Third Ear UK At Juno Download

Review: Third Ear have been responsible for some truly wonderful things over the years, with everyone from Jeff Mills to 808 State having had a part in the label's gradual but impressive progress. This time we welcome newcomers Ayota aka Ryuichi Iyota and Ski Oakenfull, a mysterious duo who do things just a little bit differently. "Llamas" opens the LP in true lo-fi grandiosity, that is, although we're talking downtempo range here, it nevertheless evokes feelings of sheer energy thanks to its suave percussion arrangements and jazzy bass lines. There are plenty of keepers in this 13 track marathon, such as "Sabor", a crystalline, sub-aquatic synth journey; "Niji", a mesmerising neo-hip-hop cut; or even "Airport" with its lounged-out, kick-the-fuck-back vibes; and "Hitotsu", a beautifully bizarre escapade into sparkling chimes and gentle synth squeals. But it's the spaces between the beat-laden tracks that really draw us into Ayota's sound - an odd but equally enchanting world of their own.

Review: With his preferred tools of a 707 and a Nord Modular, Benjamin Brunn is unquestionably devoted to the out-of-the-box approach, but fortunately for him it has been many a year his fluid and exploratory sound has emanated from Hamburg, the place he calls home. As such, an album such as A Sun Life gives new light to the possible places you can go with such tried and tested sounds as these. Expect brave forays into the unknown as the album progresses past lively and colorful techno into such beatless dubby space as exhibited by "Pankhom Memories" with its pneumatic bass hits and gently building percussive harmonies, moving through distinguished key changes and dynamics that require the most wisened of touches. "ISS" is similarly bold in an entirely different way, oozing refinement as a single synth fills the dynamic range with an engrossing melodic progression. If there was any proof needed that Brunn's employment of old-skool hardware is rooted in something deeper than hype, it would be in the quality of production on the whole album. There's never a moment of distortion or fashionable scuffing, instead aiming for quite a pristine end result (albeit more attractive than a similar end pursued without the benefit of analogue gear). It's quite refreshing to hear a distinct lack of tape hiss behind the gorgeous swathes of synthesiser and machine beats, whether they intone a dancefloor message or extol an experimental virtue.

Review: British imprint Third Ear drop this ace EP of "re-imagined" classics from the label's back catalogue. The headline track here is Rabih Beaini's Upperground Orchestra remix of Theo Parrish's "Falling Up" - the cosmic jazz outfit have remade the classic from the ground up, recording a new version live in Italy earlier this summer. "Falling Up" of course has already been on the receiving end of one of the most revered remixes of the past decade from Carl Craig and is quite the dusty, quantize shy delight in original form too. The Orchestra's contribution to Third Ear Re-Imagined follows the recent release of The Eupen Takes, a six track live album released on Beaini's own Morphine Records. The producers involved in this project were given the opportunity to select their favourite tracks from the Third Ear catalogue to remix; Red Rack'em chose one of his all time favourites in Ibex's 2008 beatdown cut "Spiritual War", while XBD has taken on Benjamin Brunn's kick drum shy "No Kicks". Dummy and left_blank producer Lorca - who remixed Recast's "Consensual" for Third Ear in 2011 - decided to remix Pirahnahead's underrated "Self Conscience". Class all round.

Review: Newcomer Julian Neumann releases his second EP The Realist courtesy of long-standing UK imprint Third Ear, rubbing shoulders with the likes of Theo Parrish, Delano Smith, Norm Talley, Wbeeza and Benjamin Brunn. The release is laced with Detroit teachings of spaced synths, jangled percussion and educated musicality."Involved" merges motor city chords with two-stepped drum patterns and melancholic keys synonymous with South London. Neumann employs free-spirited synths and unhinged drums on "Being F" while the chord-heavy title track "The Realist" is straight forward and full of feeling. "Will Be" is of similar disposition to the rest of the EP and its basic rhythm is augmented by dizzy synth melodies and a heavy electro bass. Underground house music with a twist.

Review: What will this kid come up with next? Following a groundbreaking two tracker on Hyperdub and a melodic house remix of the Hundred in the Hands on Warp, Kyle Hall returns with the Must See EP on UK house label Third Ear. The title track maintains the raw vibe that Hall brings to his productions - be it jazz, house or dubstep - with an oh-so Detroit bassline, swirling synths and catchy claps. "Ghosten" sounds like an ode to someone or something lost, and shows Hall is just not all carefree enthusiasm - he knows how to get melancholic too. "Osc_2" keeps it restrained but with a shuffling high hat and hint of squelchiness in the bassline - it's tense and foreboding stuff - while "Body Of Water" rounds off the EP in a brilliant manner. Simply put, the Must See EP is a must listen.

Review: There's something quietly grandiose about Recast's "Consensual". For starters, there's a bonus beatless version, which recasts (sorry) the original as a blissful ambient number full of lapping synth washes, endless chords and world-weary melodies. Then there's the original version, which takes these spellbinding elements and fixes them to shuffling deep house rhythms. At nearly 12 minutes long, it's a bit of an epic, but it's also rather wonderful; like "Sueno Latino" for the Beatdown generation, or Orbital's "Semi-Detached" after a trip down the beach. There's also a genuinely lovely Lorca Music remix, which is more obviously dancefloor-friendly but no less beautiful.

Review: UK based label Third Ear have proven themselves to be rather on the money when it comes to discovering new artists. This time, they introduce German producer, Sarrass who deals us an accomplished EP whose four tracks deliciously blend Detroit techno with more abstract electronica. Hailing from the south-west of Germany, Sarrass first entered the world of music playing piano and trumpet in classical and jazz orchestras. Electronic music first came to his attention via Klaus Schulze and then after hearing techno later, he was hooked. Third Eye discovered his talents through his MySpace page and tracked him down to finally get this EP out to world. Showcasing his deep and melancholic sound, the "Lust" EP contains the beauty and emotion that Sarrass sees as pivotal to his approach to music. His preference of emotion above functionality is clear to see over these four diverse original productions. "Seance" gets the ball rolling with some lusciously deep house music. Keeping things relatively simple, Sarrass sets the tone with a warm feel courtesy of lush synths and deep bass. "Louisa Suiza" takes on more of a stripped down, down tempo techno persona. Spiralling tech sounds cascade through a wall of pulsating bass and shield of steady beats. Returning back to house music, "Be as Been" builds amid stabbing bass parts, snapping claps and a driving beat. Simple key patterns add yet more character as Sarras indulges in the disciplines of his past. Delving into chunkier pastures, "Lust" finishes the EP with a staggering jaunt through the intertwining sounds of house and techno. Often raw sounding, but always deep and emotive, the "Lust" EP is an expertly crafted manifestation of Sarrass? own unique sound. Once again proving Third Eye?s aptitude for spotting new talent, we can only wait with bated breath to see what they uncover next.