Album Review: I Am The Drug by Salon Boris
Salon Boris’s 2006 release, I Am The Drug, is a wild ride through the electronic music spectrum. With its roots firmly planted in house and electro, this UK-born album feels like a late-night journey into neon-lit dance floors and dimly lit after-hours spots. Released under Udiscs, it’s packed with remixes, reworks, and raw energy that still holds up today.
The standout track for me has to be “White Paths.” It’s one of those tunes that sneaks up on you—minimal at first, but then layers build until you’re fully immersed. The synths have this icy shimmer, like walking through foggy streets under flickering streetlights. You can almost feel the chill in the air while the beat keeps pushing forward. It’s hypnotic without trying too hard, and honestly, I’ve caught myself zoning out to it more than once. If you’re looking for something atmospheric yet grounded, this one nails it.
Another track that sticks in my mind is “I Don’t Want You (Roger Remix).” This version takes the original and flips it into something darker, grittier. The bassline hits hard, almost like a heartbeat you can’t ignore, while chopped-up vocals add an unsettling edge. There’s something addictive about how stripped-back yet intense it feels. Every time it comes on, I find myself turning the volume up just a little bit more. It’s not perfect—it gets repetitive if you’re not in the mood—but when it clicks, it really clicks.
What’s cool about I Am The Drug is how unapologetically chaotic it feels. Tracks bleed into each other, styles shift abruptly, and there’s no real attempt to smooth things over. Some might call it messy, but I think that’s part of its charm. It’s less of an album and more of a snapshot—a collection of moments stitched together by sheer enthusiasm for sound experimentation.
Reflecting on this record now, years later, it strikes me as oddly ahead of its time. While everyone else was chasing polished perfection, Salon Boris leaned into imperfection, creating something that feels human despite being entirely synthetic. And isn’t that what great electronic music should do? Make machines sound alive?
Oh, and here’s a random thought—why does nobody talk about “Poor Bobik” anymore? That track deserves more love. Just saying.
