John Digweed Albums (12)
'Renaissance: Transitions, Vol. 4'
Release Date 4/22/2008
Tracks 10
Label Hi-Note Music UK
See Album Tracklist and Review
'Renaissance: Transitions, Vol. 3'
Release Date 9/18/2007
Tracks 22
Label Thrive
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'Renaissance: Transitions, Vol. 2'
Release Date 1/29/2007
Tracks 14
Label Renaissance
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What The Critics Say
This is the second installment in a projected four-volume series of DJ mix albums by John Digweed, a DJ in both the club sense and the radio sense, and one whose particular take on house and techno sounds has made him an international star. That said, those who approach Renaissance Presents: Transitions, Vol. 2 without the hype in mind may find the music to be more functional than inspiring -- Digweed certainly has a way with texture, and many of these tracks are presented in mixes that are very satisfactory on a purely sonic level. But the grooves are inevitably rather tame and samey; everything thumps along from a nice, polite 124 bpm (at the beginning) to 129 bpm (by the final track), and there are no real departures from the four-accents-to-the-measure verities of traditional house. There are some subtle exceptions, such as William Threlfall's nicely swinging "Shivering (Pitch and Hold in Camera Obscura Remix)" and David K.'s "Boul de Nerf," which features some interesting rhythmic slippages and dysfunctions near the middle. But for the most part, the sounds are either dreamy and blippy (the two Abyss tracks) or a bit darker and more modal ("Belong to Me (Dub)" by Bruce Aisher and G Stylz). Also noteworthy: the sly nod to "Tainted Love" on Dirk Technic's "I Love You (Smallboy Remix)." ~ Rick Anderson, All Music Guide
'Choice: A Collection of Classics'
Release Date 3/28/2005
Tracks 28
Label Azuli
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What The Critics Say
More than a few eyebrows were raised when it was announced that John Digweed would be mixing the next set for Fabric's unbearably prolific mix-CD label. Could the now 39 strong monthly series fit the trance titan in between sets from electro-pirate Andrew Weatherall and breaks dominators the Freestylers? Of course they can, as, number one, Digweed is not a "trance" DJ, nor is he a "progressive" DJ or any other sort of DJ. He's a DJ who simply seeks out the best in electronic dance music, without using the crutch of genre to peddle his wares and number two, as thousands of dancers can attest, Digweed's sets at Fabric have been as long, hot and sweaty as any others the club has hosted. So don't hate him just because he has a better than average publicist. Track by track, this mix unfolds the way a good mix should, with elements of each subsequent track slowly blending in until you blink and the next song is in the speakers. Everyone from true trance dealer 16B to new techno posterboy Michael Mayer makes an appearance in either producer or remixer form. But don't expect to recognize any of these cuts. Fabric mixes are about discovering your new favorite track, not rehashing the old one. And if you're really still not convinced after seeing the names Joel Mull and Slam on the CD sleeve, than just go back and pick up Digweed's first Bedrock mix from 1999. This isn't his new style; it's always been Digger's sound. ~ Joshua Glazer, All Music Guide
'Renaissance: Transitions'
Release Date 1/1/2005
Tracks 15
Label Thrive
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'Stark Raving Mad'
Release Date 2/25/2003
Tracks 22
Label Thrive (Red)
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What The Critics Say
Stark Raving Mad, the soundtrack to an American film ("imagine, if you can, Trainspotting meets Lock, Stock and Two Smoking Barrels!"), is a two-disc mix album allowing resident superstar DJ John Digweed a chance to air many of his own Bedrock-affiliated tracks -- and boost the profile of his studio boffin, Nick Muir (who co-produces all of Digweed's tracks). Though he's been one of trance's main figureheads for half a decade, Digweed's been less willing to stick with the style on a constant basis, and the tracks here reflect that. Unlike Oakenfold and Van Dyk, he's willing to push things forward slightly, with more stylistic detours and fewer concessions to fan-friendly effects and breakdowns. Early on the second disc, Digweed even approaches hard house with his spinning of "White Island" by Luke Fair, though the next track, his own "Beautiful Strange," takes the mix back into familiar territory. Digweed and Muir do accomplish much together; their tracks have the detailed, sonically sculpted perfection that's become de rigeur for trance, but also a unique sound that has nothing to do with the trance blueprint. And even though most of their productions are brief interstitial tracks, they claim two of the highlights, "Mondrian" and "Slingshot." "Kritical" by Luke Fair is a nice dub-shattered breakbeat tune, while the closer ("A Better Place" by DJ Tasmin & Monk) is unabashedly retro, heisting LTJ Bukem's blueprint for Good Looking drum'n'bass from circa 1992. The best track, hands down, is "Walking on Fire" by Evolution, the opener on the second disc, a fine piece of female-fronted techno-pop, though firmly in the mold of same. Even though this mix smacks of a Bedrock clearing house, it's refreshing to hear a few change-ups. ~ John Bush, All Music Guide
What The Critics Say
After releasing four incredibly amazing albums for the Global Underground series, John Digweed emerged with the collection MMII. It's more or less an intricate selection of tracks crafted by Digweed for radio shows, but also a diverse piece of work fit for inside the club and out. It varies in moods, but overall, there's something relaxing and soothing about MMII. Bermuda Triangle's "Mooger Fooger" is a nocturnal trip through space, while "Protect the Sense," from the Flash Brothers, oscillates rich worldbeat grooves and progressive house loops. Rare tracks like Underworld's previously unavailable "Dub Extravaganza" remix of "Black Sky" from Shakespear's Sister and Darren Emerson's magnetically cool take on 108 Grand's "Te Quiero" illustrates Digweed's impeccable ear for what's sonically desirable in the multifaceted world of dance. MMII recognizes Digweed's influence on American dance music and his position to take it where he wants. ~ MacKenzie Wilson, All Music Guide
'Global Underground: Los Angeles'
Release Date 2/27/2001
Tracks 22
Label Boxed
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What The Critics Say
For John Digweed's third installment in the popular Global Underground series, the superstar DJ tones down his track selection a bit, focusing less on theatrical hands-in-the-air moments and more on subtle yet highly nuanced rhythm-driven tracks. Truthfully, it's quite difficult to pick out any "peak" moments, or any clear-cut anthems in the mix. From beginning to end, Digweed spins nothing but darkness-exuding records that inspire intoxicating abandonment. The music's sublime employment of enthralling mesmerization never gets too intense or dramatic, simmering steadily at ethereal levels of emotion rather than euphoric heights. This restraint is indeed welcome. After his late-'90s run as one of progressive trance's leading spokespersons (best exemplified by his anthem of anthems, "Heaven Scent"), a backlash was surely mounting. Thankfully, this album's snubbing move away from progressive trance perhaps signals a new direction for the DJ -- and maybe even for the trance movement in general. Nearly every track here employs a progressive house structure -- booming 4/4 bass beats, high-hat fills, near-hypnotic rhythm, zero snare rolls -- and most accentuate this foundation with an ever-phasing, glossy layer of subtle synth washes that hark back to the classic, early-'90s trance era when trance was truly trance-inducing. Throughout the first set, Digweed focuses more on the house aesthetic, emphasizing Satoshi Tomiie's work; the second set, as expected, heads into more heady territory, as proven producers such as Breeder and Cass get emphasized, along with a number of Bedrock records. Those weaned on late-'90s Oakenfold-esque progressive trance may find this album uneventful, yet anyone looking for a mix that trims away theatrical gaudiness and focuses instead strictly on rhythm, nuance, and sublime poetics should find this Digweed's most rewarding release to date -- it's surely his most restrained and least saccharine so far. ~ Jason Birchmeier, All Music Guide
'Global Underground: Hong Kong'
Release Date 11/1/1999
Tracks 23
Label Global Underground
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What The Critics Say
Releasing around one mix album a year during his prolific late-'90s/early-2000s reign atop the dance world, John Digweed surely wasn't afraid of flooding the market. Of his many releases, though, his Global Underground mixes deserve special notice, and it's not necessarily because they're his best releases. Rather, with each successive Global Underground release, Digweed continually updated his sound with new records, new producers, and a new direction for progressive dance music. The Hong Kong entry fits nicely between his Sydney (1998) and Los Angeles (2001) albums in terms of direction. Where Sydney found him trailblazing within the late-'90s trance reniassance via big records by the likes of Paul van Dyk and Albion, and the Los Angeles set found him abandoning that same trance sound for a much darker, dirtier, and more straightforward set of monsterous progressive house records, Hong Kong offers a bit of both -- a nice even balance, actually. The first set is anchored by a few undeniable standouts -- Underworld's "Cups," Luzon's "The Baguio Track," Cevin Fisher's "Music Saved My Life," and Medway's climactic "Flanker" -- and an accompanying array of mostly non-descript transitional tracks. It's a diverse set that starts rather light and airy before getting progressively darker and bigger with each record -- pretty much what you've come to expect from Digweed's first sets. The second set of Hong Kong hits hard and intensely from the first track and doesn't stop until its final, draining moments. Here, Digweed pulls out gigantic records by all the big-name late-'90s trance producers -- POB, Tilt, Cass & Slide, Breeder, Science Dept., Bedrock -- dropping them one after another with little mercy. While the second set is undeniably heavy on trance motifs, it's interesting to see how far Digweed's preferred style of trance had changed since the of-the-moment Sydney album a year earlier; it's a darker, more epic, denser, harder-hitting, more subverse style of trance that relies on power and texture rather than overt hooks, melodies, or riffs. Overall, another great mix by Digweed but not as unique as his Los Angeles mix and a bit too obvious in terms of track selection. ~ Jason Birchmeier, All Music Guide
