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: : release no ( 9843 ) rating |
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: : artist (Polar ) | .---. |
: : title (In The End Album Sampler ) | 0 |%%%| |
: : record label (Warm Communications (WARMLP001S) ) | 9 |%%%| |
: : genre (Drum & Bass ) | 8 |%%%| |
: : release date (2008/11/09) | 7 |%%%| |
: : street date (2008/12/01) | 6 |%%%| |
: : | 5 |%%%| |
: : media type vinyl (x) tape ( ) cd ( ) radio ( ) | 4 |%%%| |
: : cover sfv m3u cover ( ) sfv (x) m3u (x) cue ( ) | 3 |%%%| |
: : | 2 |%%%| |
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: : :.: (03 tracks) (16:00 min) ( 24.8 mb) | `---' |
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nr times track titles
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| A 5:20 Polar - High Voltage |
| B1 5:58 Polar - Almost and Beyond |
| B2 4:42 Polar - In The Middle Of Somewhere |
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| | | |
| | It’s been a good three years since fans of | |
| | Polar have heard original material from him, | |
| | so when word emerged that he had an album | |
| | project, the chatter hit a fever pitch, | |
| | wanting more: audio, new confirmation… well, | |
| | let the wait end and this next chapter in | |
| | Polar’s work come forth! This sampler to In | |
| | The End serves as a reminder that the Polar, | |
| | the one who showed us that deep, emotional | |
| | Drum & Bass can emerge outside of the UK, and | |
| | does not have to be steeped in the classic | |
| | jungle zone that we grew up on, is still | |
| | alive and well. “High Voltage” kicks things | |
| | off with a hypnotic melody riding atop a host | |
| | of found breaks, each one creating a wave | |
| | that the loops can soar with and through, | |
| | serving as a proper re-introduction to | |
| | Polar’s sound. “Almost and Beyond” ushers us | |
| | into another chapter, sifting lost organs, | |
| | mechanical bleeps and otherworldly vox into a | |
| | darker ride, accenting the frantic pace with | |
| | drums that are monstrous but not overbearing. | |
| | Fans of classic Polar flexing on labels like | |
| | Certificate 18 and Subtitles will be in for a | |
| | treat on that one. Rounding out this trio is | |
| | “In The Middle Of Somewhere”, another | |
| | throwback workout that joins both worlds | |
| | together: we get the mechanical vocal accents | |
| | in time with the drums, a funky breakbeat | |
| | that just does not quit, but we are still | |
| | treated to these lush washes, signaling the | |
| | forthcoming experience that those who are in | |
| | the know have been salivating about since | |
| | hearing about the latest expedition into | |
| | breakbeat science that Polar is chartering. | |
| | You speak of Drum & Bass getting stale? You | |
| | wish that producers took chances and shunned | |
| | the norm? Buy a ticket, take the ride… | |
| | | |
`-------+- +-------`
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.-----------------------------------------------------------------------------.
| |
| This release may contain copyrighted material, however SOUR guarantees |
| that this material was at least available to one person "on the street" |
| and that the possession of this material is in no way privileged. |
| |
| SOUR has been releasing good quality drum'n'bass, jungle & oldskool rips to |
| the internet drum'n'bass public since summer 1999. Originally a small |
| operation, we have now reached levels of international acclaim. |
| |
| SOUR is dedicated to both the availability and promotion of music to the |
| public, and our rips are intended to reflect these ideals. Specifically: |
| |
| . SOUR is dedicated to the promotion of new music that is currently |
| available to buy. If you like something you hear, you are obliged to |
| attempt to purchase an original copy. |
| |
| . SOUR is dedicated to the promotion of old music that may no longer be |
| available to buy. |
| |
| . SOUR is dedicated to the expansion and infiltration of drum'n'bass |
| worldwide! We provide a service where none is available, specifically in |
| many remote countries where traditional distributors can not afford to |
| target. Also, the availability of drum'n'bass in an easily accessible |
| form expands the potential for real world sales to people who may not |
| otherwise have considered buying drum'n'bass. |
| |
| . SOUR is dedicated to the expansion of the online and offline real world |
| scenes. With more listeners enjoying what they hear, clubs and venues can |
| only expect MORE people to attend events; DJ's can only expect MORE |
| people to pay to see THEM. |
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| By accident of today's current real world distribution arrangements, many |
| artists will find that SOUR releases IMPROVE their real world sales; |
| especially for items only on vinyl. This is the basis upon which SOUR |
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