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1 review | Only 1 person has said they love this record: be the 2nd! As I’ve said before, another day, another BVdub album. An artist who has no place in my listening schedule other than to get me to sleep of a night. The ‘Tribes at The Temple Of Silence’ and ‘The First Day’ albums are both superb works of post Third Eye Foundation churning ambience that along with my pittance of a hot water bottle, help edge me towards a blissful drea ... »

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Born In Tokyo by bvdub
1 review. Add your own review.
1 person loves this record. Be the 2nd!
5/10 Clinton Staff review, 08 November 2013

As I’ve said before, another day, another BVdub album. An artist who has no place in my listening schedule other than to get me to sleep of a night. The ‘Tribes at The Temple Of Silence’ and ‘The First Day’ albums are both superb works of post Third Eye Foundation churning ambience that along with my pittance of a hot water bottle, help edge me towards a blissful dream state.

I’ve not been as impressed by Brock Van Wey’s more recent work. There, I’ve said it. There has to be a point where an artist releases too much music and needs to take a step back and do something either a) different or b) will top previous work. This album is at least different but the opening track strays waaaaay too far into nu-age for my tastes, the glistening synths recalling Enigma type chill out nonsense. ‘Reach for Me (Awake For The First Time) begins with awfully sappy synth piano, sounding like one of those ‘relaaax, you can get to sleep, honest’ tapes that you could pick up in the petrol station at the turn of the ‘90s.

‘Strong Again (Teach Me To Feel)’ - I mean come on, check those titles - features a looping sample of someone bleating ‘tell me you’ll get through’ but it sounds like it was taken from a sample CD, sung with all the emotion of someone who is paid per minute and has the car parked on a double yellow line. It’s all about, y’know, improving yourself and working it out, okay if you are the buyer of background music for NatWest staff’s motivational away day but this is really poor fare compared to some of the music that has come before.

‘Two Hours to Forever (Just Ask Me I’ll Stay)’ opens with some nice synths but the vocal samples again grate though at least they are washed with enough reverb to not notice the tripe that they are singing...until another chill out piano is brought in sounding like the in-store demonstration setting in your local branch of Bank’s music. Although my remit here is to be positive (or otherwise just ignore things altogether) sometimes enough is enough and a record can stretch a reviewer to breaking point and it’s hard to conclude whether this is a poor record or just so far away from what constitutes my taste, the music produced grates intensely which I’m sure is the opposite of what was intended.


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