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Labyrinth
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Album: Labyrinth
# Song Title   Time
1)    Conquistador I
2)    Conquistador II
3)    Giant
4)    War Dogs
5)    Mona Lisa Overdrive
6)    Zwara
7)    Mutant Message
8)    Angels and Men
9)    Navaras
 
Product Details
Performer Notes
  • Juno Reactor: Susan Hendricks (vocals); Scarlet (guitar); Eduardo Niebla, Taz Alexander, Greg Ellis , Gocoo, Greg Hunter, Risenga Makondo, Mabi Thobejane, Mike Fisher , Nick Burton, Simpiwe Matole, Victor Indrizzo, Ben Watkins, Calina de la Mare.
  • Personnel: Mabi Thobejane (vocals, percussion); Deepak Ram, Diane Charlemagne, Taz Alexander, Lakshmi Shankar, Azam Ali (vocals); Eduardo Niebla (guitar); Calina de la Mare (violin); Tigram (ney); Greg Hunter, Youth (bass guitar); Greg Ellis (drums, percussion); Budgie , Victor Indrizzo (drums); Gocoo (taiko); Risenga Makondo, Mike Fisher , Nick Burton, Simpiwe Matole (percussion); Xavier Morel (sound effects).
  • Audio Mixers: Greg Hunter; Adam Wren.
  • Editor: Zigmond Gron.
  • Juno Reactor's 2004 release LABYRINTH infuses trance with heavy-hitting rock, African tribal rhythms, and hints of modern Japanese music (given the inclusion of a taiko drummer). Further, because this recording mixes electronic and acoustic instruments together, a unique musical tableau is created.
  • LABYRINTH cannot be strictly defined as either techno or dance music. The blending of ethnic percussion with dense, industrial loops and ominous singing casts this album in a unique light. For example, the writhing "Conquistador II" merges together computer-generated rhythms with various highly produced percussion effects and a ghostly vocal performance from Taz Alexander. There is great song variety on this disc too. Hard-edged rockers "Wardogs" and "Giant" are offset by the dreaminess of "Mutant Message" and "Angels and Men." On the latter, Susan Hendricks's wistful voice adds an air of mystery and gloom to the proceedings. In general, her singing invokes a dark, gothic mood on several of these tracks. This is best evidenced on "Conquistador I." Here, Hendricks's plaintive melody borrows from renaissance music: perhaps 16th-century Spanish plainsong (as suggested by the composition's title).
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