If anyone gives a s**t, I've reviewed the above for Australian publications:
>Stacey Pullen Today Is The Tomorrow .. >Well, well, well .. one third into Stacey¹s latest album length outing, and I¹m suitably impressed. Indeed, it¹s sounding much more "Detroit" than alot of his prior work dating all the way back to his 1994 Bango "Sphinx" EP for Transmat offshoot Fragile (his best work to date; in my opinion). Many of the early tracks on the release sound very pre-1994, and would not seem out of place on second wave Detroit labels such as 430 West, Trance Fusion and Retroactive. Some nice old school, quirky and tough drum patterning; some dirty, acidic bass lines overlayed with thoughtful, original melodies and warm, ethereal padding. Check the punchy, floor-burner "Powershot" or the very intelligent "Juke" for examples of Pullen¹s Detroit roots. >Apparently having served enough time with undergound labels to now produce for corporations like EMI, the album suddenly slides into more mainstreamist techno/drum n¹ bass/jazz fusions. Think Ian O¹Brien, Kirk Degiorgio or something from Russ Gabriel¹s techno-jazz imprint - Ferox , but weaker; much weaker. >As Derrick May¹s protégé, I¹ve always been slightly disappointed by Stacey¹s work. Sure he has delivered some excellent cuts for Fragile, Plink Plonk and Astralwerks; but, as was the case with his two prior album length releases for Transmat/R&S and Elypsia he fails to deliver an album packed with highlights. Instead Stacey teases us with a release that starts off well but fails to grow. On Australian shores, Pullen¹s credentials as a DJ far exceed his reputation as a producer. I don¹t imagine this release will change things. Lenoir.
