifting my spirits as the phenomenal trance tunes filled my ears.

Stop there: 'trance'. If you thought justifying noise music to the average punter was tough, you haven't been caught up in a trance debate like I have. I won't lie; the VAST majority of trance music produced consist of simple build-up/release/repeat structures, feature very little originality or progression, and are often made by wannabes in their bedrooms. The majority of trance music seems to produced and marketed by no-talents. But to ignore the whole bracket of trance music as a 'mug's flavour' is sheer lunacy! Artists such as CJ Bolland, Sasha, early Future Sound of London, the KLF, the majority of EBM groups, and even tracks like the now considered classic "Age of Love" and a majority of Underworld's single releases shouldn't be harshly ignored because of their supposed tag. The reality is that not all trance produce is a case of push play and record; there are those who pour their heart and minds into their records and those are the dance anthems that always stand out.

Sasha's Xpander EP - a piece of dance history. It's incredibly difficult to describe the effect these four tracks can have without sounding like a pumped up big-headed git. The title track is a sheer monolith in terms of studio production; there are very few dance tracks that rival it's marvel. Carried along by a unforgettable Oberheim Xpander synthline and a drum pattern that matches the synth melody perfectly, "Xpander" is a pure gift to DJs and electronic fans. The following "Belfunk" serves to bring things down a notch with its calm build-ups and impressive breakdown (admittedly featuring snippets of Orbital's legendary "Belfast", hence the title); it's very much an example of an ever-pulsing rhythmic piece. In order to spar against this, the very schizophrenic "Rabbitweed" takes to the stage with its impressive live drumming made loud in the mix throughout. Poisonous and sinister, it does sadly do little to develop over its ten-minute run time but its mood is so strong it just manages to carry itself.

To close, the listener is presented with the beautifully crafted "Baja". If I didn't already think the title track warranted the purchase of this EP alone, "Baja" would seal the deal. Ethereal, dreamy pads and effects float around as a stuttering synth swims up through the water to the surface. Reverbs and dubby effects abound, parts of the track have often been compared to the likes of ambient trailblazers Tangerine Dream. This track is the perfect thing to play lying on the beach, with the sun splitting the sky, without a single concern or memory but bliss; rumour has it that Sasha completed the mix in a studio along the Great Barrier Reef. Some may not gather the patience to sit this one through to the climax but it truly is worth it. Taking elements of old and mixing it with dub-reggae tips and trance sensibilities, "Baja" is one hell of a piece of electronica in its own right.

Far from being a bad DJ (him and John Digweed being international superstar representatives of the trance club organism), it's just a little bit shameful that Sasha does not choose to be any more prolific in terms of original studio production because the effects so far have been tremendous. Not afraid to stretch out sections of his tracks in order to build suspense, his tactic to allow these tracks to breathe before the routine explosions of energy horde the listener is nothing short of delectable.