Pampa Germany At Juno Download

Review: DJ Koze's Pampa has already a lot to be proud about - including the reissue of Isolee's We Are Monster - but this new album by Ada may propel it into the mainstream. Sounding like "Bryter Later" period Nick Drake getting comfortable with Jose Padilla's DJ sets, the German producer delivers jaw-droppingly beautiful songs like "Faith" and "On The Mend", where breathy vocals and plaintive, chiming bells are combined with mournful guitar playing and ambient textures. Meanwhile, "Interlude" and "Happy Birthday" embrace IDM sensibilities, the latter in particular teeming with warbling melodies. However, it would be wrong to dismiss Meine Zarten Pfoten as being fey or ephemeral, and the brooding bass of "At The Gate" is a reminder that while Ada's head is in the clouds, her feet remain planted on the dancefloor.

Review: Given his own background in the studio and behind the decks, it's no surprise that DJ Koze's Pampa label is releasing Fratzengulasch. The title track starts off fairly innocuously, with deft tribal house beats providing the basis for an understated house groove, but soon enough, an eccentric-sounding woman starts singing in German. Things take an even more bizarre turn as some Middle Eastern string instruments appear midway through. "Maikaferbenzin" is only marginally more conventional; based on a bass-heavy groove, its squealing sax solos and foggy trombone bleating are reminiscent of Villalobos after the end of a long weekend. And no, we have no idea either what the track titles mean, but we love this release.

Review: After putting out his most US-focused release so far in the shape of the sublime Timeless mix for Cocoon, Peter Kersten now focuses his attention on a more European approach to house music. The title track has
all the hallmark subtlety of Lawrence productions, with a bleepy bassline powered along by textured, hissing percussion, but the German producer does not forget his love of Detroit techno, and it's the melancholic synths that make this track so special. Lawrence opts for a similar approach on "Oolong High": there, a more understated combination of bass pulses and sonic blips are audible, but it's the gloriously introspective pads and synth flourishes that make it so irresistible.