Aminet 22/Aminet 22 (1997)(GTI - Schatztruhe)[!][Dec 1997].iso/Aminet/mods/wmr/WMR_wk31.lha/overall.txt

Text File | 1997-10-29 | 97KB | 1,622 lines

WMR (Reviews [week #31])

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                     |o /  |   | \ o| |o |  |   |\  o\(mansooj)
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            (Originally compiled and added on October 27, 1997)

                          (last updated 10.27.97)

            -----========================================-----



-----================================================================-----


                                "Phurther"

                           by Xerxes of Night 55

                             (26ch XM, 07:04)
                        (xr-phur.zip [521K/1226K])

                                 [Ambient]

  "The tune is loosely based on Dune's k.  If you like ambient, you must
  check it out.  Because of a heavy artillery of drums, this is not your
ordinary ambient tune, but the mood it conveys is more on an ambient level.
                            Hope you enjoy it!"
                                                                   [Xerxes]

                                  Samples -----------------.
                              Originality -------------.   |
                                Technical ---------.   |   |
                              Composition -----.   |   |   |
                                  Overall -.   |   |   |   |
                                           |   |   |   |   |
                                           |   |   |   |   |
                                         ====================

              Rebriffer                  100-100 100 100 100
              Emit                        95+ 95  95  95  95
              Cubix                       90+ --  -- 100  80
              Mansooj                     87+ 75  --  70  80
              Skullsaw                    83+ 70  60  70  90
              Nova                        76+ 78  72  70  67

          /----------------------------------------------------\
)-----------------------========[ Mansooj ]========-----------------------(
          \----------------------------------------------------/

 Phurther is an ambient trip so silky smooth it could put turn you into a
drooling, slumbering mess even despite your desire to listen...and listen.

 The ambience is somewhat minimal, sufficing itself to rely upon a backing
synth, a phat (am I using that term right?  ;)), warm synth carrying short
melodic clips, some beeps and boops, a rather standard percussion of closed
 hihat + bass drum + pseudo-clapping accompanied by a nice bass.  This is
overlayed with frequent vocals which sound to me to be abstractedly saying
                         "Ahhhhhstrid" and "time."

So, the components are not especially unusual, and being ambient, the tune
does follow some fairly standard conventions, but it has a very fluffy feel
to it that allows me to settle into its vibe.  I guess you could say it has
  personality, and I doubt I'm alone in feeling that that is an important
    factor in any track.  By way of comparison, it has the same sort of
 character as some of Jarre's more sedate tracks, in fact, there's even a
                      noticeable comparison of sound.

 As ambient, the marked lack of overt variation is an acceptable reality,
made less significant by the very fact that the sounds being presented are
   so soothing and expressive.  Xerxes does manage to avoid the complete
   flatness that some ambient pieces exhibit (and I believe, despite the
  foregoing statements, to their detriment) by breaking the tempo briefly
with some washing waves (the sort you can imagine rolling up at night on a
 relatively calm sea) at the four minute mark, returning with more of the
same now supported by a stronger (but not much different) percussion beat.
    This small infusion of change is enough to revitalize the energy an
      otherwise completely streamlined track would lose about halfway
  through--presuming it was a long track like most ambient pieces.  As a
  trailing side note, the track has a really nice, full, w-i-d-e sound to
                         it--nice stereo/panning.

 It's an odd thing for me, that when coming into the WMR as a reviewer, I
had very little exposure to ambient.  I could often be quoted as saying how
     important I felt note density was (something ambient is almost an
  antitheses for); and now, ambient is right up there in my most favored
style categories list.  With that realization comes a better understanding
     of and appreciation for the genre.  I think it says something for
   broadening one's horizons (though that's not to say you can't dislike
                            something anyway).

    With that in mind, I feel I can say with reasonable assurances that
Phurther is a worthy track for anyone who can appreciate a drifting type of
    music, and a must for all ambient lovers.  The song, in a word, is
       beautiful.  Pick up Squared Circles too, while you're at it.

          /----------------------------------------------------\
)----------------------========[ Rebriffer ]========----------------------(
          \----------------------------------------------------/

 If you are a fan of the Scandinavian tracker scene, then you are going to
 download this like a shot--and you'll love it to death!  If you aren't a
  fan of this genre, you should download this like a shot, anyway--you'll
 still love it to death.  This, o disbelieving spawn of Beelzebub, is the
                       u-l-t-i-m-a-t-e in class....

         Yeah, yeah stop grovelling and dish the dirt, you cry....

Not this time, undeserving wretches, because this track has nothing--that's
n-o-t-h-i-n-g--wrong with it at all.  An absolutely priceless chunk of the
most beautiful sounds this side of heaven itself.  In all my reviewing life
with WMR I have never yet given a track a whole 100 for all categories but
   this one has achieved that lofty goal--and I have to say I don't even
                   particularly like the musical style.

   So what is this track that's turned me into wet mush?  Phurther is a
  classic mod in all senses.  The samples came from some of the acclaimed
heroes of the scene (Jogier Liljedahl, Basehead, Dune, etc.) and some from
the composer himself.  You can imagine that the quality on display here is
nothing short of magnificent.  The track saunters along in a groove that is
too cool for its own good; and the vocals will effortlessly raise the hair
on the back of your neck.  Effects and coding really show the score though,
     and once again, Xerxes knows exactly what to do, economically and
 efficiently.  A master of the art in top form...grab this now, promise it
             undying love and you'll live happily ever after.

 Okay, almost done.  God, all this drooling makes the ol' floor slippery,
                                  dunnit?

  Let me make one thing very clear:  I do not like this sort of material.
  This track transcends all those sorts of normal prejudices, though.  A
brilliant diamond of a track and one that illustrates, once again, how good
  these Scandinavian trackers are.  Is it something in the air, or what?

          /----------------------------------------------------\
)------------------------========[ Emit ]========-------------------------(
          \----------------------------------------------------/

  Incredible!  A brooding and sparse ambient track, perfect for the fall.
    This is, without a doubt, one of the best modules I've ever heard.
    Phurther is seven minutes long, but I hardly noticed as it moves so
        gracefully.  I actually found myself wishing it was longer.

The track is fairly minimal, composed mainly of an elegant rhythm--not too
 fast nor too slow--and with wonderful variation--not just a high-hat and
    overdriven 909.  Behind this are some subdued synth chords.  A few
reverberant noises occasionally rise up and disappear.  Finally, two short
    vocal samples provide the main motif of the track, and stay with it
                       throughout the seven minutes.

 The samples are excellent and are used with great skill--everything is as
 loud as it should be.  The percussive and vocal samples are particularly
 rich; these are far from stock samples, and much care has obviously been
                              put into them.

 The composition is extremely well done, with particular attention paid to
 the stereo image, giving the track a satisfying fullness.  There are also
 many subtle but appreciable changes which occur to the sounds throughout
the seven minutes.  The subtlety and depth allow this module to be listened
               to many times over without loss of interest.

    Phurther is 1.2MB in size, but I will not complain; it is more than
  justified.  Download this module now and listen to the haunting ambient
                       track Xerxes composed for us.

          /----------------------------------------------------\
)------------------------========[ Nova ]========-------------------------(
          \----------------------------------------------------/

 Phurther is a tune that is straight from the heartland of ambient.  From
the initial embarkation into Xerxes' world until the silence at the end of
       the song, you are submerged in a tranquil and restful track.

The intro has a few unique sounds that complement a soft, droning synth.  A
 female voice mixes in with these sounds and a set tempo begins.  The rest
 of the song is very Enigma-like.  A stable and unchanging rhythm set the
 beat for surging synths, slow breaking waves, voices that fade in and out
of the audible range and many other sounds that add additional depth to the
                                   tune.

The voices are done well--not overshadowing the rest of the instruments and
not crashing in over the top.  There are a few breaks in the beat which are
filled with various instruments such as a bass guitar-type sample.  All in
all, this is one mellow tune.  The only negative thing that I can think of
  is that the song lacks the significant depth that is needed for a truly
 great ambient tune.  This is a very good listen and those of the ambient
following will enjoy it, but I doubt this song has what it takes to appeal
               to lovers of other major genres of tracking.

          /----------------------------------------------------\
)----------------------========[ Skullsaw ]========-----------------------(
          \----------------------------------------------------/

I haven't much to say about Phurther as there isn't a whole lot of material
  here, but I quite like what there is.  It's an ambient excursion with a
    mid-tempo beat.  A restrained percussion track features a wonderful
   processed snare and wet-sounding pops and blips.  There is some nice
fretless bass complete with pitch slides, as well.  A female(?) sings some
   indecipherable words, waves wash on a shore and solemn strings play a
melancholy progression--that's more or less all there is for seven minutes.
                     Doesn't sound like much, does it?

     I like this one, it's mellow and relaxing.  The rhythm parts are
 interesting and there are some intriguing sounds tossed about for color.
It's very simple, harmonically, but hypnotic.  I didn't even mind the ocean
                 waves sample.  I may even keep this one.

          /----------------------------------------------------\
)------------------------========[ Cubix ]========------------------------(
          \----------------------------------------------------/

This is quite an unusual piece, and if I had to classify it, I would place
             it in the "Futuristic Meditative Music" category.

 The piece begins with a bizarre sound I could only describe as the sound
 you would hear if you were standing behind a 'muted,' revving jet engine
    while someone was hosing water through the turbine.  The piece then
    progresses with, at first, one high priest, then two, chanting in a
     complementary manner all while the bizarre jet/water sound plays
                      rhythmically in the background.

This is a great piece to meditate to and would recommend this to anyone for
  such a purpose.  The samples could use a bit of cleaning up, however I
 think that they have served their purpose in this piece.  Kudos to Xerxes
                        for such an original track.


-----================================================================-----


                                   "RMW"

                          by Chris and the Clones

                              (8ch XM, 02:26)
                          (rmw.zip [601K/1220K])

                              [Experimental]

    "This is a piece that explores the collision of noise, rhythm, and
  traditional melodic and advanced harmonic techniques, and the resulting
                    beauty to the discerning ear."
                                                   [Chris and the Clones]

                                  Samples -----------------.
                              Originality -------------.   |
                                Technical ---------.   |   |
                              Composition -----.   |   |   |
                                  Overall -.   |   |   |   |
                                           |   |   |   |   |
                                           |   |   |   |   |
                                         ====================

              Skullsaw                    83+ 85  70  90  80
              Ka'PQat                     75= 70  75  70  90
              Rebriffer                   70+ 70  65  80  65
              Shrift                      65= 35  25  80  85
              Shih Tzu                    64= 61  72  97  82
              Kazmeyer                    60+ 60  62  75  72
              MING                        57= 45  60  95  80
              Emit                        45+ 40  50  60  35

          /----------------------------------------------------\
)-----------------------========[ Shrift ]========------------------------(
          \----------------------------------------------------/

    One thing that has been consistent in CatC pieces is their sense of
  intentional randomness.  CatC pieces almost never repeat, and typically
employ themes which are so unconventional as to be difficult to accept.  I
don't have a problem with them for this reason, but in this piece I have my
 one criticism of CatC's compositions reaffirmed--conventional instruments
 (melodic and not) are often used in ways that scream of dicontinuity and
amateurism.  For example, in this piece, I could in almost no way imagine a
 real drummer playing the rhythmic themes--they aren't in any way jazzy or
 even intentionally spontaneous.  The drum rhythm sounds about as fake and
electronically produced as one could envision--imagine a drum machine that
got fried by a dumped cup of water, and imagine the drum sequences it would
                                 produce.

 Now, I'm not saying this was not done intentionally, as CatC has shown he
has a sufficient technical knowledge, but I am saying that it doesn't work
for me.  It comes across (like many aspects of CatC pieces) as poorly felt
  (as in, no soul), and non-authentic, even if intentional or contrived.
 Even when listening to only two tracks of rhythm from a pattern with all
 the extra weirdness turned off, it sounds like nothing I'd associate with
 skillful or interesting rhythm--the drums don't do what drums do (keep or
                               create time).

 I do appreciate CatC's attempts to produce music that is so removed from
     our common preconceptions of sound-organization that it is barely
 recognizable as music...but it isn't that much fun to listen to.  See, if
   this song had a crazy improvizational or jazzy rhythm section in the
 background behind the characteristic weirdness, I'd have few complaints,
but so few things are done to cater to the listener that I can only call it
amateurish.  For example, almost no effects are used, and I assure you that
 it could use some--the whistle samples used in this song are horrible and
  jarring, and I'd be surprised if they weren't poppy (as in, stimulating
your speakers to make popping sounds) on some people's machines.  Likewise,
 the rhythm could have been made to sound more intentional by appealing to
 some actual rhythmic standard.  Saying that no standard (ie, random) is a
 standard is a cop-out--I can make music no one wants to listen to fairly
 easily, even though it appeals to some strict (but subtle) compositional
                                   form.

I would love to see CatC produce music that has been more clearly designed
 to show its true colors--something that would make it much more difficult
          for people to wave their hands at and dismiss as noise.

Now, as characteristic of CatC pieces such as this one (including the Radio
 series), the sample quality tends to be quite high (with the exception of
the aforementioned whistles), and this is the case here as well.  Likewise,
   this piece certainly is original, as much as random contrivances are
 original, but unfortunately I see little to indicate that this randomness
 was very thoroughly felt by CatC, because this song generates very little
emotion (much like CatC sonatas).  If that was a goal, then this 'song' is
 a screaming success.  One thing is clear--RMW has a pile of very acutely
 strange samples, and that makes me suspicious that CatC was trying to do
     something here, if only to explore the nuances of sound, and this
 accomplished, all I want is more feeling and noticeable textures because
            this comes across to me as entirely cold and alien.

  If anyone wants an opportunity to look musically ignorant by failing to
  appreciate a piece of very odd music as being inspired, check this out.

          /----------------------------------------------------\
)------------------------========[ MING ]========-------------------------(
          \----------------------------------------------------/

 What have I done to deserve this?  Not that this song is plain lousy, and
  that I suffer through the long minutes Boris has forced me to devote to
it--it is not at all that repulsive.  In fact, I rather enjoy it.  But what
                 I don't at all enjoy is WRITING about it.

    I could just say "It's totally freaked out," and leave it at that.
Whatever more I wrote would be just a repetition of that statement with new
             words.  So I'll do that instead:  repeat myself.

                         It's totally freaked out.
                         It's totally freaked out.
                         It's TOTALLY freaked out.

Okay, that was the Overall Impression department.  But I guess you won't be
  satisfied with just that.  Damn sadists.  You want to see me suffer, or
               what?  Alright, alright.  Into details we go.

      I'll start with something I CAN judge fairly:  the techniques.

 Samples are all of high or semi-high quality, and the drums, especially,
 were very clean, which created quite an interesting effect when combined
 with the more chaotic structure of the song...but more about that later.
 Effects were used sparsely, and channels were never spanned out more than
absolutely necessary, and I find myself wishing a little more work had been
    devoted to making it sound at least decent, dynamically.  Yet, the
 techniques are not so much of a down point that it matters to the overall
                                  effect.

                    And then the hard part:  the music.

It all starts with a whistling sound playing a freaked-out melody.  This is
 soon joined by pads, distorted voices, perfectly clean, but rhythmically
freaked out drums, freaked out little bleeps and beeps, numerous real-life
 instruments blurting out, not quite cacophonic, but at least freaked-out
sidetracks and small second-long themes.  It is like there once was a nice,
 classically structured, a little bit jazzy piece once, but Chris and the
 Clones dropped it on the floor, and it shattered into hundreds of pieces.
               Humpty Dumpty sat on a wall and all that....

   And he just couldn't glue the pieces together.  But by now, as I have
 gotten a pretty good view of this fellow's artistry, I can say with quite
 some certainty that every little note, every effect and every byte of the
song is carefully put into place right where Chris wants it to be, ordered
   by some alien logic we normal people can't even begin to understand.

 And as such, all his production seems to follow that logic.  So, if this
 had been the first Chris and the Clones tune I'd heard, I would probably
   have liked it much better than I do now, as it wold have been a fresh
   experience.  So, as a single tune, RMW is quite interesting, and even
   enjoyable at times, unless you are too faint-hearted, and your brain
 collapses at too high a stress level.  But as an artist, I'm beginning to
 grow honestly tired of Chris.  The style in which he makes music is quite
 interesting, but also highly trying.  And I think I've had my share for a
                        while, thank you very much.

          /----------------------------------------------------\
)----------------------========[ Shih Tzu ]========-----------------------(
          \----------------------------------------------------/

 Well, what can I say?  This one is weird.  Granted, everything I've heard
 from Chris and the Clones is weird, although I only have the three I was
assigned to review to go on.  Of the three, Sonata, Radio2, and now RMW, I
                     have to say I like RMW the least.

  Perhaps like is the wrong word.  After my experience with Clones, I can
  tell that he is a fan of contemporary classical music, and one does not
   necessarily like contemporary music.  One appreciates it, much as one
appreciates any other art form even if it does not, and is not intended to,
  instill happy feelings in the audience.  Still, I find it difficult to
 relate to this piece, and I'm not sure what mood it's trying to inspire.

    RMW is an extremely chaotic collection of dissonant sounds with few
  constant elements.  There is a sort of synth-piccolo that occasionally
 plays slow melodies over the more hyper background noise.  In addition to
 all the very strange synthetic samples there is a voice sample that seems
   to say, "You know, you're just filling (killing?) me." There is some
    percussion that is played either randomly or in a very complex time
signature.  The percussion samples sound a bit pedestrian compared with all
the weirdness that swirls around them; used differently, they would easily
                            fit in a demotune.

   It's difficult to tell from this piece how good a tracker Clones is.
 Especially in the beginning--the synth-piccolo pops and doesn't play its
 melody very smoothly, and other pops are present in the background.  But
  quite a lot of this piece is fairly clean, and I have to wonder whether
anything I can find fault with is intentional--an advantage, I suppose, of
                     writing such experimental music.

 There isn't a lot I can say about this module except that it didn't click
with me.  I don't necessarily hate modern music brought into an electronic
format; in fact, I was very impressed with a similar Clones piece, Radio2.
Unfortunately, and perhaps due to my lack of familiarity with contemporary
classical, I was unable to get much out of RMW.  However, I still encourage
readers to give it a try; your opinion could very easily differ.  Besides,
  where else in the realm of tracked music are you going to find a module
      that sounds like nothing so much as a CD being fast-forwarded?

          /----------------------------------------------------\
)-----------------------========[ Ka'PQat ]========-----------------------(
          \----------------------------------------------------/

This appears to be of the tape-loop genre of musical experimentation, like
   the work of the Psyclones, or a soundtrack accompanying one of those
  multimedia sculptures of screens, monitors, twisted metal, plastic, and
   household and office odds and ends.  It begins with a slow, slightly
ominous jazzy whistling-on-the-sidewalk-alone-at-night tune, soon joined by
   futuristic beeps, siners, and sci-fi-like sounds sneaking in from all
                                directions.

 Then it's jacked up with sheet-metal-warping roars and random drumbeats,
and soon it creates more of the atmosphere of a video-game parlor, bringing
back memories for me, even the whistling reminding me of a basketball-hoop
game in one I used to frequent.  Little cheezy tunes by various electrified
  instruments play over the cacophony, and then something unexpected...a
 flanged electronic/robotic voice, from a stuttering beginning, starts to
   say in a genial conversational tone, "y'know, you feel like...." More
 permutations and combinations of sound follow, finally cutting down to a
 few more notes of the bright/langorous, nonsensical whistling hanging in
                               the silence.

Because of the pivotal, ingenious machine-voice sample, this piece gives me
the feeling it is conveying a sense of technology stumbling over itself to
 please its human creators, to very sympathetic effect.  It takes a whole
 bunch of usually rather ominous sounds and uses them to create an almost
 friendly atmosphere, rife with the candied adrenaline like one feels from
                               video games.

 The sample quality is very high, and the tracking makes most of it sound
very real.  Some of the whistling and other lead instrumentation was not at
   all smooth, notes cutting one another off.  I do not know if this was
intentional or not, but it certainly discourages me from wanting to listen
to it much.  Overall, I'd say it was a rather interesting listen with good
    samples, involving a moderate amount of skill, but nothing to crow
about...though the voice sample does continue to haunt me.  Kinda captures
that feeling of wanting to tell someone how you feel, whether expressed by
 a person caught up in technology, or by an actual machine coming to life.

          /----------------------------------------------------\
)------------------------========[ Emit ]========-------------------------(
          \----------------------------------------------------/

   RMW is an experimental track of about 2:30 minutes.  The first twenty
 seconds begin with a high pitched whistle (which I find too loud) playing
what almost sounds like a fragment of an X-files/mystery movie theme.  Also
 playing in the background, there are some low rumblings and drones.  The
     whistling subsides, and then the track leads into crazed, chaotic
    percussion over the drones and now strangely distorted voices.  The
  remainder of the track continues in a simlar fashion, as the percussion
  fades in and out, and the whistling (unfortunately) re-emerges several
                                  times.

Technically, RMW shows great proficiency with the use of panning controls;
    also, the sounds build into quite impressive layers at times, while
avoiding the 'wall-of-noise' effect.  At its high points, the track almost
   sounds like playing a CD in fast-foward (a bit like Oval's 94diskont
     album).  However, I feel that this is greatly compromised by the
  high-pitched whistle, as it is far too bright, distracting the listener
   from appreciating the complex and subtle sounds occurring beneath it.

  On the topic of samples, many of them are fairly interesting sounds on
their own.  However, I have one complaint:  It may be rather irrelevant to
some people, but I think some of the samples are so similar to one another
 that they could be accomplished by using volume controls and the built-in
effects of Fast Tracker ][ on the original sample.  While not as important
  as the music itself, I think size is a valid concern for composers and
 listeners alike; RMW is 1.2MB, which I think is awfully large for a track
only two and a half minutes long.  By experimenting more with fewer sounds,
   I think the size could have been reduced, while still maintaining the
                           quality of the sound.

All in all, RMW wanders into musical territory quite unexplored by most of
the tracking world.  However, I'm not certain if it can find its way back.
  To translate; RMW is a beginning, but I think it escaped before it was
                             really finished.

          /----------------------------------------------------\
)----------------------========[ Rebriffer ]========----------------------(
          \----------------------------------------------------/

  Either my copy of this is bad or some of the samples need cleaning up!

   RMW is another of C&tC's excursions into the wilder extremes of music
  post-Zappa, and as such demands a more enquiring mind than the endless
  Timelord/Maelcum/FM stuff we are constantly bombarded with.  You either
  love or hate Chris and the Clones, and I am a fan.  I don't like *all*
their stuff, but I do like this wilder, almost cacophonic stuff they get up
to.  It isn't stuff that I put onto my playlist on a regular basis, but in
those manic times, a dose of C&tC's particular brand of aural mayhem works
                    up a blistering headache...hee hee.

Seriously, if you like your music to be unstructured sound, delivered with
  style, then C&tC will probably be someone you are going to hear sooner
rather than later--so you may as well be the first on your block!  RMW is a
 very, very strange (and short, at 2:20) excursion even by C&tC standards.
 I starts with a whistle I *know* I've heard before, and then degenerates
    into aural chaos the likes of which would drive your parents mad in
 seconds.  It's even got *drums* in it.  Yep drums!  and they almost hang
                               together too!

Chris and the Clones are either musically insane to the point of brilliance
  or they are musical imcompetents--and I know which side I'm on.  You'll
                      have to make up your own mind.

          /----------------------------------------------------\
)----------------------========[ Kazmeyer ]========-----------------------(
          \----------------------------------------------------/

Definitely an experimental piece.  The drums are all over the place (in the
stereo-sphere as well as rhythmwise) and there's a whistle too (sounds like
the X-Files whistle).  Next come some digitally manipulated vocal samples,
and harsh factory-type sounds.  Then some cheesy synth sounds jump in for a
  second, a shaker, and then the voices again.  When I listen to this, I
 imagine this is what it would be like to be a schizophrenic watching the
                                 X-Files!

    The song tries to fuse too many elements to make it a solid piece,
   though--it sounds more like a series of sounds than a song.  There is
 really no discernible melody, chord structure, or rhythm to it; I believe
 you need at least one of the three to call something music.  I assume the
  composer was trying to create something really original, but this piece
seems to really push the envelope as to what components you really need to
  make 'music' rather than just 'sound.' Oftentimes, I like music of this
              type, but this song somehow doesn't draw me in.

          /----------------------------------------------------\
)----------------------========[ Skullsaw ]========-----------------------(
          \----------------------------------------------------/

RMW is dance music for Tourette's sufferers.  The drums stutter and stop, a
 cheezy whistle plays melodic snippets and synthetic textures splash into
 the mix throughout.  A disembodied vocalization speaks from beyond while
all around it indescribable samples slip in and out of the mix.  The total
  effect is one of a short circuited tracker.  Though some samples suffer
from aliasing, they in no way detract from the whole.  I'd rather hear low
     quality, original samples than gleaming hi-res overused samples.

  As always, Chris and the Clones use sound as paint and the tracker as a
 canvas to make an aural Picasso, angular and abstract.  Experimental and
                   original, what more could I ask for?


-----================================================================-----


                                  "M W V"

                                  by Kita

                              (8ch XM, 03:44)
                           (Mwv.zip [247K/338K])

                        [Experimental/Progressive]

                                  Samples -----------------.
                              Originality -------------.   |
                                Technical ---------.   |   |
                              Composition -----.   |   |   |
                                  Overall -.   |   |   |   |
                                           |   |   |   |   |
                                           |   |   |   |   |
                                         ====================

              Skullsaw                    70+ --  50  --  --
              Kazmeyer                    65= 60  55  70  65
              Emit                        60+ 50  55  75  55
              MING                        52+ 50  40  70  60
              Rebriffer                   50+ 55  30  55  30
              Anders Akerheden            32= 29  24  97  38
              Shrift                      30- 20  15  70  55

          /----------------------------------------------------\
)------------------------========[ MING ]========-------------------------(
          \----------------------------------------------------/

                               Progressive?

That's the one word that meets the eye when reading the songmessage in this
 rather odd piece.  That, combined with a total lack of experience of mods
  and composers with a .jp email address suffix, made me plunge head over
  heels into something I couldn't know to expect.  And plunging head over
              heels into this did actually hurt quite a bit.

 The impression I got was not really "Wow, this is loud!" It was more like
 someone had channeled a lightning bolt through my headphones, or stuck a
food processor in each ear and switched it on.  It shrieks, it hammers, it
yells and it crashes, all at once, and all so assaultingly loud I think my
   heart skipped a beat or two, and my brain was out of sync for several
  seconds (more out of sync than usual, that is).  And still, there is a
melody, a reasonable rhythm and a groove in it at first, that combined with
  the bomb of noise it is, really makes it quite fantastic.  It does hack
          your inner ears to pieces, but you'll probably like it.

At least for a start.  There is one thing this tune lacks so completely it
 will take up the majority of this review:  Patterns.  Actually, there is
 only one pattern worth notice in this song.  It is pattern number 0, the
 one the 'refrain' I told you about above is made of.  That is the pattern
  with the melody, heavy drumming, and twisted bass is all combined.  And
   this is the pattern that the song keeps coming back to, over and over
 again.  Not much variety here.  The total numbers of patterns are no more
than four, and they are repeated like they had nothing better to do.  It's
    like the composer had a lucky strike when mixing the first pattern
 together.  Then, discovering he can't make more out of it, says "Bugger.
               I'll release it anyway."  And does just that.

 And second, although the song (or rather pattern 0) sounds so nice, I can
 not credit that much to the composer.  It is rather a jolly good mixwork
  between a Kraftwerk-on-the-heavier-side sequence, and one of some more
  melodic sort.  Spiced with some buzzing strings, it does sound like an
   original piece, though, and to me, not knowing the samples' origins,
couldn't hear it wasn't original in all ways until after I saw the samples.

So, a horribly loud song with one top quality pattern, quite okay technical
    production, and the rest best left forgotten.  All I know is it was
  so...bad I coudn't really make tell whether it was intentional or not.

             Recommended?  Well....  Entertaining?  Yes, once.

                      Progressive?  Naah.  Only loud.

      But do, by all means, download it.  For kicks if nothing else.

          /----------------------------------------------------\
)----------------------========[ Rebriffer ]========----------------------(
          \----------------------------------------------------/

Now here's an interesting mod.  Comes from Japan and boy can you tell!  In
 various ways it reminds me of the work of the Kodo Drummers--some of the
   rhythmic patterns are almost certainly from that particular school of
 sound.  I am a great--no, HUGE--fan of so called 'world' music which from
   almost anywhere produces it's own highly distinctive sound.  Having a
  predilection for this kind of music, my ears kind of adjusted over the
      years to assimilate what most people just hear as screeches. :)

Don't let the fairly abrupt and dissonant beginning put you off because if
 you like sounds oriental/Chinese/Japanese (and I definitely do) you will
 get a lot from this mod.  It probably will not appeal to those people who
prefer their mods to sound like mods, this sounds anything but.  Moreover,
  the seemingly chaotic use of sounds tend to make a huge blur out of the
sound events--most people may just dismiss it as a howling noise, and they
 would have a (kinda, sorta) point.  However, look a little closer and you
can maybe see where the chaotic feeling comes from.  There is virtually no
 use of FastTracker's coding facilities here and that can often be used to
                  smooth out the rough edges in a track.

        All of which is a crying shame, because the track is--as I
                            say--'interesting.'

  The main samples used are quite noisy, however, and mixed in with that
  peculiar whiny sound that characterises Eastern music to Western ears,
there really aren't going to be that many takers for a track like M W V.  I
   have a couple of suggestions for Kita that may help him with his next
 release.  a) choose your samples with care, and make sure they really add
  to the tune, not muddy it further; b) take a little more time with the
texture of the backing track.  The Kodo influence in the drum section would
 definitely have been stronger if the drum samples were deeper and harder.
     Without it, the track lacks the power it undoubtedly should have.

So, not a track I would imagine for the greater mod world, but certainly of
   interest to those folks who like the more 'left field' mod composers.

          /----------------------------------------------------\
)------------------========[ Anders Akerheden ]========-------------------(
          \----------------------------------------------------/

Wow, so this is the sound of Japan?!  Well, if that's the case, I'd rather
  hear the sound of someplace else.  M W V is some really weird, twisted
  s**t.  The tune (noise), basically consists of, and listen closely now:
one loop sample which sounds like medieval folkmusic, and two hard rocking
 metal loops.  Well, actually there's room for two more samples.  A string
     sample that lacks any depth whatsoever, plus one of those "Enigma
        panflutes."  You know, like the ones they used in Sadness.

     Back to the loop samples earlier mentioned.  When they're played
simultaneously, as in this here tune, it sounds like, "Mom, I got a serious
hangover!" It's absolutely astounding, IF originality is ALL you're looking
for.  I'm not!; and so I don't find one empty track in the intro especially
   intriguing.  Nor this twisted combination that'll cause some serious
  overdrive effect on your speakers if you play it too loud.  The samples
  loop okay if you play them one at a time, but linked together you won't
   notice that, I promise!  I suppose some people could appreciate this
so-called music.  That is, if you're into headbanging while inhaling krazy
 glue.  Err, don't you people start thinking I've done anything like that,
   now!  I'm a good boy.  The only reason I'm not inclined to completely
dismiss this track is because of ONE thing:  one folk music loop.  Besides
 that, I was not in any way impressed with the technical skills, or sound.
Some panning is all you'll find.  Not too thrilling.  Still, people with a
 twisted mind could always enjoy a peek!  Happy sniffin!  Eh, forget that
last thing.  Wouldn't want to fool any of you easily manipulated folks into
                               trying that.

          /----------------------------------------------------\
)------------------------========[ Emit ]========-------------------------(
          \----------------------------------------------------/

  Where did this escape from?  Three and a half minutes composed of only
 three patterns.  Hearing this alone, you may immediately think this is an
   impossibly bad module.  However, I was pleasantly surprised; M W V is
 simple but effective.  I'm not quite certain what to describe this module
  as...some permutation of loud progressive-retro-industrial-electronic.

While it is rather minimal and extremely repetitive, there is enough depth
 and internal variation within the samples that I can listen to the whole
  module without shouting ENOUGH! and pressing stop.  The rhythm is very
         driving and crunchy, making it difficult to escape from.

The samples, in and of themselves, are not spectacular, but the combination
of distorted samples ripped from other music with the sound of a flute and
awful violin is mind-boggling.  Part of me thinks this is a result of poor
 composition and is rather irritating by that, but another part feverishly
               believes it is both humorous and intentional.

 As I mentioned, compositionally, the module is very basic--barely any use
of effects other than panning.  I am sure much more work could be put into
this module to improve it; there is much potential, and Kita, the composer,
  certainly has an ear for bizarre and impressive combinations of sounds.

   More time should be spent on this module, but I think it is off to an
   impressive start.  Indeed, M W V is a strange artifact of the module
                               civilization.

          /----------------------------------------------------\
)-----------------------========[ Shrift ]========------------------------(
          \----------------------------------------------------/

  I'm starting to wonder if making deliberately confusing and painful and
    ugly music is becoming a ploy for people to celebrate their unique
characters and identity.  In any case, this music has obvious tempo clashes
 caused by differently or awkwardly timed samples, and has among the most
    poor excuses for transitions that I've ever seen (all but one quiet
rhythm-looped sample shuts off flatly about five seconds before the end of
                        a pattern to show change).

 This song is repetitive (only four patterns worth of uniqueness stretched
 out over a couple minutes), and suffers from a total lack of effects use
            with one exception being a simple panning command.

It uses two Kraftwerk samples which don't do Kraftwerk justice.  There's an
Enigma-esque woodwind sample that's of a decent quality, and a strange and
 subtle rhythm-loop sample which is intruiguing--it is tribal and ambient.
  However, it doesn't benefit the song signficantly.  And then there's a
              string/violin sample that's outright terrible.

  I dislike giving high originality ratings for things which are original
because they are so poorly contrived that few would dare to release them to
      the public.  One reviewer called my own recently reviewed song
       Suffering Variety interrogation material--has he heard this?

          /----------------------------------------------------\
)----------------------========[ Kazmeyer ]========-----------------------(
          \----------------------------------------------------/

   Whoa!  This song kicks in with a thunderous clash of sounds including
distorted guitars and bagpipes (I think), so watch your volume!  This song
is quite experimental, using distorted samples, but it really doesn't move
me.  The patterns are all very similar to one another; the song has a good
 start, but seems a little undeveloped.  I would like to hear it remixed!

  After the initial riff, the tune settles down for a couple of bars with
  some Japanese flute sounds (I'm not sure if that's the proper term for
     it--it's that Enigma flute), which go a bit crazy along with the
   bagpipes...then it kicks in again after you've just settled in to the
                                floaty bit.

If you would rather hear songs that attempt to expand what is termed music
 than another Top 40 sounding song, then this could very well be for you.
Although the song doesn't move me much, I loved the samples and the unique
           textures created by the unusual instrument layering.

          /----------------------------------------------------\
)----------------------========[ Skullsaw ]========-----------------------(
          \----------------------------------------------------/

On first listen, I thought to myself "What the #@*% is this %$@*?"  What it
     is is a couple of samples from some Japanese noise band, somewhat
               industrial in tone yet with an Asian flavor.

 Whether intentional or not, the piece opens with silence and then...WHAM!
Cymbals, toms, Asian wind instruments and strings blast in out of nowhere.
    There are only four patterns here, the basic body of the piece and
   interludes.  It's either a full blast sonic attack or a contemplative
                            break.  That's it.

 I'm a bit stumped on how to score this one because I suspect the samples,
 meaning the entire piece of music, is lifted from someone other than Kita
but there's no way I can be sure.  The sound is in your face and loud.  As
a composition, I can't give a score because I don't think Kita wrote this.
            That being said, I like this for the module it is.


-----================================================================-----


                            "'Tis My Millenium"

                            by Anders Akerheden

                             (16ch XM, 03:44)
                        (an_clrip.zip [942K/1378K])

                                  [Funk]

   "Based on the super funky Acid Jazz album Millenium by Cloud Nine, I
tracked this piece.  It is highly influenced by this very album..  However,
                            it is not a cover."
                                                         [Anders Akerheden]

                                  Samples -----------------.
                              Originality -------------.   |
                                Technical ---------.   |   |
                              Composition -----.   |   |   |
                                  Overall -.   |   |   |   |
                                           |   |   |   |   |
                                           |   |   |   |   |
                                         ====================

              Rebriffer                  100+ 95  85 100  90
              Kazmeyer                    84= 80  82  70  80
              Shrift                      75+ 75  70  83  78
              Walrus26                    72+ 50  50  80  85
              MING                        58+ 40  50  70  75
              Nemesis                     50+ 40  30  60  70

          /----------------------------------------------------\
)------------------------========[ MING ]========-------------------------(
          \----------------------------------------------------/

                         What a waste of bandwith.

I mean, it's not like this song sucks or anything.  It's just too large to
 make up for the result.  Huge 16 bit samples, long sequences and loads of
   different sounds, and still it's thin, edgy and somewhat noisy in the
   output.  It starts with a poorly looped but quite nice drumloop, soon
   joined by a disordered assault of acid jazz sounds, and a vocal that
 rhythmically belongs somewhere else.  Not that the composition or idea is
 bad, not at all, but the composer fails totally to make it flow.  I know
     the style itself sometimes has a tendency to be a little...well,
  uncomfortable rhyhmically, but never to this ridiculous an extent.  Big
 chunks of sound come rushing out of nowhere when they really should have
been chopped up and pasted across the whole place.  And with a bass so fat
   it's almost unhealthy that has the bad habit of clicking in the most
 inappropriate moments, I can't be anything but annoyed.  The rest of the
  song is dominated by this bass, and a jazzy guitar sequence.  Here and
  there the voice comes in, and we have occasional breaks and some little
  solo outbursts on different instruments, and after a while, and with no
   real warning or logic, the song ends, giving me an impression, easily
                           referred in one word:

                                  Blunt.

   The tune is...blunt.  Both in terms of composition and tracking.  The
samples are each quite fantastic and the 16 bits do, in fact, give the song
a clarity often only experienced in studio work.  But you can drag a bunch
     of tone-deaf morons into a studio, and it will still sound clean.

   Anders Akerheden is not a tone-deaf moron, in fact he is quite a good
composer.  But with this song, something went wrong, and he probably didn't
 notice it.  It's both dynamically and musically overloaded.  He tries to
put so much impact behind things that he doesn't seem to care that he puts
it where it really doesn't belong.  Getting punched in the belly can be an
interesting experience...once.  Here, the composer delivers deep basspunch
 after deep basspunch in a neverending stream that muffles the other, more
 delicate sounds.  And the chaotic rhythm and song construction is like an
 exaggeration of normal acid fusion-jazz, where the most annoying bits are
   taken out and enlarged.  Just too bloody much funk, too little music.

 Judging from the underlying quality in the music, spoiled by the dynamic
  and rhythmic mishaps, he has greater potentional than this shows.  The
millenium ain't over yet, so I guess you'll have plenty of time to make it
                            yours.  Eventually.

          /----------------------------------------------------\
)-----------------------========[ Nemesis ]========-----------------------(
          \----------------------------------------------------/

Upon listening to this one, I couldnt help but notice that the main guitar
 riff in here is a single 16 bit sample about 340kb in size.  This riff is
 played quite a few times across the whole song, which is really a shame,
     since I'm sure the sample could be split up into little bits and
  manipulated into a pretty interesting tune.  What I would call the main
  melody in the tune is carried by a vocal sample, apparently sung by the
                             composer himself.

Now, to give you an idea of what this song is like, that same vocal sample
is repeated whenever the composer feels a need for a melody, which happens
to be quite often.  It's not a bad little melody, but it would serve better
  as a smaller part of something larger.  The drums, to me, were the best
aspect of this song, and though one of the samples was a rather large loop,
 not unlike the guitar riff, they did all fit together pretty nicely, and
there were a lot of interesting, complicated rhythms in there.  The bass is
    alright, but sounds a little dull.  The bass instrument itself was
     apparently too quiet, so the composer plays it across 3 channels
   simultaneously to make it a bit louder.  Not to be nitpicky, but it's
 always a better idea to normalize the sample, or just lower the volume of
 everything else instead of just playing it in more channels.  Playing the
 same sample two or more times simultaneously always causes flanging on a
GUS, and I'm not sure exactly why, but I think it has something to do with
  the GUS' timer not being quite perfect, or just the way players tend to
                              handle samples.

This tune does have its moments, although not too many of them.  The ending
was a major downer for me, since the old volume fluctuation tracking method
is used on the organ, and I'm not a big fan of that.  (You know, where you
increase the volume to like 64 (or whatever volume you happen to be using)
 in one frame, and then drop it to 00 in the next, and then back up to 64,
  and so on and so on, so you've got this strange stuttering effect.  See
  Ambient Power by Vogue for an example of this, and see Introspection by
            Necros for an example of the 'right' way to do it.)

 So, I suppose, this tune isn't all that bad, but for an acid jazz piece,
 it's certainly lacking in the composition and technical areas.  A few of
the samples are large loops, but most of them are 16 bit and sampled well.
  So no, this isn't a failure, but it certainly could use some more work.

          /----------------------------------------------------\
)-----------------------========[ Shrift ]========------------------------(
          \----------------------------------------------------/

     I really like this song as a compositional whole, and I think the
transitions carry the song through very well and with some class.  The bass
 line is pretty funky, and the jazz organ that comes in halfway through is
pretty 60's, but as a whole, I'd say this is more jazzy than anything else.
The author's voice samples give this song a very dreamy feel, almost loungy
  or trancey, but the rhythm section, in particular, is quite definitely
  jazz.  This song is playful and uses some inventive and subtle samples.

 The quality of the samples in this song is quite good, and they are used
 very effectively--several of them are 16-bit, which in itself, is still a
                                  rarity.

I think the voice samples, and combination of (to me) distinctly different
  thematic styles (funk, jazz, 60's, lounge/trance) give this song a very
    strong sense of originality, and this is complemented by the formal
 cohesion of the song as a whole.  I really like the transitions, and the
ideas between them are formulated with enough variety and repetition to sit
 this song amongst contemporary composers, even if the style doesn't quite
                        give it the same audience.

 This song is completed and intentional, start to finish, and to say it is
  also consistent, and well delivered gives this a thumbs up, even if it
 isn't the sort of thing I'd normally listen to (the voice samples and the
   dreamy electronic synth background don't do for me what the jazzed-up
     rhythm of the song does, though the whole thing feels relaxed and
enjoyable).  Even if I wouldn't listen to it under normal circumstances, it
                 is still very well composed and original.

          /----------------------------------------------------\
)----------------------========[ Rebriffer ]========----------------------(
          \----------------------------------------------------/

 Billed as an 'acid jazz' track, this one is obviously a sly dig by Boris.
:)  As those regular readers of these reviews will already know, I tend to
 go overboard for the more improv/jazz/or just plain weird mods.  This one
               should be right up my musical creek then....

  How is it that the Scandinavians almost have a stranglehold of the more
interesting mods?  Whoever comes up with an answer to this puzzle of modern
         times will be more anally retentive than yours truly.  :)

 Mmmmm, you may be thinking, he's trying to avoid something nasty here, he
                  hasn't mentioned the track once yet....

 Folks, *this* is an ACE, killer-diller, 101% TOP tune...if you like your
mods with a *very* professional veneer.  No rough bits on this dude, not to
  be tolerated maaaann.  Instead, what you get is the kind of track that
     NetRadio should have been made for.  Most of the samples used are
absolutely stunning--moreso since all samples are made by the composer--and
their use is nothing short of brilliant.  Acid jazz and a million more good
                                  things.

Must be obvious to you now that I love this track so much, we are almost in
elope mode.  Weeellll, almost. :)  Make no mistake, this is a track of the
  very highest quality, it really doesn't get much better than this.  The
 only real problem is that it may be a tad too 'bland' for the average mod
listener.  For those fortunate folk with a clearer sense of taste, download
this RIGHT NOW!  A certified gem.  Okay, so how about some of this kind of
                 material from our transatlantic cousins?

          /----------------------------------------------------\
)----------------------========[ Kazmeyer ]========-----------------------(
          \----------------------------------------------------/

   "You got me high now get me higher," sings a light male voice.  Works
 perfectly with the groove that is quickly established by the solid rhythm
of the drums and funky bass line.  A nice pad laid over the top and a funky
  lead synth sound make for a great sound!  For the verse(?) sections, a
great sample of an organ with the Leslie speakers full-on!  Also, the vocal
 sample is used judiciously--adding just the right touch to the song (not
like some--me included--who often just let the vocal sample go on, and on,
                                and on...).

   Solid rhythm and nice use of drum loops.  Not just one loop over and
over...but workin' it a bit!  Technically solid:  Anders uses fadeouts and
-ins, the tempo speeds up and down, different sized patterns are utilized,
different effects on the samples; a lot of forethought went into this tune.
'Tis My Millenium also has a nice variety of sections where the energy goes
                               up and down.

 The composer self-labels this track as being acid jazz--not exactly what
     *I* would call acid jazz, though.  But hey, we all have different
 interpretations of what music fits into what categories....  Overall, it
                    has more of a jazz/R&B sound to it.

          /----------------------------------------------------\
)----------------------========[ Walrus26 ]========-----------------------(
          \----------------------------------------------------/

 'Tis My Millenium is a funk-jazz chart that provides a good funk 'feel,'
 and leaves you with a riff that you'll keep singing in your head, or out
loud, for hours.  Maybe days.  I don't know yet.  Not many funk modules (or
any kind, for that matter) around can claim a melody that you can remember
five minutes after it's heard.  However, the potential of the module, as a
 whole, was not fully explored.  Aside from the vocal melody, none of the
instruments offer any kind of melodic contour.  The guitar, organ, and bass
   provide a good rhythmic background, but don't support the melody in a
 contrapuntal way.  The rhythmic energy is broken up by unnerving pauses,
  primarily during the first part the module.  There are places where the
     song just stops for no apparent reason.  And in a final spurt of
 arrhythmia, the module comes to a crashing halt with a cymbal.  Overall,
  'Tis My Millenium is a module that shows signs of excellence, but just
                        doesn't go that extra mile.


-----================================================================-----


                                "Summer 97"

                                  by D.T.

                             (4ch S3M, 02:53)
                        (summer97.zip [163K/236K])

                           [Demo/Easy-Listening]
                      (Old style/Chord-Mellow/Flute)

                                  Samples -----------------.
                              Originality -------------.   |
                                Technical ---------.   |   |
                              Composition -----.   |   |   |
                                  Overall -.   |   |   |   |
                                           |   |   |   |   |
                                           |   |   |   |   |
                                         ====================

              WolfSong                    65+ 74  67  69  61
              Mansooj                     62+ 70  --  66  45
              Novus                       60+ 75  --  85  40
              TheKid                      60+ 70  70  60  60
              Nemesis                     60+ 50  75  60  55
              Rebriffer                   55+ 45  55  50  40

          /----------------------------------------------------\
)-----------------------========[ Nemesis ]========-----------------------(
          \----------------------------------------------------/

  With a soft chord or two and a little bongo roll, this tune starts off:
not a bad intro, but marred by an obvious loop point in the chord samples.
  It progresses neatly into what is best described as light rock, with an
 easy-going drum track, pulsating chords (yes, the ones with the bad loop
   points), a panflute for the lead, and a bass line that would be quite
  alright, if it weren't for the fact that it is nearly a halfstep out of
   tune!  Also, it didnt seem like the bass ever moved with the chords,
 clashing a bit sometimes, which was a little annoying as well.  The flute
 melody is alright, but a bit repetitive:  A song of this genre is really
 screaming for a chorus of some sort.  I mean, all I heard was verse after
  verse after verse after verse.  When working with the more contemporary
    musical styles, it's important to follow your standard ABA musical
 progression.  What this means, is that you have an 'A' part, or 'verse,'
 which is like a bit of playing around with some melodies, and maybe a bit
of phrasing, and then you move into your 'B' part, which is your 'chorus.'
 The chorus is where you stick in a dramatic chord change, which if you're
too lazy to figure out something inventive, can be done with the same chord
progression in 5ths or 3rds above the original.  By doing this, you'll make
your song a lot more fun to listen to, and a lot more like the song you're
                          trying to create here.

Anyways, continuing on, the song does this verse, verse, verse, verse thing
for awhile, and then we finally have a major change:  a conclusion of some
  sort, where the drums and bass drop out, with everything slowing down a
  bit.  This is, IMHO, the best part of the song, and the composer does a
nice job of fitting everything into 4 channels.  In fact, if it weren't for
this nice ending, the song wouldn't really be recommendable at all, but as
 is, it's alright.  Oh, and the samples, before I forget:  This could have
been a sample set from a random Purple Motion song, as I recognize them all
as being from his music.  (Well, he ripped a lot of them in the first place
   from god knows where, but it doesn't make much of a difference--most
   everyone knows what I'm talking about when I say "samples from Purple
 Motion.") Unlike many people who take their samples from PM, though, this
 guy has the sense not to take those damned siner synth leads. :)  I think
 his sample rating went up at least 5 points for that. :P  So, all in all,
   it's not a bad song, but then again, it isn't exactly groundbreaking.

          /----------------------------------------------------\
)----------------------========[ Rebriffer ]========----------------------(
          \----------------------------------------------------/

 A Russian mod!  Yep, you read that right--a mod coming from Russia.  I've
  seen mod composers from literally every other ex-Soviet state, but real
 Russian trackers are very thin on the ground (except now I'll probably be
        flamed by the other 2 million or so I fail to acknowledge).

      Geographical considerations aside, is it a *good* Russian mod?

 Weeeeelll, depends on your definition of good.  It's a standard 4 channel
  S3M file (which, in this day and age, of multichannel trackers is a bit
 self-defeating) but for a 4 channel jobbie, it does okay.  However, using
 ScreamTracker these days seems more than a little pointless.  When IT can
do everything that ST3 can do, and a million other things besides, it seems
   to be a real shame to stick with this increasingly antiquated format.

  Yes, yes, I know you don't want to hear my standard diatribe against 4
channel MODs all over again--so I won't inflict it on you.  Suffice to say
  that the track would have been greatly aided by using Impulse Tracker.
However, as far as the 4 channel format goes, this can hold it's head up in
some exalted company.  Musically, it's about as standard a mod track as you
 are ever likely to come across, this side of the Urals--and that must be
another strike against it.  There is a marked preponderance of this kind of
  track floating around, so speaking simply in downloading terms, I don't
 think it'll hang around anyone's hard drive for long enough to gather any
                                   dust.

 The samples, too, are very noisy (the synth sounds especially).  This may
  have more to do with the inelegant 4 channel method of panning absolute
right/left but my money is on the side of bad samples.  One last thing (and
   this is probably the most important advice I can offer the composer):
do not let your tracks end like this one!  An abrupt end usually means that
the composer ran out of ideas.  The most important areas of any mod tracks
are the beginnings and endings, and that is where most composers put in the
utmost effort.  Even a halfway decent fade would have done the trick better
  than the gut wrenching, falling off the end of the song feeling you get
                          from mods of this type.

 All in all, then, an okay 4 channel mod but not one I could recommend for
       any extended listening--it's just not interesting enough....

          /----------------------------------------------------\
)----------------------========[ WolfSong ]========-----------------------(
          \----------------------------------------------------/

 Once upon a time a programmer said, "Let there be .MODs." And it was so.
And composers and fans of music alike saw that it was good and said it was
 good and it was good.  The world became filled with a new style of music
  and many people danced happily.  Sometime later, some programmers said,
"Let there be .XMs, .S3Ms and .ITs." This wasn't just good, it was awesome!
  Now artists had up to 64 channels to work with instead of only 4.  Many
   different styles of music evolved and many more people danced happily
                  because there was such a wide variety.

 A problem comes up when an artist who prefers to use .MOD format wants to
   make a song in a style that was brought out by the advent of 32 or 64
 channel trackers.  No matter how good the song might be, compositionwise,
it's going to sound a bit empty.  And though it might be a song that would
  have really been impressive a few years ago, people are used to hearing
 songs with wide sounds and many instruments.  It would be like trying to
impress a movie fan with stop motion effects after seeing the Jurassic Park
  flicks.  No matter how much work is put into it, it's just not going to
       hold as much wieght as it once did.  Blame it on technology.

The point is, this piece isn't bad.  The composition is structured well and
 it has a good rhythm and a relaxing feel.  The instrument sounds go well
 together and their quality is more than acceptable.  It's a good piece of
 music.  However, it could have been better.  Even though it's an S3M, the
 composer has elected to use only 4 channels.  Perhaps he was challenging
  himself or he was asked by someone to make it under size restrictions.
Whatever the reason, the fact that it only uses four channels does leave it
 sounding quite empty.  If I were to compare it to the body of .MOD format
songs floating around out there, I'd say it definitely belongs in the upper
 ranks, but compared to modules in general, it does leave something to be
                                 desired.

   This is a good song whose overall sound needs some work.  A few more
            channels added would have done it a world of good.

          /----------------------------------------------------\
)-----------------------========[ TheKid ]========------------------------(
          \----------------------------------------------------/

                         Very Cool; very Slick....

The introduction into this module is short but it does set up the main body
        quite well in regards to the track's mood.  This is a soft
 rock/pop/top-40-sounding module.  In fact, do I dare say that this sounds
  like the music that I used to listen to in high school?  You know, that
 mellow 80's sound...eeek...am I that old?  I do have some reservations as
to the quality of samples used, there are some short 'cut-outs' that can be
 most detected in the introduction's long samples(loop) and pan.  They are
               noticeable, but only if you listen for them.

I was really impressed with the way the chording instrument and solo flute
instrument worked together.  The other solo instrument was an attempt at an
electric piano...I have heard better piano samples.  Don't get me wrong, a
   true piano sample is extremely hard to get hold of, let alone create
yourself, so I won't be too harsh on that point.  The total running length
 of this module was a nice surprise, I enjoy short and simple songs.  Why
run on if you don't have to?  I know that this may be a negative factor to
             some reviewers, but it's a big thumbs-up from me.

The bass and drum sequencing was a little unsettling.  If you listen to the
latter stages of this module, and listen to the structure of the bass/drum
tracking, you'll see the effects of a 4-track module:  too fast, and all in
                                 one ear.

     Okay, enough technical bashing.  "How about the song as a whole?"

 Yes, it is an acoustically pleasing collage of sounds, therefore it does
satisfy my primary quantitative classification...as MUSIC!  In other words,
             it was very nice to listen to.  It's a good song.

          /----------------------------------------------------\
)-----------------------========[ Mansooj ]========-----------------------(
          \----------------------------------------------------/

First:  4-channels...why?  Okay, I guess it doesn't really bear on anything
   in the long run as there are still some excellent 4-channelers being
  produced nowadays.  However, I wonder what the point is for restricting
                            oneself with S3Ms.

 That aside, the track is okay, but nothing extraordinary.  A flute of the
   type used in tunes attempting to convey a sense of tropicality a la a
  light-hearted pirate tune.  The rest of the instruments, mainly synths,
 piano and percussives are adequate to the purpose, although there is some
       painfully noticeable seaming with at least one of the synths.

 There's a fair amount of internal variety to be had, though.  Including a
    piano part, lots of little brief-use sounds (thin tinkling chimes,
electro-water cascades, etc.) which help dress up the piece.  It's a light
tune, with a somewhat happy-go-lucky nature, and is easy to listen to with
  its playful flute-work.  In this, it's a pleasant tune that, especially
 given its size, is worth the download, although I don't imagine it'll be
considered a classic by many.  It entertains and serves its purpose for the
duration...much longer?  Hard to say....  D.T.  does show familiarity with
 the demo-ish style and apparently has the tricks in his mind--it's just a
 matter of applying them to a format with a lot more depth, and taking far
more care in honing his sample loops (composers shouldn't underestimate the
 annoying quality obvious loop seams have!).  I strongly suspect D.T. can
come up with some quality stuff when/if he chooses to take the multichannel
                        format for all it's worth.

          /----------------------------------------------------\
)------------------------========[ Novus ]========------------------------(
          \----------------------------------------------------/

I'm a little amazed that people still bother to write 4-voice songs today,
         but I gave this one a chance and was impressed, overall.

 D.T. does the best he can do with what he has.  The song has a relaxing,
  vaguely tropical sound, which is interesing coming from a tracker from
Moscow, Russia, and it works!  The samples all sounded like they came from
 an old .MOD file from back in the 80s, a few patterns were repeated a few
 too many times, and of course 4 voices will limit any song, but those are
really my only serious complaints.  It's not bad for his first song or for
   a 4-voice tune, so I'm sure D.T. will get better with time.  When he
finally learns the ropes and starts pushing the .S3M format to its limits,
   I seriously hope he comes back and re-does this song, because better
         samples and more voices could make this nice melody soar.


-----================================================================-----



                         The Weekly Module Review

                          Overall Module Rankings


                           last updated 10.27.97

  Welcome to the Weekly Module Review overall rankings page.  This is the
 place to get a complete overview of all the modules reviewed thusfar and
                  how they stack up against one another.


                              Current Status

  [10.27.97] A bit late on this update due to configuring a new machine.
  [10.14.97] Business as usual.


                       /---------------------------\
                      <  New Entries For This Week  >
                       \---------------------------/

             (reviews for these modules are found in wk31.txt)

   (modules below the dashed line are older titles recently completed to
  criteria adopted after their initial reviewing; their reviews are found
       in other documents--see full rankings below for which files)


              Number of completed modules ranked so far: 238


Ranking (of 238)                                    Overall  No. of Reviews
|    Title                     Composer             Rating: (lo - hi)     |
---------------------------------------------------------------------------
4    Phurther                  Xerxes                89.52   76 -100      6
120  'Tis My Millenium         Anders Akerheden      74.76   50 -100      6
191  RMW                       Chris & the Clones    65.83   45 - 83      8
212  Summer 97                 D.T.                  60.62   55 - 65      6
221  M W V                     Kita                  57.24   30 - 70      7
---  -----------------------   ------------          -----   -------     --
232  Love is War               Subliminal            46.50   10 - 60      8
234  Off Topic                 Obuk                  44.54   11 - 73      8



               /------------------------------------------\
              <  Overall Rankings for "Completed" Modules  >
               \------------------------------------------/


Ranking (of 238)                                        Final     # of Revs
|    Week  Title                     Composer          Rating: (lo - hi)  |
---------------------------------------------------------------------------
1    wk29  Cosmic Outflow            Falcon             95.00   70 - 97   7
2    wk06  Fall From Sky             Elwood             94.00   80 - 96   7
3    wk02  Under the Sea             FBY                91.62   50 - 96   7
4    wk31  Phurther                  Xerxes             89.52   76 -100   6
5    wk04  Mind Machine              Elfstone           89.00   65 - 91   7
6    wk30  Awakening                 Nighthawk          88.93   50 - 95   6
7    wk22  Positive Negative         Tanic              88.00   67 - 95   7
8    wk23  The Blue Valley           Karsten Koch       88.00   60 - 99   7
9    wk07  Envisions                 Quasian            87.60   80 -100   6
10   wk12  Synth Candy               Strago             87.22   77 - 95   9

11   wk18  Czech Pohoda              Mateus             87.00   65 - 95   9
12   wk02  Merciful Lie              Siren              87.00   50 -100   7
13   wk17  Beneath the Blue Moon     Zauron             86.50   74 - 94   8
14   wk07  Fiat Lux                  Stalker            86.36   65 - 95   7
15   wk16  Jaunt                     WolfSong           86.16   61 - 96   9
16   wk10  My Wonderland             Dax & Turbo.B.     86.07   73 - 99   7
17   wk24  Wake Up and Dance!        Cheech the Sneech  86.00   76 - 95   5
18   wk28  Four Handed Blues         SoundGod           86.00   75 - 91   6
19   wk22  Indigo                    Basehead           86.00   59 - 98   8
20   wk15  Dark Promise              Hunz               85.92   55 - 97  12
21   wk23  Secret Dance              WolfSong           85.86   75 - 89   7
22   wk06  In Absence of Minor       ManChild           85.53   52 - 94   6
23   wk16  Ranger Song               NightBeat          85.14   72 - 97   8
24   wk18  The Harlequin             Basehead           85.00   55 -100   9
25   wk11  Computer Sins             Sun                84.96   65 -100   8
26   wk01  (Messing With) Motifs     Mick Rippon        84.86   79 - 90   6
27   wk08  Endless Heaven            Karsten Koch       84.81   67 -100   6
28   wk17  Birth of a Star           Heatseeker         84.50   70 - 86   8
29   wk04  Polar Bjorn Attack        Azazel             84.50   66 - 90   6
30   wk16  Trance of Heaven          DJKiKe             83.44   55 - 95   9
31   wk18  Celestial Lullabye        Basehead           83.16   79 -100   9
32   wk08  Crimson Eyes              Pariah             83.00   65 - 87   7
33   wk22  Ex Turn Void              CyberCerberus      83.00   54 - 88   7
34   wk03  Stomping on Elephantus    Mystical           82.95   55 - 87   7
35   wk04  Giggle of the Fairies     Shudder            82.71   73 - 95   9
36   wk15  Erilaisia Nelikulmioita   Croaker            82.50   71 - 89  10
37   wk24  Fishbone                  MING               82.38   50 - 93   7
38   wk04  When the Penguin Slides   DustBin            82.27   55 - 88   7
39   wk28  Reminder                  Tobe               82.07   55 - 91   6
40   wk11  Winter Dreams             BlueShadow         82.05   50 - 96   7
41   wk07  Urgent BUT Unwanted       Wave               82.00   72 - 85   7
42   wk10  Cycle of God              Beacon             81.94   60 - 90   8
43   wk12  Deus ex Machina           CyberCerberus      81.91   27 - 95  10
44   wk01  Solar Eclipse             Cosmic Eclipse     81.71   70 - 90   7
45   wk19  Another Dream             Impression         81.50   25 - 96   8
46   wk13  Snowin' at Sahara         Weed               81.32   70 - 93   8
47   wk09  Jasmine Tea               Lord Blanka...Black81.07   42 - 95   6
48   wk15  Daylight                  Daft               81.04   67 - 96   9
49   wk21  Icarus Rising             Basehead           81.00   65 - 90  10
50   wk26  True Professionals        Nino               81.00   64 - 89   6
51   wk25  Dream Flight: Inst. Mix   Mysterium          80.90   69 - 91   6
52   wk18  Boston Lover              Mercure            80.75   40 - 91   8
53   wk01  Hold the Line             Libertine          80.71   50 - 82   7
54   wk11  Sarsippius' Ark           Radix              80.69   59 - 94   7
55   wk09  Airborne                  Phorte             80.60   30 - 97   6
56   wk20  Passion Play              Basehead           80.56   50 - 90  10
57   wk14  Alive and Alone           Aquafresh          80.50   44 - 86   8
58   wk17  Suburbia/High Hopes       Basehead           80.33   50 - 95   9
59   wk23  Clandestine Affair        Shaithis           80.19   46 - 81   7
60   wk09  Back to the Cocoons       Scorpik            80.00   63 - 88   8
61   wk10  Urm / Wur                 XFyL               80.00   55 - 85   7
62   wk27  Macabre                   Darkhalo           79.95   54 - 89   6
63   wk17  Luminous / Uvula Groove   Basehead           79.89   71 - 86   8
64   wk06  Images of Terror          LioZ               79.86   65 - 89   7
65   wk13  Undetermined Feeling      Ryan Cramer        79.83   75 - 86   8
66   wk19  Alien Ate My Bong         Sulphur            79.83   45 - 94   9
67   wk14  Renouncement              Cygnes             79.79   61 - 92   8
68   wk27  Shadowform                Nemesis            79.76   65 - 85   6
69   wk20  Tripping to Neptune       Basehead           79.76   37 - 90   8
70   wk05  Cotton Wool               Mellow-D           79.67   65 -100   7
71   wk07  Fifteen                   Dynamic Harmony    79.66   69 - 92   8
72   wk11  In a World of Butter      The Fear           79.43   50 - 85   7
73   wk22  Consumate                 Teapot             79.38   59 - 90   7
74   wk11  Flat Cylinder             Synthetic Minds    79.00   70 - 87   6
75   wk03  Phobic                    Future Assassin    79.00   65 - 90   7
76   wk28  Purple of Never           Shih Tzu           79.00   62 - 93   7
77   wk11  Alien Beat XXMM           PAH                79.00   10 - 84   7
78   wk06  Inevitable                Twilight           78.90   40 - 90   7
79   wk27  Crush                     ZackmanO           78.76   67 - 96   6
80   wk09  Symphony                  Pumpkin            78.76   25 - 94   7
81   wk14  The Ballad of Romeo       Doj                78.67   69 - 90   8
82   wk03  Under Pressure            Rage               78.64   20 - 93   8
83   wk24  Picnic For the Soul       PanDuh!            78.61   40 - 91   8
84   wk29  Dawn of Pendragon         Nightbeat          78.28   49 - 98   8
85   wk07  !Bao!Bao!                 Maf                78.00   45 - 87   7
86   wk11  Ebbtide-Moon              4t Thieves         77.89   31 - 97   8
87   wk06  The Age of Aries          Crux               77.79   46 - 90   7
88   wk06  Deep Spaces               Estrayk            77.67   60 - 88   7
89   wk09  Burning Desire            Vivid              77.50   25 -100   6
90   wk28  Inverse Science           CyberCerberus      77.27   50 - 89   6
91   wk06  My Insanity               BLuRry             77.13   50 - 87   6
92   wk08  Street-Surfin             Yannis             77.04   50 - 90   7
93   wk09  Ride the Lightning        Qyv                77.00   60 - 85   7
94   wk01  PsychoPet's Night Out     Phanatik           77.00   55 - 89   6
95   wk04  Landwards                 Musaya             76.90   20 - 90   7
96   wk12  Infinite Red Shift        JuiCe              76.75   57 - 81   8
97   wk05  Submerged                 Numb Lock          76.46   50 -100   8
98   wk14  Egy Forro Nyar!           Shamen             76.42   61 - 97   8
99   wk21  Dirty Old Man             SoundGod           76.39   68 - 90   7
100  wk08  A Song Without Words      Porus              76.36   65 - 88   7

101  wk24  TripFlight                Amorphis           76.32   55 - 96   7
102  wk22  Clouded Visions           Setec              76.22   67 - 95   9
103  wk21  Armed                     Raper              76.14   15 - 90   9
104  wk25  One out of Infinity       PanDuh!            76.07   55 - 85   8
105  wk08  Moonwinds                 Garfield           75.96   70 - 88   7
106  wk05  STUPiDiTY                 Zanti              75.67   35 - 80   7
107  wk20  Beez                      Sidewinder         75.50   32 - 87  10
108  wk09  Unforgotten               Vizz               75.48   30 - 81   7
109  wk21  Take Me Higher            Basehead           75.45   57 - 91  10
110  wk20  Pure Devotion             CSM                75.36   35 - 89  10
111  wk13  A Walk in the Sky         Barbatruc          75.24   47 - 93   8
112  wk10  Slim Kim                  Qen                75.24   42 - 82   7
113  wk02  The Masakre               YoSFiTS            75.10   25 - 82   7
114  wk09  Capricorn                 Thaylor            75.00   55 - 82   7
115  wk22  Energy Flow               PAH                75.00   49 - 90   7
116  wk02  Exit Hotdog Seven         Caramel            75.00   45 - 90   7
117  wk04  Cleared For Take-Off      Messiah            75.00   38 - 85   7
118  wk10  Nemesis                   Euji Acha          74.95   55 - 95   7
119  wk25  Deep Cover                Aftab Hussein      74.86   24 - 90   7
120  wk31  'Tis My Millenium         Anders Akerheden   74.76   50 -100   6
121  wk07  Another Night of Thought  ZaStaR             74.62   35 - 85   7
122  wk27  Daemon                    Euji Acha          74.54   50 - 95   7
123  wk29  Sea Fantasies             Rave-o-Tek         74.52   30 - 85   7
124  wk03  Aevea                     DJ Beanz           74.50   60 - 90   8
125  wk09  Tower of Roses            Zaigamor Spellweave74.38   30 - 85   7
126  wk26  Opal Velvet               Galahad            74.29   62 - 95   7
127  wk13  Mellow Thang              Zest               74.00   63 - 85   7
128  wk08  This E's For Me           Schizoid           74.00   60 - 82   7
129  wk14  Atlantique                Atlantic & Malakai 74.00   57 - 89  10
130  wk23  Tide of Seasons           Codec              74.00   40 - 91   7
131  wk15  Stingray                  Hollywood          74.00   39 - 94  10
132  wk15  End Meets End             J. Devlin          74.00   36 - 80  10
133  wk15  Streetbeat                Mortimer Twang     73.95   33 - 90   8
134  wk14  Cactus Plant              Dark Ember         73.91   45 - 87   9
135  wk17  Open Your Mind            Basehead           73.81   60 - 85   8
136  wk21  Midnight                  Soulfunk           73.50   47 - 90   8
137  wk12  Runtime                   Airon              73.25   54 - 95   8
138  wk07  Gravity-Chick             Subi               73.07   45 - 95   6
139  wk07  Eternity                  Daedalus           73.00   33 - 80   7
140  wk07  Rapture                   GliTcH             72.82   30 - 85   8
141  wk18  Getting the Hang of (+)   Celorn Knossos     72.69   43 - 86  10
142  wk25  Coral Reef                Big Bear           72.57   55 - 92   7
143  wk17  Discovery                 KxMode             72.42   52 - 85   9
144  wk01  Hard Night                Grgy               72.36   60 - 96   8
145  wk05  YG-Trance                 Brouil             72.33   50 - 84   9
146  wk01  Stars                     McBear             72.14   55 - 90   7
147  wk05  Lodge of 3 Globes         Maelcum            72.00   50 - 88   7
148  wk17  Ode to Vanessa            AMusic             72.00   50 - 85   9
149  wk08  King of the Rainforest    ToalNkor           72.00   50 - 84   7
150  wk10  Inspire                   X0TherMiC          72.00   50 - 80   7
151  wk18  Revolution 2              Maxtracker         71.84   42 - 83  10
152  wk23  Humanalogue               Chuck Biscuits     71.68   52 - 91   7
153  wk03  Lothlorien                FeekZoid           71.52   40 - 92   7
154  wk11  Praying For a Dream       Dilvish            71.48   60 - 82   6
155  wk14  Rave Zone...              Phonc(ie)          71.46   10 - 82   8
156  wk13  Squared Circles           Xerxes             71.42   50 - 81   8
157  wk29  Suffering Variety         Shrift             71.33   36 - 83   6
158  wk19  Steppin                   Euphy Scott        71.17   45 - 90   9
159  wk06  Lunar Mass                Pfister            70.83   40 - 86   8
160  wk17  Anthem                    SoundMaster        70.69   55 - 90   8
161  wk18  The Icecream Van          ChroMix            70.67   30 - 89   8
162  wk13  Superclear                Supernao           70.64   45 - 86   9
163  wk09  The Secret X-File         J.R. Brewin        70.50   20 - 85   6
164  wk14  Fuck'n Work               Szudi              70.28   45 - 90   9
165  wk04  Oh! Soo Hip               Racoon             70.11   50 - 94   8
166  wk03  Travelling                DD                 70.05   40 - 82   7
167  wk20  Parliament of Dreams      Pirat              70.04   59 - 80   9
168  wk12  Not With Words            MING               70.00   46 - 96   6
169  wk02  Demo Funk                 Nova               70.00   35 - 81   9
170  wk24  Lapsus Memoriae           Ranger Rick        70.00   30 - 78   7
171  wk14  Can U Feel the Beat       Xlr8r              69.47   24 - 82  10
172  wk12  Monster in the Closet     CyberCerberus      69.36   42 - 88   8
173  wk03  Jamaican Mars             CD                 69.24   30 - 90   7
174  wk30  Winter Frost              Skull              69.05   49 - 83   6
175  wk18  Faraway Adventure         Carebear           69.04   53 - 85  11
176  wk01  Infinite Dreams           Killer Kid         68.95   44 - 84   7
177  wk30  The Two Become One        The VR Band        68.67   20 - 90   8
178  wk21  False Emotions            Skull              68.50   50 - 85   8
179  wk02  Acid Style                Luca Restifo       68.07   35 - 90   8
180  wk08  Hypnosis                  Kotivalo           68.00   45 - 72   7
181  wk06  Rise of the Drake         Grymmjack          67.93   52 - 75   7
182  wk12  West South-West           Parallax           67.53   50 - 90   8
183  wk07  Inflexibility             CyberZip           67.50   17 - 77   8
184  wk16  Tuzie                     Virtual Reality Ban67.02   49 - 78  11
185  wk15  Centauri Grey             Gentle             67.00   44 - 89   7
186  wk02  Continuum                 W0zz               67.00   10 - 81   7
187  wk03  Ato                       GD                 66.71   47 - 73   7
188  wk22  Evolution                 Motion             66.18   43 - 92   7
189  wk14  Fight to the Finish!      Nitro              66.00   46 - 88   9
190  wk28  Swift                     Starf0x            65.93   50 - 79   6
191  wk31  RMW                       Chris & the Clones 65.83   45 - 83   8
192  wk04  Messenger of Light        Zovirax            65.79   40 - 85   7
193  wk03  Outer Cloudlands          Eye-Oh             65.32   35 - 75   8
194  wk25  More Than a Memory        Multivac           65.00   40 - 79   7
195  wk10  Unparalleled World        Arcturus           65.00   33 - 75   7
196  wk30  Radio2                    Chris & the Clones 65.00   20 - 87   7
197  wk16  Extreme Existance         FrizFry            64.58   40 - 85  11
198  wk26  Bionic Monkey Boy         Skullsaw           64.52   49 - 90   6
199  wk15  Fade to Blue              Procyon            64.31   31 - 87  11
200  wk15  Floating Bricks           Rama               63.67   48 - 82   9
201  wk11  You're My Guest!          Vadim VS           63.58   31 - 80   8
202  wk13  Happy Daze                Zinc               63.39   25 - 87   8
203  wk17  New Dimension             Teo                63.36   43 - 85   8
204  wk02  Improvization             SoundGod           62.14   35 - 90   8
205  wk12  Cacaphonium               BizKid             61.81   33 - 78   9
206  wk01  Insatia                   Sidewinder         61.72   43 - 74   8
207  wk20  Factory                   Mixmaster          61.50   10 - 85  10
208  wk16  The Return of the Braves  Dead               61.27   48 - 80  10
209  wk30  Find Yourself             Rowie              61.00   30 - 85   9
210  wk13  In Complete Darkness      pANiK              61.00   15 - 77  10
211  wk16  La Carta                  Multivac           60.96   38 - 79  10
212  wk31  Summer 97                 D.T.               60.62   55 - 65   6
213  wk15  Scorpion Winter           Electric Lucidity  60.02   25 - 76  10
214  wk13  Atomic Plague             Matt Friedly       60.00   25 - 82   9
215  wk13  Groove Juice              Kool Kat Stevens   59.80   25 - 85  10
216  wk27  One Time                  Red-I              59.25   40 - 80   8
217  wk05  The UberFunkMeister       Alex Noble         58.57   16 - 80   7
218  wk12  March 28th                Klaws              58.29   20 - 85   8
219  wk02  Paramagic Dancer          Iso                57.58   34 - 74   8
220  wk21  Nasty and D (D and Nasty) Wirecrawler        57.50   38 - 70   8
221  wk31  M W V                     Kita               57.24   30 - 70   7
222  wk10  Essence of the Demon      Mordechai          56.22   10 - 76   9
223  wk12  The Castle                Wizo               55.58   40 - 82   8
224  wk08  Future Survival           D.Lusion           55.50   22 - 85   8
225  wk26  Chains of Iron            Ackers             53.68   20 - 72   8
226  wk19  Trance Atmospheric        Balistic           53.36   35 - 75   9
227  wk04  Gravitational Pull        Salvorite          52.81   23 - 68   7
228  wk16  The Bells                 Chris & the Clones 52.44   10 - 92  10
229  wk05  Lost in a Cloud           Cardiac            52.00   39 - 79   7
230  wk05  Bloodstone                Loki               49.19   10 - 92   8
231  wk26  Pocoloco                  KimiK              48.76   15 - 75   8
232  wk10  Love is War               Subliminal         46.50   10 - 60   8
233  wk17  Mixmaster                 Mixmaster          46.47   15 - 80   8
234  wk04  Off Topic                 Obuk               44.54   11 - 73   8
235  wk05  The Silence               Purgatory          43.29   20 - 60  10
236  wk20  When I Dream              Chimp&Z            41.62   10 - 71  10
237  wk29  Deborah's Song            The Prof           39.50   25 - 57   8
238  wk01  The Walls Are Crying      Brokenheart        38.60   15 - 50   9


              /--------------------------------------------\
             <  Overall Rankings for "Incompleted" Modules  >
              \--------------------------------------------/


Ranking (of 238)                                        Final     # of Revs
|    Week  Title                     Composer          Rating: (lo - hi)  |
---------------------------------------------------------------------------
n/a  wk11  Xenogenesis               Xenoc               82.65  77 - 88   4
n/a  wk08  Obsession                 Stinger             75.15  50 - 82   5
n/a  wk03  Tribute (DMF Remix)       Dreamfish           68.63  35 - 90   7
n/a  wk10  Cryo-Stasis               Matrix Cubed        67.93  28 - 91   4
n/a  wk02  Epidemic                  Vegas               64.28  44 - 80   5
n/a  wk05  Hate!                     HarleQuiN           64.18  30 - 72   6
n/a  wk01  Street Trance             Joker               49.08  30 - 70   5
n/a  wk06  Rave on the Web of Death  Darkness            28.33  10 - 45   7