Record Reviews

Reviews......

The Energy
9/10 at Progressive Sounds (Reviewed by Simon Jones)

4/5 Muzik August 2001

The White Island EP (Rezmorize EP)
A mixed bag from Hooj Choon's next album hopes. Salt Tank were a great, if somewhat unrecognized, electronica act on Internal until that imprint dissolved. In more recent times the Stanners/Gates duo have taken on an Ibiza-trance mantle and a couple of these tracks, 'Jeanie' and 'Ocean', continue that tradition, respectively a classier-than-Robert-Miles piano piece and an etheral slice of ecstasy electro. The title tune, here in original and 'Continuum Mix', is a surprise - harder, darker, druggier, and full of analogue sirens, rave-horns and Jews; harp-noises. Good too. 4/5 DJ August 1999 (Reviewed by Thomas H Green)

Salt Tank go back to their roots with this aptly-titled Balearic flavoured EP. 'Rezmerize' is a hybrid of 'Rez' and 'Belfunk' influences and comes with two mixes. 'Ocean' oozes class, Jose Padilla-style, while 'Genie' is a dreamy spaced-out ambient Spanish guitar beauty. 4/5 Muzik September 1999 (Reviewed by Pezz)

Dimension (Voices Of Reason)
Main players on the trance scene Salt Tank return with another tasty slice of uplifting dancefloor ammo. Unlike the current trend for banging trance, Salt Tank take it on a more mellow tip with enveloping bass pads, toms, lingering keys, subtle snares and a piano-driven breakdown. On remix duty are Hybrid who take the track up a notch with searing breakbeats and some dark synth sounds. Both tracks are evocative of sweaty, sexy, swaying dancefloors. Come on! 4/5 Dotmusic (Reviewed by Martin Worster)

After several recent underground releases on their own label 4 Real.Com, Salt Tank now join the mighty Hooj Choons for this first release. This is a perfectly weighted club trancer with a tuff driving kick and speaker shaking bassline that changes key holding the whole thing together. Oriental choral voices float effortlessly over the top, whilst layers of synth sound give that extra sound dimension. Another smoking release from Hooj. 5/5 (Reviewed by Mike Shaw)

FUNNY to think this lot have been around for eight years, yet they're more relevant than ever. Then again, 'Dimension's professional trance, while lacking the killer punch that'd really make it stand out, is still perfect for those summer Sundissential sessions, while Hybrid's remix is another tantalising glimpse of the future of breakbeat trance. 4/5  Muzik July 1999

"It's a summer record for Ibiza. I can imagine this sitting on a terrace by the sea when the sun is shining. The Hybrid mix is the kind of breakbeat I'm not too keen on. I like them when they're chunky and loose. [Sighs] Oh, shit. I don't like doing this. They're really cool guys and I think they have a lot of potential. They just didn't find their own sound yet. They're close and the backing track is really beautiful but then this really cheesy sound comes in and you think, 'Why?' They sound too much between the chairs." 2/5 Muzik July 1999 (Reviewed by Paul van Dyk)

The launch product for Salt Tank's own label is a really whomped-up, marching, progressive house production in both 'Original' and 'Voix' mixes. Synths soar, ethereal voices hover, there are washing FX and harmonic and melodic interludes - it's emotional and powerful with an overall epic quality. Goldy: "Played it on my radio show off a CDR, then I got the vinyl, played it again. Suffice to say if it's had two radio plays from me I'm seriously into it. The best Salt Tank offering yet, pure class." 4/5 DJ 27th Mar-9th Apr (Reviewed by Ronnie Randall)

Second release on Salt Tank's own 4Real.Com label and again, an awesome release. Full of beautiful Oriental flavoured melodies and one killer baseline. Both mixes ooze quality with the 'Vox' mix just getting the edge. One tune not to be missed. 5/5 Muzik April 1999 (Reviewed by Pezz)

Skyline
It's trancy trousers time as Salt Tank return with another one of those kind-of but not quite epic numbers with a long intro some sweet piano and a funny bubbly noise as a bassline plus some sampled, filtered, looped vocals. This one is apparently already huge for Oakenfold who had an acetate two months before the band even thought of going into the studio to make the record. The other side 'Dream of Jeanie' is more of the same done in a slightly more pumping, Balearic fashion, well, it's got some guitar in it as well as the piano. 3/5 DJ December 1998

Chilled to perfection, Salt Tank's latest drifts in with plucked guitar, then proceeds, via pianos and cascades, into 'Children' territory. Only not as crap as that sounds. Really. 4/5 Mixmag January 1999 (Reviewed by Nick Jones)

Oakenfold has been caning this acetate, but now this sublime slice of widescreen trance is commercially available and bound to cross over to chart success. Salt Tank prove once again that there're the industry standard for quality epic club tracks. 4/5 Ministry January 1999

Angels Landing
On the main 'Voodoo Vocal' the initially hesitant clunky percussion eventually evolves into something much more forceful, punchy and confident as things get progressively more ....'progressive'. Likewise the waffling ethereal wails of Geri Bland finally work themselves into a 'proper' song idea, though with a delivery style that's perhaps more 'indie' oriented than club suited, or even the trippy thing that it's no doubt intended to be. Of course there's a 'Voodoo Dub' too if you'd prefer it without the song elements, while numerous builds and drops keep everyone on their toes. The original mix is quite Balearic in feel, with twinkly melancholic guitar strumming, atmospheric sythns and slight A Man Called Adam aura about the vocal. Then there's a shunting Victor Imbres house-style remix which goes off in a less tech-y direction but with a punchy and sharp production that impresses. 3/5 DJ January 1998

Angels Landing (Jose Padilla & Sunchild Remix)
Originally a trance record, Salt Tank sent me the acetate of the instrumental. It was about 138 bpm and they asked me to do a remix of it. I put it in a trip hop style. You people can judge it and see what you think. (Jose Padilla) Muzik June 1998

Wave Breaks
More experimental than their debut album, this fuses dark breakbeats with Salt Tank's lush, ambient techno sound. Less immediately accessible, but perhaps more innovative. 3 - Music Week August 23rd 1997

A trigger happy trance album doing overtime on acetate. Full of mellow mind trips and bulldozer beats. Opener 'Diamond Hale' winds full into an ambient fury, before deep fried anthem 'Wave Intruder' turns laid back beats into tearaway trance. 'I Want You' is a spiralling industrial loony tune. While sure fire single 'Angels Landing' comes shrink wrapped as an Ibiza friendly piano and choir stab at pure pop. Schizoid head trippy trance and low down techno, all wrapped in a sugar coated shell. Delicious- 7/10 Vox September 1997

Of all the quality dance acts turning their hands to albums, Salt Tank have a keener ear than most for melody. Even though the dance music media would have it that making music with a tune is akin to eating raw, high grade onions. That is, it stinks. But tunes are Salt Tank's stock-in trade, which means that "Wavebreaks" is as likely to split the critics opinions as any of their previous material. When they dare to try something a little different, like on the gorgeous cyber-jungle tones of "Da-Blues" and "C-Jax", or the Shadows-meet -Mike Parindas bodypop of "After Hours", Salt Tank are at their most inspirational. But when they don't, it's all a bit tiresome. "Angels Landing" is nothing more than sub-BT drivel and "Wave Intruder" could easily be Harthouse circa 1993. Salt Tank frequently promise much but all too often often they deliver with only a schizophrenic and infuriating irregularity. A missed opportunity, methinks. 6/10 Muzik October 1997 (Reviewed by Kieran Wyatt)

SALT Tank are a good group, but hard to love. 'Wave Intruder' is the one here, a real tail-wagging thumper of a track, and pure Perfecto material. 'Angels Landing' is also a fine tune. Some will say that it's just another 'Children' rip off. But it isn't, and even if it is it doesn't matter, because 'Children' is fucking tops. But too much here seems a little antiseptic. We're past the stage where trancy bands should be applauded for having discovered the breakbeat - we deserve a little more. Until Salt Tank add some aggressive energy or dynamic tension to their music, they'll never join the premiership with Orbital and Underworld and the Chemical Brothers. Maybe Salt Tank are happy standing in other people's shadows, but I'm sure they can do better than this. 2/5 Mixmag October 1997 (Reviewed by Damien Morris)

Wave Intruder
The new BBE ? With its ultra-4D soundscapes and bell-chiming melodies, "Wave Intruder" comes on like the new-born son of "Seven Days" and Infiniti's GameOne" from a few years ago. And, frankly, it's tops. This kind of tune that swerves cunningly between friendly techno and power-trance while leaping out the speakers and casting a spell like Merlin on magic mushrooms. 8/10 (Reviewed by Calvin Bush) - Muzik September 1997

"I've had this on acetate for a while. It's good. It reminds me of the early Guerilla stuff. "Wave Intruder" is great-nice bassline, great production and it's really powerful. It's been working a treat in the main room at Cream. "PI reminds me a bit of the Goa stuff coming out of Isreal which for me does'nt hit the spot at all. It hasn't got the thump or big bassline of "Wave Intruder". 9/10 (Reviewed by Nick Warren) - Muzik September 1997

I have a long-standing soft spot for Salt Tank and thought 'Science & Nature' was one of the best LPs of last year. With consummate skill they manage to straddle various techno sub-genres by carefully crafting pieces of music with timeless, almost classical qualities. 'Wave Intruder' rolls along in a manner that will appeal to Detroitians and trancers alike. Warm and clever. - DJ September 1997

Pretty and polite are two words that sum up this rather gentle and melodic teckytrance ramble into sombre and melodic edges. P-Bones: "Perhaps a bit over produced at times but very thought out and executed quality UK trance nevertheless. That said I reckon the Salt Tank duo have the potential to come up with something a bit fresher and unique sounding than this, hope they do it soon". 3 - DJ 1997

Not trance, exactly, but a track which sits really well within a trance set. Salt Tank (David Gates and Malcolm Stanners) have being putting out quality product for years now, and it certainly shows over these two sides of superbly executed techno. If this one does it for you, then it's worth checking out "Wave Breaks", their second long-player, which should be out just about now. 8/10 - Muzik October 1997 (Reviewed by Dave Fowler)

Eugina Salt Tank (INTERNAL)
Blinding release here which the likes of Sasha & Digweed have pounded their turntables with. Trancy, subtle intro building slowly, before taking you into another dimension with its exceptional use of pounding beats and rhythmic percussion. Top release from Eugina who will be a band to watch out for I`m sure. (Reviewed by Tommy Kirkwood) - M8 July 1996

Science And Nature (ST7)
A neat anthology from the John Peel championed techno trio with an adroit ear for melody and rhythm structure "Science And Nature" offers a journey through their first six EPs. Hell, some of this music is so bloody intelligent you could put a funny wig on it and call it Einstein. 4/5 - Muzik June 1996

The first proper album from the Salt Tank chaps shows them to be every bit as accomplished as their previous extended EPs/mini albums have hinted at. Being on Internal Records, rather obvious comparisons could be drawn with Orbital (so we won't do that), and lush electronics also conjure up the odd Pentatonic image. Simple melodies are there by the dozen, but result in complex arrangements that marry old-school electronica with 90s' dance in a way that many have tried but few succeeded in. Salt Tank may have already had mixed reviews for Science And Nature, but a Top 40 single's placing shows that, for once, the masses are a step ahead of the critics. 4/5 - Future Music July 1996

Salt Tank have produced, on average, one EP a year since 1990. Imaginatively titled ST1, ST2, and so on, up to ST6, they've now put out an album with the exciting and radical title of ST7. It contains an anthology of their previous work,including four tracks by the newest member of the band, Andrew Rose, who joined them in 1995 in time for ST5. These include Swell, featuring a sampled Kate Bush, and Into The Light Of The Shining Path - is that a mothership I can hear calling? In general, it's a pleasant enough blend of techno and ambient sounds, combining modern techniques and rhythms with breezy nothingnesses that Tangerine Dream would be proud of. While it's not something to get into unless you're already totally out of it, it makes excellent background music for programming, surfing, or letting your nail varnish dry. Outstanding, though, is the totally trippy Gaza Strip, which mixes surreal vocals with an electronic didgeridoo and some extremely disorienting pulse beats. The more you listen to it, the better it gets. You can catch them live at the Phoenix Festival later this year before they head off to Holland. Salt Tank pride themselves on being able to do this stuff on stage - and that alone makes them well worth catching. UK Online Music 31 Oct 1996 (Reviewed by Matt Kelland)

Salt Tank's imaginative grooves place them well to the left of centre in the contemporary dance spectrum. Labelmates of Orbital, the British trio deal mostly in instrumentals, cross-fading Kraftwerkian alienation with Robert Miles-ish ambience and a hint of wide-eyed techno trance. When the vocals do appear on this compilation of recent singles, they're little more than dreamy whispers or ethnic wails -- well, who cares about lyrics, anyway? At least the band never descend into technological doodling, for these are proper tunes that even have parts you can hum in the shower, provided you've got a couple of expensive effects processors to hand. Salt Tank won't be sparking any musical revolutions just yet, but it is possible to hear them striving for their own identity and style. And on the strength of this, it won't be long before they find it. Emap Consumer Magazines Limited (Reviewed by Danny Scott)

Webmaster view.....

Salt Tank make the perfect music to chill out to, ambient techno is the possibly the best description. Tracks such as Saragossa Sea, I love the way it conjures up the image of breaking waves, sea birds flying over head, with the sun shining in a clear blue sky. Eugina is my favourite track it emplifies the music which I`am trying to make. It has a great build up, a good tune and lush synths. Charged up features a great opening and one of the best beats which just has to be heard, it is more of a techno track. Clone starts and from the opening minute you know it is going to build up to something great, which it most definitely does with its fast hard hitting beat. Waimea Wilderness is very much a building block in making Saragosa Sea. I can't wait for their next release which I`am sure will be just as uplifting. The Wave Intruder single features the track 'Opus II' which only appears on the CD, this travels along nicely with a simple tune very much reminiscent of Tangerine Dream and a different version of Pi featured in the 12" as well. While 'Wave Intruder' has been road tested live for a while know with great effect, where it has gone down a storm. Although it does not come close to Eugina. The new Wavebreaks album has had mixed reviews really, personally I really like it, especially 'Angels Landing'.

Li - Lo Blue Sky Research
The opening track is the epic 'Sargossa Sea', one of Salt Tank's finest moments. It conjures the image of sun glistened waves and sea birds flying overhead in a clear blue sky. 'Charged in Zion Canyon', found on ST3 initially sounds disjointed before it builds slowly into a melody of refreshing blissed beats and echoed sampled sounds. 'Leaving Town' was co written by Nick Bracegirdle and Salt Tank and featured on the excellent debut album from Chicane. The familiar soothing Chicane synth sound is combined, with rolling Spanish quitar, piano and a slow breakbeat with nice fill effects. Jose Padilla the God of the Cafe Del Mar, weaves 'Angels Landing' into a blissed tune retaining the sweet voice of Geri Blam with a mellow beat and Spanish guitar recreating the sound of Ibiza perfectly. An uplifting vibe about this song, sets you in good spirits. Pure Class ! 'Opus 2' travels along nicely with a simple melodic tune and delicate piano very much reminiscent of Tangerine Dream. 'Astralswell' featured on ST8, a reworking of Swell, takes the sampled voice effect and adds a teasing bobbing beat with a tune to match. 'Caveman' is a simple moody whirling affair which uses some really nice electronic sounds. 'Stormchase' on the other hand is more upbeat, that grows slowly into a fine tune containing squelchy electronic noises and atmospheric synths. This would not sound out of place on the Wavebreaks album. 'Ocean', my personal favourite is real Cafe Del Mar style. The calming sound of the simple beat, the soft touch of Geri Blam's drifting vocals, with the sublime Spanish guitar works really well. Simply beautiful! The final track 'Angels Falls', is as you imagined from the title is built around Angels Landing. A slow tempo set against a rolling piano tune and the caressing tones of Geri Blam vocals. Overall an illicit collection of blissed beats and lush soundscapes to enjoy for the chilled summer months. Although I was a little disappointed that I had most of these tracks already, this was offset by the four new tracks at the end. (April 1998)

Cut Live
A chance to hear Salt Tank's live performance from the Nottingham's Marcus Garvey Centre on 11th October 1996. The studio sound is transformed to the live areana by stepping up the beats another gear to almost drum and bass territory. Andrew Rose supplies the live vocals and Mcing also adds another dimension to ST live performance. Rolling crashing drums and fast beat on the opener 'Original Drum' strike Salt Tank intent on getting the crowd pumping. 'Olympic 96' synths drifts in over Andrew Rose rapping. 'Eugina' is transformed into a live anthem with sped up beats while still retaining the superb melodic nature of the track. The lyrics work really wel, "don't turn sour like fruit in my hand "'Wave Intruder' energetic beats surely getting the crowd moving. The wails of 'Swell' filter through the crowd. The question "Who likes techno ?" before Taj is let upon the crowd. The chants of Andrew rose work into the music with ease. 'Final Charged up' turns into almost drum and bass tempo beats. The Salt Tank crew leave the crowd wanting more which is supplied by their finale 'Gaza Strip'. (April 1998)