Further trailers followed with bespoke compositions for Warner Bros’ Gangster Squad, Colin Farrell’s Dead Man Down and Trésor Films’ Polisse. Kenny’s profile continued to grow when Comatose from the Cinephile album was chosen for the trailer for the Samuel L. His next album project Cinephile led CBS have him working with the CSI teams for the next 10 years, whist he continued to write, release albums, and perform live. Spylab would go on to catch the ear of Thomas Golubić and Gary Calamar, who licensed the track Celluloid Hypnotic for use in two episodes of the hit HBO show Six Feet Under. The US press reviews and public response to the album was so outstanding that a live tour was booked, taking Spylab from Los Angeles to a sell out finale at SXSW in Austin, Texas. The title track This Utopia grabbed the attention of BBC Radio One’s Mary Anne Hobbs, who would feature it for 8 weeks straight on her cult show ‘The Breezeblock’. Opting to sign with Guidance Recordings for an album deal, his debut record was released in 2001, showcasing Kenny’s unique sound. By 1999 a cassette demo of his alternative electronic project Spylab attracted the attention of three record labels – !K7 in Berlin, the UK’s Flying Rhino, and Guidance Recordings from Chicago. In his early twenties Kenny started writing and producing music under a variety of artist pseudonyms. His recent credits include two seasons of Firecrest Film’s cutting edge BBC2 crime series Murder Case and Murder Trial, ITV’s long running Long Lost Family, produced by Wall To Wall Media and he also composed all the theme music for the US movie The American Dream produced by Little Plow Films. This led to him securing his first series of major UK commissions, including three for BBC Scotland, The Bridge – Fifty Years Across The Forth, Superhospital and First Oil Rush as well as Ian Rankin’s Channel 4 series Murder Island. scoring episodes of the original primetime CBS series CSI, then going on to work on the rest of the franchise CSI: NY, and CSI: Miami. Relatively later - and spectacular - tracks from Röyksopp ("Eple") and Spylab ("Celluloid Hypnotic") help raise the value of this disc over Electro Chill.Glasgow based score composer, songwriter, producer and musician Kenny Inglis got his big break in the U.S. The noteworthy tracks? They include picks from Moby ("Flying Foxes," a Play-era B-side), Underworld ("Push Upstairs"), Air ("Sexy Boy"), Death in Vegas ("Dirge"), and Alex Gopher ("Tryin") - all of which had been in the racks in multiple forms for a couple years or more. It claims to be a step ahead of the compilation game (the press sheet laughably states "Currently the marketplace has very few compilations similar to the sound of Electro Burn"), despite the fact that most of the inclusions were released two years prior to this disc, and despite the fact that compilations like this one had infested every record store well before its 2002 release date. Hardly having anything to do with actual electro, the early-'80s dance music movement that spawned a second revival the same time this compilation was released, Electro Burn focuses on trip-hop and electronica that is just as heavy in atmosphere as it is in rhythm. Yet another chillout-themed compilation that features a title much more intimidating than Pure Moods, Electro Burn - the peppier sibling release to Electro Chill, also released by Surge - is an assortment of like-sounding tracks that, thanks to the lack of variation from selection to selection, turns to mush about a third of the way in.
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