With his latest two-hour, double-disc opus, These Hopeful Machines, BT definitively weaves both the technical prowess and compositional mastery that reminds us all why he's the composer that all other composers and producers study. As with previous albums, These Hopeful Machines is rife with vocal collaborations that expose BT's influences and bend them toward his unique perceptions of song structure and sonic parity. Many tracks feature his signature stutter edits created by his own Breaktweaker software. By consistently balancing creative and memorable songwriting, sonic innovation and the latest technology for a cutting-edge yet organic sound, BT has become one of the most revolutionary artists and sought after producers on the scene.

In February of 2011, BT released his sixth studio album, These Hopeful Machines, to critical acclaim, leading to his first GRAMMY® nomination in the Electronic/Dance Category. With These Re-Imagined Machines, the trance pioneer presents a completely different, re-packaged version of this classic album.


On These Humble Machines, BT took his original Grammy-nominated, two-hour opus and concentrated it into an intense 70-minute experience, allowing fans to now experience his compositional mastery and technical prowess on one thrilling disc. On the complete opposite end of the spectrum, These Re-Imagined Machines is a two-disc collection BT s original compositions on These Hopeful Machines that have been re-imagined by some of BT s most respected peers, including Armin van Buuren, Sultan & Ned, Marcus Schössow and Chicane. Six of the 17 tracks have never before been released.

BT's velvety take on trance techno, typified by unusually light, liquidy melodies, smooth edges, and roomy breakbeats, was first noticed in the U.S. via his exceptional remix of Tori Amos's "Blue Skies." That song and other like-minded U.K. singles that preceded it gave rise to yet another variation of trance music dubbed "dream-trance." It's an apt label. BT's dense, yet straightforward compositions and benevolent mixes incorporate themes of escape and rebirth, with songs that imprint themselves on your subconscious. On Movement in Still Life, never before available in the States, BT breaks through the wall that separates techno from out-and-out pop, incorporating verse-chorus-verse song structures. Furthermore, he allows his dreamy mix to wander into Fatboy Slim-esque big beat territory. As a DJ, he's clearly capable of branching into different styles. The smart house and choppy beats of the title track make that apparent. He's still playing with needles and wax on that track, though; "Shame," with its acoustic drum/guitar sound and accessible pop vocal track sounds ready-made for alt-rock radio, with only touches around the edges that betray the presence of a DJ. Other songs, such as "Running Down the Way," blend the two styles more evenly, utilizing a pop song format but keeping it clubby and decidedly nonacoustic. Given BT's U.S. success with the pop/club mix of "Blue Skies," as well as the accessible, anthemic style he tends to favor as a DJ, the record makes perfect stylistic sense. He'd be wise, however, to keep dream-trance close to his turntables, as the perfection of such tracks as "Dreaming" and "Godspeed" make it blissfully obvious that he has utterly mastered the sound. --Matthew Cooke

No Description Available
No Track Information Available
Media Type: CD
Artist: BT
Title: E.S.C.M.
Street Release Date: 09/23/1997
Domestic
Genre: DANCE

BT's This Binary Universe is really a follow-up to his 2004 soundtrack to Monster, a brilliant work of cinematic moods and ambient Americana. It was unjustly ignored by both the Oscars and the Grammys, where it should have at least been nominated for Best Surround Sound Recording. None of that has stopped Brian Transeau from going further down this path of expansive ambient electronica that takes him out of the techno-pop and trance direction he had been pursuing. This Binary Universe taps into BT's classical side, with expansive arrangements and intricate, albeit minimalist, thematic development. From the opening of "All That Makes Us Human Continues," BT reveals himself as a master of Eno-esque melancholy, as simple melodies evolve through an electro-orchestral instrumental palette. Lounge jazz with solos in the key of abstract, plaintive arpeggiated guitars, electro marches, minimalist hymns, and pastoral dreamscapes drive an album that seeks out joy and redemption, but not without traveling through the dark. The last track, "Good Morning Kaia," is a paean to his newborn daughter, and the most purely anthemic track on the disc.

I suspect the real raison d'être of This Binary Universe is the accompanying 5:1 surround DVD. BT creates an immersive space that's less sonic pinball and more audio sculpture, often revealing different aspects of his music than in the stereo mix. Each song on the DVD has a unique video that includes antique robots, surreal landscape drawings, live action fantasies, and abstract designs. It's the best way to experience this music, but whether you watch the DVD or tune into the stereo CD, This Binary Universe may be the first ambient symphony of the 21st century. --John Diliberto