Feel the energy that's in the air..

There are some artists that just stick with you despite the (perceived) limited levels of commercial success they had at the time of most prominence. As it was, Nigel Champion and Mark Franklin (aka N-Joi) actually had two number one single hits in the US charts with Mindflux (1991) and The New Anthem (1996). Their exploits as a rave/techno/house act in the UK were largely consigned to Anthem topping out at number 8 in UK charts after a 1991 reissue when its first outing managed only position 45 in 1990. It became and remains a seminal track from the era.

In actual fact, despite Samantha Sprackling (aka Saffron) joining the group to provide vocals on their live shows AND featuring in the video for Anthem, she is - sadly - lip synching as the track actually samples three different songs in the process: Peanut Butter by Gwen Guthrie ("I'm in love with you / Want you to love me too...", I Found Love by Darlene Davis ("True love can be hard to find...") and Back to Life (However Do You Want Me) by Soul II Soul. Because of this, both the artists and their writers actually received credits on the single. A few years on, Saffron would of course go on to form Republica - also on Deconstruction records - and have success with their blend of electronically-fused alternative pop-punk rock.

I came across N-Joi relatively late in my exploration of various rave/house/dance artists of the time through a compilation (1995's Techno Nights, Ambient Dawn) and instantly went out to buy their one and only album: Inside Out.

The album opens with the instrumental Inception which bounces and pounds along, blending wonderfully into the techno-dance of Trauma, that utilizes some nice synth rolls and beats to keep you toe tapping along across the 12+ minutes of both tracks.

Never Gonna Let U Go is the first of many tracks driven by a repeated vocal, and this is nicely done with an overlay effect to blend the vocalised line across itself, alongside the patterns of drums and reverb. Kalash comes in a little harder and faster as the BPM is upped, and what I love about the track is the metallic bounce of the percussive elements that form the break. It also has a really grimy middle section which sounds somewhat Prodigy-esque.

A Mother World feels somewhat lighter as it comes into view, and I like how the synth tones bounce alongside the beats and the echoing, almost tribal chants that recur throughout the tune carry it along.

Chaser and Zeus are both solid bangers as well, and the vocal sampled duo of tracks Bad Things and Games are also commendable efforts.

I really want to talk about the standout back end to the album though as I believe it is here where N-Joi regain their stride. The outstanding Papillon is awash with robotic sounding melodies and a great uplifting break, as well as some driving bass. I love it. Then we have Rotating Weaver which has a really cool build up to a second half of the song where the synth just glides up and down the notes, creating a swirling effect and really trippy kind of vibe to the track. Then, of course, we finish with Anthem; you could argue a brave stroke putting the most successful track you've ever released being last on the album. I personally think it is a stroke of genius as it stops people glossing over the remainder of their work. The track is euphoria in a bottle, and you can see why it got so much club and air play over the years. It's an absolute gem, and not many artists can get those true 'hands in the air' moments but Anthem still can create that.

My only minor gripe about the album as a whole is that it feels a little 'clean' and over-produced for an act like this, and if you compare them to their peers at the time I am not sure Deconstruction got the aesthetic totally right. Having said that, Champion and Franklin more than make up for this with their track progressions, mixing, ordering and beats.

Hardcore fans will tell you that the album misses some of the classic tracks like Mindflux or Adrenalin, and having now delved back into the earlier singles and EPs they have a point. In fact, it is also rumored Deconstruction dropped N-Joi just before they released this album, maybe explaining why there's only ever been a single long playing effort from the duo to date. Not sure why though, as given their success on the club circuit and live performances which still exist to this day, it may be that the industry missed a trick with these two. Or perhaps, like The KLF, they just didn't give a fuck?

As the rave scene is enjoying somewhat of a renaissance right now I'd be delighted to go to an event with these guys on the bill, as they certainly contributed to the sounds of the 90's in their own inimitable style. I am hopeful they haven't lost their touch and given what I have read on social media and online there's very much a place for them in 2021 and beyond. Keep an eye on their website. New material may even be on the cards...you never know.

Badger x