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ninetynine is the fourth album, by my reckoning (give or take EPs, remixes, collections) by German duo haujobb. Much acclaimed from Homes And Gardens and increasingly with Freeze Frame Reality and Solutions For A Small Planet. Declarations of genius are something I always take with a pinch of salt - Homes And Gardens was too inconsistent, some great moments and some dross; Freeze Frame Reality is enjoyable and was a considerable jump forward; while Solutions For A Small Planet is too self-indulgent and aimless. ninetynine is another mixed affair, though it is definitely different from previous haujobb material. With that it is fair to say that haujobb do shift with each album, the next different from the last. Exploring a different facet of their electronic sound, a sound increasingly described as "intelligent dance music" (idm).

Less self-indulgent than Solutions the increasing maturity of haujobb comes across better. The usual male vocal is stronger than on previous releases - from its spoken moments to gentle singing and occasional effects. Added to this is this inclusion of female vocals, provided on a couple of tracks by Vanessa Briggs. Notably present on Less, released as a single and included on a number of recent compilations.

Grounds seems to feature Vanessa Briggs vocals, though this comes through in a tonal sample, an effect which works well. Grounds also features a sound that particularly reminds of Clock DVA beat structure. But it is the vocal tone which highlights the way that ninetynine flows from one track to another, as that tone is picked up and emerges as the key vocal in the track Overflow. This element is again present in X-Flow which is a remix of Overflow. A mix which is more effected - clear in the vocals and music with added blurps and glitches.

Cutedge is strongly d'n'b influenced and shows signs of Coil on the way. While the title track ninetynine almost comes across as two tracks stuck melding together - suddenly changing mood and sound about three minute mark. Melody is added, and the feel is much more engaging. Male vocals join the light tune and the two work well - mounting slowly towards Less. Being the single, and compilation appearance of choice at the moment, as already mentioned, it does almost take on the feeling of being a centerpiece. A position it can take - strong and dynamic in its idm structures, yet feminine and delicate, the lush voice and layering strings. However following that is Pulsar, which seems a little off, with its piddling sounds and glugging bass. This layers up, becoming increasingly complex - but in some ways it doesn't work for me. Caving into its own excess - plodding rather than floating.

The pacing of ninetynine, as an album, is slow overall, which contributes to the conclusion that the album is a mood piece. In the wrong mood ninetynine is plodding and turgid, with Briggs vocal sounding overly effected and likely to become irritating. While by contrast in the right mood ninetynine is a floating, luxurious experience to be relished with the inclusion of Briggs sensuous vocal being a cunning move. I've experienced both these extremes equally with this album. Interestingly I've chosen to write this review while listening to ninetynine in the right mood. Grounds, Overflow, doubleyou, Less and Creator are all enjoyable tracks that stand out.

RVWR: PTR
January 2000

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