If a contra line is seen as a railroad track, the side of the set would be one of the rails.
a beautiful thing, but the RITM Reset mix on the flip is a slice of pure audio evil, with the creepinees of the original brought to its full sinister potential
a big room rocker that combines some tough beats with heavy emotive melodies
a brilliant relentless groove that builds brilliantly with its old school drum break and nagging groove and riff punctuated with superb vocal samples
a cover of the classic Joan Jett track done Gee Strings style
a deep percussive tribal track with some housy atmosphere
a driving anthemic track with a nice synth bassline that builds before the moody string line and catchy synth hookline hits
a fantastic chugging track with razor sharp production that just builds and builds with key elements like swirling vocals and synths and a funky bassline
a fierce and heavy dancefloor-burner of rare calibre, sure to rip up some dust in the outdoor season (it sure did last year) whereas the flip showcases some of the most deep, trippy minimal night-time journeys yet
a full force, no holds barred attempt to mix enormous basslines with melodic passages that quite rightly envelops the body and mind and builds into a fever pitch event designed to rock the clubs
a funk workout courtesy oF JR Bailey and the Brother SOul crowd
a great uptempo number, with a slow one on the flip
a hard worked track, with rude and strong rhythm sounds, a hypnotic and seductive bass and a perfect combination with more clicky and experimental sounds
a heavily loaded workout, plenty of dirty synths and a driving bassline
a huge, atmodpheric monster of a track
a hypnotic groove accompanied by bleeps and shrieks
a killer Chicago influenced techno track with plenty of bite
a lounge-y jazzy workout with stuttering Blue Note loops, horns, vibes and of course some of those VS spastic-shuffling-funky-drummer-fed-through-the-leaf-shredder beats
a mighty ass kicking piece of funk, featuring Khan from Captain Comatose on the microphone
a minimal rework from Acid Jesus that just grooves and builds in a superb subtle way
an emotional love ballad, and the flip is a cool little funk number
an epic hard techno journey with its long snarling intro before dropping into a sledgehammer like driving track before breaking again into what can only be described as a riff straight from hell
a new track, a dope piece of heavy percussive latin bruk
a nice grooving techhouse-track which one can relate to the sound of Marco Carola's Question releases
an incredible, exciting rocker in the best B
an instrumental, while the flip is a vocal track
a percussive groove track that features an intense and soft saxophone solo line
a percussive heavy prime time tune with sub tile vocals and a hypnotizing organ type of groove, which floats endlessly into a flawless breakdown
a pure ear candy with a sweeping constantly changing melody, a lot of groove and breathtaking vocals
a raucous New Orleans-style funky soul number, with Dobie singin' and shoutin' like a wild man
a raucous party cut in their distinctive style with Dynamite MC on the mic - this cut will destroy the dancefloor so be warned - handle with care
a really hard pumping track that may at first seem quite bouncy but when the top line comes in it shows that this is no tame little bouncy track, it is a full on hard as nails pumper
a sharp slap in the face of organised dogmatic ecstasy (and the horrors that are committed in its name), the flip is a candy-centred, electroacoustic dip into the trauma noise trough
a strong fast-paced, gospel styled ballad which really flows along, led by Curtis Kelly's Sam Cookish vocal
a superb driving bass stab punctuated track from Cesco and Picrudo
a superb organ stomp, backed by a catchy melody
a swinging, vocoder-touched electro samba groove whilst the flip is boogie-inflicted Brazilian funk at its greatest
a tough, heavy-guitar rocker, while the flip is a surprisingly tender song of love lost
a vcal led electro tinged stomper and on the flip Public Enemy get the party treatment - fat as always
a very clever driving track with a superb groove that never lets the pressure drop whilst on the flip there is a much deeper, bass heavy yet still very driving groove that just rocks
a wicked cheesy happy hardcore track as well
a wicked tech edged funky breaks workout and the flip is on the full on prog breaks tip
a wonderful string and vocal track with an excellent bubbly B line drop in the centre
The B-sides to the single "Side" by Travis included two tracks taken from the Glasgow Barrowlands gig in June. They are "Driftwood" and "All The Young Dudes", which was originally written by David Bowie for Mott the Hoople and features lead vocals by Dougie. Another issue of the single includes a Bob Dylan cover of "You're a Big Girl Now".
