They always say that the perfect single is around three minutes long, that to rise to the top, the single should have a dance element to it and also have a hook that's positively irresistible. That makes this the perfect album then..... and if you think I'm kidding, then get your ears round this and tell me if I'm not right. For what ALP has done here is to distill all the elements of what makes great dance music into 12 separate tracks that, combined, make up an album that flows so effortlessly you can't help but get caught up in it's charms. Opener, "You Take My Love", is founded on a massive bed of shuffling percussive beats as the eighties disco styled vocals make the chorus soar above this huge sounding bed of electronics, rattling percussives, shuffling electronic drums, solid beats and sparkling melodies, as more and more layers of rhythms, electronics and samples are amassed to produce one of the most catchy and addictive slices of industrial dancefloor pop that ALP has yet to produce, not only a perfect single, but a perfect soundtrack to any griping action film that you'd care to mention - and this is only the first of 12!! "Call Me" sidles into view rather than leaps before the solid river of electro-percussive rhythms and swirling, phased synths and samples give rise to a swirling sea of melodies, strident sequencers, a soaring, languid melody and, once again, a textural depth that is truly captivating, mixing evocative female vocal, wordless and spoken, to give a mix of big, bold rhythm and spacey, psychedelic Orb-like trance atmospherics only harder and deeper. "She Says It's True" leaps into action with rattling, resonant electro-percussive might as a big series of beats and rhythms is built up with electronics, buzzing guitar-like textures, a drawl of a vocal sample, as a blast of chords rises out of the depths to give this almost rock-dance feel, the solid rhythmic undercurrents more than matched by the awesome sounding layers on top, as it all comes to a head, then reverts to it's beginnings, once again the shuffling percussive beats now massed higher and higher and the guitar-like textures more upfront to provide this driving energy that propels a massive sounding mix of melody and rhythm to an abrupt end. "Yeah Baby", however, is the consummate dancefloor sensation, opening with as irresistible rhythm as it's possible to get where dance beats are concerned, and this just storms through the ether as boinging layers of electronics, twangy guitar-like layers and cascading synths, not to mention a spiralling vocal sample, all combine to produce a giant of a track that simply can't fail to have you up on your feet and leaping about the place with reckless abandon. If that weren't enough, even more layers are added to create this towering heaven of a track that fades all too quickly - but leaves you just wanting to hear it all over again. "Hey" features swirling, cyclical electronic rhythms, a rattling electro-percussive rhythmic river of beats, soaring synth backdrops, a brief vocal sample intoning the title, a melody from a languid yet solid piano lead as the master builder that is ALP piles it all up to a peak before dropping back down the mountain to start the creation all over again with a different set of textures, layers and rhythms, quickly reaching the point she left off, and then climbing even higher - magical stuff!! "Mr Shy" sparkles and shimmers with cascading sequencer rhythms, rattling, resonant electro-percussive beats and, this time, a more wall-of-sound approach to the mix of vocal samples, layers of synth textures, rippling melodies and beats, but the piece twists ans turns with ease and dexterity through a maze of soundscapes, all of them addicted to dance, all of them given a dynamic treatment that sets the adrenaline rising at the same time as being hypnotic listening heaven in a solid beat-driven package of melody and atmosphere. "Flight" starts more sparsely with mainly the electro-percussive rhythms rolling around at the forefront before swirling electro-beats enter and above these, an operatic female vocal sample provides a sense of richness and spacious quality as, all around, the percussive beats drive forward amid phased synths and space swirls, even phasing the rhythms at several points, as it all travels forward on space trip to dance nirvana. "Bring In The Night" is the most blissful track so far, preferring to keep the rhythms and melodies and space synths more chilled out and ambient, on a track that is "The Orb-as-pop" and absolutely sublime as the interweaving female vocals ensnare your soul while the solid yet languid sea of electronic, electro-percussive rhythms keep the whole thing moving, as the swirling synths give the piece it's spacey and spacious background and texture, but the vocals softly spoken and heavenly wordless chorus give the track an extra dimension. "Miss You" is sultry dance, late-night toe-curling warmth of blissful beats and hushed female vocal - only then to shatter the mood with a huge sounding slice of big, beefy beats, rhythms and samples, guitar textures providing a counter to the spacey swirling synths. "Forever" is another stunning gem of a fast-paced, heavy dance track, this time possessing THE most addictive sea of rhythms, beats, layers, melodies and samples that you'll find on a dance track - there's so much going on and yet it's got the perfect flow to it, and if this wasn't an absolutely massive dancefloor single worldwide, then there's something seriously wrong with the dance DJ's, for this is totally and utterly irresistible in every way - listening, dancing, experiencing - it's only fault is that it's three minutes long - roll on some remixes of this - a complete and utter dance triumph in under three minutes. "You Make My Pussy Purr" (dontcha just love cat-lovers - hehe!!!) is every bit as atmospheric as you'd expect with it's sultry female vocal sample, rattling electro-percussive beats, spacey synth rhythms, almost orchestral sounding textures, guitar textural backdrop, rippling melodies and an atmosphere that would make pussies everywhere, purr with delight. Finally, "Falling" begins with cascading phased synth, stabs of synth rhythms, the ever present and solid electro-percussive rhythms, all overlaid with melodic stabs of synths before the whole thing gathers together a sea of cosmic bliss in the form of synth backdrops, the icing on the cake provided by the wordless female vocal as it all builds and builds, drives forward and sounds just stunning, the whole greater than the sum of the parts, and the parts are superb!! Overall, this is an album to which you can dance from start to finish - it's also an album that you enjoy from start to finish on a serious listening level. In many ways, it's reinvented what ambient and chill-out music was all about and made it fashionable once again, the length of the tracks being absolutely spot on for what ALP is trying to convey and create, so that, on all levels, this is a pure triumph. Andy Garibaldi (Dead Earnest) 11-08 ******************** ALP's Bev Stanton was born in the Bahamas and raised near Walt Disney World. She recorded ALP's first project, Sperm Warfare, in her basement, and it was released in Europe by Britain's TEQ Music. After TEQ folded, Stanton independently released over a dozen CDs. Her early internet presence prompted Keyboard Magazine to feature her in a cover story on indie-music promotion. Stanton has gained recognition as a 'remix master' (Washington Post). Her solo material, which combines the quirkiness of Bjork, and the ennui of Moby, has won over a dozen Washington Area Music Awards (WAMMIES) in the Electronica category. ALP tracks have appeared in Access Hollywood, MTV's Undressed and Cribs, the Playboy Channel's Sexy Girls Next Door, American Idol, Here! TV's Lesbian Sex and Sexuality, and The Oprah Winfrey Show. ALP's music has also been featured on GEICO's Caveman's Crib website. 'Stanton's more recent work rides less on technology, and more on sweaty sensuality and sexuality.' --Silver Spring Penguin.
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