Continuing their lineage of discovering unknown, highly talented artists, Melodic provide a debut release for Greek producer Athanasios Argianas as Gavounna, a worthy labelmate for Melodic's already impressive stable, which includes Minotaur Shock, Lucky Pierre and Pedro. A proponent of found-sound-sampling, Gavounna constructs incredibly delicate instrumental tracks, imperceptibly shifting through both organic and electronic sources, touching on contemporary classical, electronica and (although not obviously) a certain atmosphere of traditional Greek music. Read more »
Compost is nothing if not consistent. The label is known for churning out classy, sophisticated nu-jazz/broken beat/house tunes at an alarming rate, and Daniel Magg's Facets is another fine example. The former Worldless People member's solo debut fits well with the long-established Compost sound, and really breaks no new ground. Still, with all the shimmering, soulful and danceable tunes on here, the album is by no means typical. Read more »
Sofa Surfer Wolfgang Schl?gl has been gettin' up off the couch to make Stateside trips in pursuit of his LA girlfriend. His resultant solo album has an American rocksoulfunk layer that departs from the Surfers' Viennese dub stylee. As I-Wolf, Schl?gl wallows in the misgivings of a lovestruck soul. Guitar, bass, drum breaks, and slippery horns churn drunkenly behind rock and r&b vocals by the likes of Ken Cesar and Damon Aaron, plus a ragga chant by DJ Collage. Read more »
After a good string of releases for Ghostly International and Spectral Sounds, Ann Arbor's Matthew Dear brings a full-length of next-school minimal Detroit techno for Mr. Hawtin's Plus 8 venture. Hovering over the smacking claps, smeared voices and soda-bottle percussion that litter Dear's alternately burbling, murmuring and snappy arrangements is a potent, surround-sound bass sensibility that departs from the standard clipped low-end that minimalism usually offers up. Read more »
From the opening moments of Can't Cool, Berlin-based Burnt Friedman's fourth long-player, you can sense that he's broadened his horizons even further and that the album is going to be funky as shit. From the slow dub jams to the fractured and minimal beats The Nu Dub Players understand the use of space in rhythm, and each instrumental part envelops its own musical position. Read more »
Part of the mighty Kompakt empire, Sub Static reinforces Germany as Earth's premier techno/house hotbed. On his debut album, label boss Falko Brocksieper forges sophisticated and quirky dance tracks designed neither for superclubs nor for intimate spaces, but rather for those enchanted rooms where jocks only spin Perlon, Playhouse, Kompakt, Traum and Sub Static platters. With a sly wink, Falko subtly twists tech-house-and, on the title cut, even EBM-protocols, but his work should please both cognoscenti and casual partiers. Read more »
Compiled from previous EPs as well as new tracks, Analogue showcases the types of hard hip-hop and funk beats that have propelled Dynamo Productions' status as DJs. Plumbing (or more accurately, sampling) a line from the JB's through Eric B., the duo of Andy Smith (Portishead's tour DJ) and Scott Hendy (a.k.a. Boca 45) turns in tight pieces designed to rock a trainspotters floor filled with people who can name all the source pieces in a Bomb Squad production. A few of the tracks fail to transcend their loops and work best as DJ tools, but overall this is a very solid debut. Read more »
Richard Davis has obviously been taking notes on all of the recent reconciliations of house in the image of clicks and cuts, and thankfully he doesn't regurgitate them. Instead, he rebuilds and reworks the cues into beautifully salient and crisp forays into the trademark understated-but-oh-so-fierce 4/4. Most appealing is Davis's precision production, where intelligent compression and a crisp meticulousness support the vocalist Souc Souc Silversponge's whispered sexiness along with Richard Davis's own appropriate vocal peppering. Read more »
Evoking Portishead's ability to create groove and atmosphere simultaneously, Cinematic Orchestra brings depth and nuance to this interpretive set based on a silent 1930s-era Soviet propaganda film. If all that sounds terribly heavy, imagine a grainy black-and-white film depicting scenes of the idealized socialist life-spare, quiet, funny and a little sad-and you get a sense of Cinematic's jazzy constructions of samples, funky keys, grave strings, squealing saxophones and warm bass riffs. Read more »
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