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Electronic/Dance - Released January 18, 2019 | Masterworks

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Drum & Bass - Released August 31, 2018 | Metalheadz

Goldie keeps going through his records. To celebrate 20 years of his career, the founding father of drum’n’bass (and the co-founder of the mythical label Metalheadz) brought out his triple ‘best of’ CD The Alchemist in 2013, followed by his third solo album The Journey Man in 2017. For the quarter of a century celebration, the harvest is a little more modest, with six unreleased or rare tracks (plus five “alternative mixes”) that have been remastered by the British producer who now lives in Thailand. Though what is lacking in quantity is regained in quality; these tracks all come from the golden period of the 90’s The compilation begins with I Walk the Dog under his pseudonym Rufige Kru (originally a duo that he formed with DJ Freebase before he took over the name), a cryptic drum’n’bass, with a scratch rewind for the chorus and threatening synths. Besides the original Stormtroopa that was released in VIP (standing for Variation In Production) in 2001, we find Shadow VIP, a remix of The Shadow, a haunting D&B track that Goldie had released in 1997 with Rob Playford, one of the pioneers of the genre. There’s also the previously unreleased track Rider’s Aftermath, which slightly resembles Benga’s Night with its mournful melody yet with the energy that you find in rock music, as well as a groovy remix of Shinin’ Down on Me, the iconoclastic track from 1993 recorded with 4 Hero, by another figure of the movement, J Majik. This ‘best of’ record climaxes with Hornet 127, a rare track that came out in 1996, with a very long intro, a breakbeat that slowly rises and a slight pause that arrives in the middle… Twelve minutes of happiness which contain all the flavour of Goldie’s drum'n'bass from the 90s. And it's delicious. © Smaël Bouaici/Qobuz
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Electronic/Dance - Released December 15, 2017 | Because Music

Respected by the underground for his production skills and lauded by the press for his star potential, Goldie's album debut proved he was no fluke on either count. But from the first few minutes of Timeless, new listeners might wonder what's so different about jungle and its first superstar. The sweeping synths and lilting female vocals that form the intro to the title-track opener could be taken from any above-average house anthem. All questions are answered, however, once the beat kicks in. Manic, echoey percussion rolls around and through the song while a muscular dub bassline pounds additional sonic territory. The beat fades in and out, appearing and re-appearing with all the stealth of a charging rhino. The seven other tracks are just as uncompromising, even adopting a hip-hop beat for the R&B flavor of "State of Mind." Though jungle might be jarring for first-time listeners unused to mid-tempo melodies functioning as a bed for hyperspeed beats, Timeless makes it a much smoother ride. ~ John Bush

Rap/Hip-Hop - Released January 26, 2018 | Metalheadz

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Drum & Bass - Released July 28, 2017 | Metalheadz

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Jungle's first superstar gets help from 4hero and Doc Scott, while Goldie remixes one himself on this 1995 single. ~ John Bush
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Rap/Hip-Hop - Released June 22, 2018 | Vision Crew

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Electronic/Dance - Released February 1, 2019 | Masterworks

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Electronic/Dance - Released August 17, 2018 | London Music Stream - Because Music

House - Released November 2, 2018 | Masterworks

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Electronic/Dance - Released September 21, 2018 | Masterworks

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Electronic/Dance - Released December 15, 2017 | Because Music

Goldie's debut album Timeless established him as the king of jungle. Spanning two discs and boasting the epic, 20-plus minute "Timeless," Timeless was filled with ambition and invention, and it bristled with the thrill of the new -- it sounded as if the music was being invented as you heard it. The debut was so astonishing that it, in many ways, painted Goldie into a corner for his follow-up, SaturnzReturn. Goldie not only had to equal its consistency, but he had to offer fresh dimensions to the now-familiar drum'n'bass rhythms. Superficially, SaturnzReturn at least delivers in terms of scale and ambition. Running a little over two and a half hours and including a mini-symphony as its first track, the double-disc set is bursting with promise. Unfortunately, it fails to reach the dizzying heights of its predecessor, and its very ambitions feel like burdens. "Mother," the amorphous hour-long pseudo-symphony that comprises the first disc, collapses before the drums are even heard. After 20 minutes of atmosphere, a surge of intriguing rhythms wash up, only to fade away after another 20 minutes to reveal a simplistic, simple-minded symphonic theme that is never developed. If the second disc had been a masterpiece, it would have been easy to forgive the excesses of "Mother," but it suffers from a near-crippling schizophrenia. Divided between harrowing, dark aural journeys and slick, club-ready R&B, the disc never develops a consistent mood and often is sunk by overlong, misguided tracks. With its waves of processed Noel Gallagher guitars and garbled Goldie vocals, "Temper Temper" never quite hits as hard as it should, and it never has the impact of the gutsy KRS-One collaboration, "Digital." Those two vocal tracks are hardly the closest Goldie comes to accessiblity -- "Believe" and "I'll Be There for You" have slick soul textures, with layered keyboards, wah guitars and wailing divas. These soul excursions last too long, and are intercut with dark jungle explorations that have scary rhythmic structures, but no sense of purpose. There are some very provocative textures scattered throughout these ten tracks, and Goldie's skill for hyperactive drum programming can be astonishing, but that astonishment fades quickly since the music never goes anywhere -- it just meanders forever, as the drums slowly lose their power and turn into a tinny din of noise. As a result, Goldie sounds confused, as if he wants to push forward but doesn't know how. With some serious editing, SaturnzReturn would have been a powerful record, but as it stands, its bloated running time and pretentious, formless songs only obscure Goldie's considerable talent. ~ Stephen Thomas Erlewine

House - Released July 6, 2018 | Masterworks

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Electronic/Dance - Released September 21, 2018 | Masterworks

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Miscellaneous - Released June 9, 2017 | 14k Productions

House - Released June 22, 2018 | Masterworks

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Miscellaneous - Released July 12, 2018 | 14k Productions

Dance - Released May 5, 1999 | Ovum

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He's known more for his production expertise and musical vision than his skills behind the turntables, but Goldie has been a DJ almost as long as he's been a producer. And despite the fact that it's not his specialty, INCredible Sound of Drum'n'Bass is a solid album. Though his mixing isn't up there with the best (Grooverider, Fabio, Bukem), Goldie's track selection is excellent. Almost half of the tracks either originally appeared on Goldie's Metalheadz label or were produced by close compatriots. The nepotism is hardly a problem, however, since Metalheadz released a raft of crucial singles -- "Pulp Fiction" by Alex Reece, "The Angels Fell" by Dillinja, "To Shape the Future" by Optical, "The Warning" by Grooverider's Codename John project, "Here Come the Drumz" by Doc Scott, "Your Sound" by J. Majik -- that can only help any collection they're on. The second disc also includes two of Goldie's earliest productions, "Manslaughter" and "Terminator." Goldie usually plays out most of the songs before moving on to the next, but drops in plenty of twists to keep listeners into it. True, a better mix album by a less popular name would never sell in the numbers this one has, but Goldie proves with INCredible Sounds of Drum'n'Bass that his status as jungle superstar number one is untouched. ~ John Bush
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Miscellaneous - Released January 1, 2018 | 14k Productions

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Electronic/Dance - Released December 15, 2017 | Because Music

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Miscellaneous - Released June 9, 2017 | 14k Productions