Review:
Much like the Fabric mix series, Late Night Tales has been a staple of the British compilation dynasty, and the label has somehow managed to consistently call upon some of the world's biggest and most interesting talents to demonstrate their skills behind the DJ decks, and to give us a tiny view into their tastes and influences. Iceland's Olafur Arnalds, a lo-fi artist who has steadily released nothing but quality on the Erased Tapes label, is asked to do the honours for the catalogu's 44th instelment, and we are seriously digging what this dude is into. Electronica is a bit of a cop-out term to describe this gear, but there is just so much diversity in here that it's simply impossible to categorise it under one roof. Maybe sci-fi electro soul would be a good term, as it manages to capture the mood and feel of these beautiful songs by the likes of Koreless, Jamie XX via Four Tet, Samaris, Arnois, and Arnalds' own music. Spot on once again, Late Night Tales!
Review:
A new Carsten Jost album on Dial. Wow, this is a rather special treat, and we would call this a Juno weekly special. Apart from the fact that this dude makes awesome music, the producer has been purely busy running the mighty Dial label over the last 20-odd years, and this is his first solo LP since 2000's "You Don't Need a Weatherman". He's obviously though about this piece for a while because it is masterfully executed throughout, and there is little that Mr.Jost could have done to make it any better. That's because it is deep house made by someone who understands people, not merely dancefloors. In other words, these eleven tracks work in unison and, rather than making up a list of single, danceable tunes, he's decided to go for the journey approach, one which we've always got time and respect for. From moments of pure house magic, to downtempo chillers, and even subtle nuances of techno, this is the real deal. Another Dial masterpiece.
Review:
Shadowy Swedish duo SHXCXCHCXSH are back with another full length on Shifted esteemed Avian imprint, with SsSsSsSsSsSsSsSsSsSsSsSsSsSsSs. Always the pranksters, their cryptic language pushes the threshold yet again with the LP's 15 tracks (most come in at around three minutes) taking on increasing variations of lower and upper case. Dark and challenging freeform techno that turns the usual conventions of techno on its head, featuring harsh and textural power electronics plus the blatant abuse of looping, tape delays and excessive overdrive. Deconstructed rave aesthetics drowned in field recordings and surface noise throughout: heavy!
Review:
We all know and love Mark Pritchard. The Cornish producer has been one of Warp's finest artists since the '90s, and he has produced nothing but excellence from day one. We don't need to go into his history, as you should bloody well know it given the fact that you've landed here, but we will give you a little taster of what is at the heart of Under The Sun. The sound is definitely one that is shifting in shape, and while he has been known to make everything from techno to futuristic jungle, this LP is much more about mood and vibe, something that is clear from the appearance of Radiohead's Thom Yorke on "Beautiful People". That is not to say that the album is in any way too delicate or soft and, in fact, there are plenty of dark and foreboding moments that have rendered this dude's musical career so illustrious.
Review:
Danish DJ and producer Rune Reilly Kolsch started out around 2003 and first gained success with his track "Calabria". He went on to efforts in the groups Artificial Funk and Enur together (with his brother Johannes Torpe) and then creating some big tunes in the mid noughties minimal boom, under aliases like Ink & Needle and Tattoo. The first material as Kolsch surfaced around 2010 and he's been a staple of the Cologne based Kompakt family ever since. With 1989, he presents the final chapter in a trilogy that started with an exploration of early childhood memories and influences (on 1977) and continued on 1983: which soundtracked his childhood travels throughout Europe. With 1989, we have arrived at his early teens. Kolsch explains it was "a difficult time in my life, where I mostly just remember the greyness of it all." It isn't all a brooding affair though, for the most part. From the sombre symphonic acid of "Serij", the pop inflected tech-house of "In Bottles" (featuring Aurora) to the epically euphoric style of dancefloor drama you'd usually attribute to the man like on "Grau" or the anthemic lead single "Liath". It's quite a story he presents here.
Review:
Frankfurt favourite Roman Flugel returns to Hamburg institution Dial, presenting his third album to date for the label. According to a press release, the All The Right Noises LP explores further the themes of hotel rooms while on tour: "a place where no beats are banging and euphoric party energy is absent. A place where only heartbeats call the tune." Take for instance woozy and sombre drifters such as "The Mighty Suns" or "Nameless Lake" (which are full of dusty and vintage machine flair) or tough and disjointed house jams like "Warm & Dewy". Or our favorite "Dead Idols" which borders on near techno moments. Rest assured that there are more uplifting and bouncy tracks on offer, such as the deep disco flavour of "Dust" or the emotive bittersweet title track, where its soaring drones will wash over you.
Review:
The sixth release of Amsterdam record label Safe Trip brings together a few dozen ambient tracks from Japanese twin brothers Satoshi & Makoto from Kawasaki. The whole album's beats, melodies and musical phrases come from the Casio Cz-5000: which gives the record its name. Label chief Young Marco discovered their music via YouTube videos, which the two musicians had recorded in order to illustrate the possibilities of the aforementioned instrument and most of the material was said to be influenced by acts like The Orb and Yellow Magic Orchestra. According to the label, it is largely of an ambient nature, positive mood and possibly alien origin.
Review:
Mickey Pearce is back on Swamp81 with this highly anticipated new LP, the selfishly named Michael. However, we know that this is for good reason, because big dog MP is simply trying to say that he has a sound of his own; it's not one which necessarily does anything revolutionary, but it's certainly an individualistic stance within the bass-house spectrum. Surprisingly - for a Swamp release, that is - there are plenty of beatless shreds of ambient here, an introspective collection of sounds that develop into the more concrete pseudo house sound that we've come to associate with Mickey Pearce. Tunes like "Polyester" are the ones for the floor, but there are other beat-led moments such as "Cakes" which contain enough movement to be considered dance, but that still maintain a firmly leftfield stance. Whatever your tastes, Pearce is here to satisfy your needs.
Review:
This is the first ambient release from James Clements aka ASC on Auxiliary since 2011's collaborative album with Sam KDC entitled Decayed Society. As with the majority of Clements' recent work, this release continues the theme of his fascination with space. The term title refers to dwarf planets and asteroids that lay beyond Neptune and are usually found in the Kuiper Belt. With that being said, you can guess that this album is seriously deep space ambient. A total of eight tracks spanning 73, which will take you to the deepest regions of our solar system. One of the most instrumental figures behind the seminal Autonomic sound in the late noughties continues to impress us with his studio wizardry.
Review:
Between Northern Electronics, Semantica, and Dimensional Exploration, techno deviant Acronym has built himself quite a reputation for conjuring the coldest, most mechanical sort of techno. In case you didn't get it, we think he's a master at the genre, and he's right up there on our list of favourite contemporaries alongside the likes of Abdulla Rashim. This new EP comes courtesy of the fledgling Auxiliary label, and it starts off by setting a cinematic scene through the hollow sounds of "Final Descent", a placid glow of harmonies which transform into an apocalyptic chain of metallic percussion on "Endless Horizon". "Walk Below The Waters" continues this mood, thanks to a jittering artillery of drums and hi-hats that have been glued together by the raucous, minimalistic melodies suspended in the mid-end of the tune, only to be washed-out in the comparatively more diluted and tranquil whirlpool called 'Wandering Aimlessly".
Review:
Unlike the majority of his Bristol natives, Phaeleh likes to go beyond his immediate remit, to express himself in ways that look further than half-step beats, kick drums and hollow sonics. This new LP for Undertow represents a true shift in mood from the enigmatic 'bass' producer, one that sets its focus on the simplicity of sound, rather than a convolution of beats and dance floor arrangements. This masterful album is made of a whole plethora of field recordings and electro-acoustic wonder, and it feels like travelling along a vast, desolate plane of sonics. We've been told it's taken the producer a long time to put together, and it's clear from the very start that this is perhaps Phaeleh's most focussed work to date. Let's hope this inspires a whole new generation of UK ambient producers. TIP!
Review:
Sweden is not too often cited alongside the best of the downtempo scene, but it just makes so much sense for the country's sleek looks and cool approach to be associated to slow-burning bursts of outsider electronica. As such, Goteborg's Carbon Based Lifeforms have been among the few Swedes to wave the flag for the genre, and this new album - Derelicts - for Blood Music feels like another masterful stroke of genius from the duo. We've always been big fans of the label, so this LP comes as both a pleasure and a surprise in the fact that we weren't necessarily expecting them to appear on its wondrous catalogue. However, it's clear from the start that this is a fitting relationship; Derelict follows like a strange and compelling story, taking us into a world of distant chants and slow beats which form a distinctive narrative across its 12 tracks, and it comes highly recommended for anyone wishing to go on a little journey. Blissful, indeed.
Review:
Fake's Providence narrative continues with unique and innovative thrust as renowned experimental composer Olga Wojciechowska repurposes and re-orchestrates his most startling and original work to date. Rich, perplexing and full of drama, Nathan's signature abrasion is felt with even more emphasis and timeless scope as the eminent Polish composer works her magic. Also included is a breath-taking ambient twist from Konx-Om-Pax and live versions from Nathan himself. Providential.
Review:
One year on from his full length release for Sheffield institution Warp, Bibio - the alias of Stephen Wilkinson from the West Midlands - returns to the dreamlike environments evoked in the original LP. Phantom Brickworks "IV" and "V" are more haunting yet evocative neo-classical experiences; a couple of long winding and introspective pieces that are at the same time bittersweet and hopeful. Warp have hyped Wikinson's forthcoming new material coming in 2019.
Review:
Los Angeles based Palmbomen II makes an appearance for the next edition in famed Amsterdam festival Dekmantel's collaboration with the fashion label Patta. The Dutch protagonist of lo-fi, synth ambience - hooked on 90s nostalgia and retrofitted synthesisers and drum modules - delves deep into a colourful world of one par acid house, one par abstract electronic score. From the haunting ambience of "Theme" (original version) which creates tension and suspense in an early '80's VHS aesthetic, while the celestial new age soundscape "Study B" explores the wonders of FM synthesis, "Study E" likewise carries a grainy and saturated aesthetic in its elaborate chord progression.
Review:
After much ado, it is finally time for the second offering by Vermont aka Danilo Plessow aka Motor City Drum Ensemble and Marcus Worgull of Innvervisions who delve into all things exotic and balearic on this sublime 12 track journey where they take a break from their more club oriented music respectively. Mostly a beatless affair, these tracks are full of shimmering vintage synths, gentle arpeggios and even more traditional instruments like bass and slide guitar that make a perfect accompaniment for drifting or road trips alike. Features the recent, gorgeous single "Nordeney" alongside a brilliant collection of many other sublime cosmic/psychedelic/ambient cuts.
Review:
It's so impressive to see that The Orb have managed to reinvent themselves so many times, over so many years. The legendary UK outfit is now comprised of original founder Alex Paterson and long-time Kompakt member Thomas Fehlmann. The former has been involved in the project since the late 80s, while that latter has been heavily involved in the then-called 'rave' scene from about the same time, so we're talking about true veterans here. They struck up a relationship with the aforementioned Kompakt over recent years, and their latest COW / Chill Out, World! album was a brilliantly constructed work of pure ambient delight. Here, we have an artillery of remixers to inject some beats into the original mixes, starting with Alex Willner aka The Field in what is a classic Kompakt reinterpretation of "9 Elms Over River Eno", followed by Dave DK's own tech-friendly version of "4am Exhale". Veteran Jorg Burger's remix of "5th Dimensions" unleashes a kinetic flow across the sparse planes of the original cut, and minimal techno pioneer Leandro Fresco has his say on "Wireless". It's a Kompakt family affair...
Review:
Moscow based producer Anton Kubikov is one of the key figures of the Russian electronic music scene. His recent dub techno exploits have been heard on local labels like Heisenberg and his own Pro-tez imprint. Kubikov's relationship to Kompakt extends years back, when his SCSI-9 project (with Maxim Milyutenko) made its debut and has since several releases for the label thus far. It's a predominantly atmospheric affair on his new LP entitled Whatness. The slightly Italo tainted horror soundtracks of "Liquid Mirror" or the title track soon give way to seductive soundscapes of "Other The Sea" which wouldn't have sounded out of place on one of the label's famed Pop Ambient collections while tracks like "Kurt's Forest" or "April" have that Balearic tinged style of chill-out about them that will appeal to fans of International Feel or Music From Memory. Elsewhere the modern classical bliss piece "Pia" is quite a gorgeous moment but he saves the best for last on the mesmerising shoegaze style drones of "Entrance"
Review:
Danny 'Legowelt' Wolfers describes the music he makes under the Occult Orientated Crime alias as "an accumulation of 20 years of musical research and training, and what affect it has on the brain". Read into that what you will; in practice, his OOC output allows Wolfers to explore the more deep and cosmic end of the ambient spectrum, with sly nods towards jazz and movie soundtracks amongst the Motor City synthesizers, buried spoken word vocals and intergalactic chord progressions. The fantastically titled Just A Clown On Crack is the first OOC release to make it to wax, and effortlessly recalls the early '90s glory days of ambient house and intelligent techno, whilst still retaining many of Wolfers' stylistic trademarks.
Review:
On Scene Delete, Sasha has decided to flip the script, jettisoning his usual progressive-leaning club fare in favour of original productions that wallow in their largely beatless, ambient nature. In some ways, it's a surprise move, but in others, it makes perfect sense; his DJ and production style has always emphasized atmosphere and texture, making it perfectly suited for the ambient genre. Musically, Scene Delete has some genuinely superb moments, with the obvious Eno, Yokota, Namlook and Reich influences joined by nods to obscure new age records, early synthesizer pioneers and, on a couple of occasions, the glitchy IDM of Autechre.
Review:
Darmstadt's Benedikt Frey has been one of the most exciting talents in electronic music in the last few years. With releases on local institution Live At Robert Johnson and Barcelona's Hivern Discs in addition to his experimental project INIT (with Nadia D'Alo) he returns once again to Lovefingers' Los Angeles based imprint. This is the second time after last year's impressive The Lobbyist EP. Be prepared for more cosmic, post-Kraut psychedelia of the greyscale kind from Frey on his first ever full length release. Highlights include the brooding industrial punk-funk of "Controversial", the slow burning hypnotic techno epic "H For Hysteria" or the Can styled progressive rock of "Keygrind" which really shows off the diversity. Add to that the the woozy acid tribalism of "Push" or "Patcher" which are perfect for setting the mood early at Offenbach's favourite clubs.
Review:
Since Optimo Music founder JD Twitch is a walking encyclopedia of weird and wonderful music from around the globe, it's unsurprising that the label's occasional compilations are little less than essential. Miracle Steps: Music From The Fourth World - named in honour of John Hassell's description of ambient music - is another must-have from the Glaswegian stable. Featuring music made over the last three decades, it draws together trippy new age, droning experimentalism, electro-acoustic soundscapes, meandering synthesizer workouts, tropical-tinged bliss, and even the odd bit of spiritual jazz (Larry Chernicoff's wild "Woodstock"). In other words, it's the kind of ambient compilation you'd expect from someone who takes a widescreen approach to music, and who laughs in the face of genre pigeonholing.
Review:
Rene Pawlowitz is without a doubt one of techno's most defining producers. The Berlin based producer known for powerful and emotive warehouse anthems under such guises as Head High, EQD, WAX and Seelow returns for his third full length album as Shed; the first in five years since 2012's terrific Killer LP. All the hallmarks of his distinct sound are on display once again; on the brooding "Black Heart" or the bittersweet "Taken Effect" there's rusty, dusted down and broken up drums big enough to fill a stadium and backed by those mesmerising and hypnotic pads. It's beautiful in all its sinister rave glory. By contrast, interludes such as "Extreme SAT" introduce yet more gorgeous pads and shimmering arpeggios on this simple yet effective exercise in ambient: one of several beatless journeys on the album. "Call 32075!" romanticizes the heyday of early '90s techno, effectively bridging the gap between elements of Detroit hi-tech soul and British IDM; Peacefrog style. Immaculately programmed rhythms, powerful bass pulsations and emotive/life affirming elements all combine wonderfully and in a way that only Pawlowitz can.
Review:
It would be fair to say that Firecracker offshoot Unthank is a little underrated. The 10" series, which variously focuses on experimental deep house and curious downtempo explorations, has previously showcased superb work from Vakula, Inkswel, Booshank and Lord of the Isles, amongst others. Here, Vancouver's LNRDCRY gets in on the act, opening with a wondrous chunk of horizontal ambience - think dreamy, new age chords, throbbing bass and far-out textures - before delivering a suitably saucer-eyed slice of beatless positivity. The dancefloor's not completely ignored, of course, and the EP's final missive is an intense romp through analogue acid blessed, of course, with LNRDCRY's usual impeccably atmospheric chords.
Review:
Following the release of his acclaimed debut album, In Waves, on ESP Institute, Lord of the Isles man Neil McDonald returns home to Firecracker Recordings. With six tracks to choose from, Parabolas of Neon is almost a mini-album. It boasts a quartet of sublime, mind-soothing ambient cuts, topped and tailed by two more rhythmic moments. Opener "Sunrise 89", a shameless dose of nostalgia built around heavy, bleep techno style sub bass and electronic motifs, offers a perfect balance between dancefloor heaviness and dreamy, saucer-eyed intent. Then there's the small matter of the title track, which is the kind of ultra-deep, ultra-dreamy chugger that you just want to hug at six in the morning.
Review:
Danish producer Milan Zaks has largely impressed since releasing his first cassette of dusty, rave-influenced downtempo grooves last year. Modern Species, his first outing for Firecracker Recordings, is easily his most expansive and impressive release to date. Stretched out across two slabs of wax you'll find dreamy, jungle-influenced deepness ("World A", "For Real For You"), cosmic dub ("Stellar Clusters", "Ascension"), spacey ambient techno ('Entry Mode"), Motor City influenced positivity ("Parallax") and Boards of Canada style loveliness ("Reluctant Memory"). Predictably, it's all superbly produced, with the material proudly sitting in the no man's land between club-ready rollers and horizontal home listening fare.
Review:
Aksel Schaufler aka Superpitcher's Ravedays series reaches its ninth instalment with an unforgettable two-tracker. "Protest Song" is led by chiming bells, frazzled, purring bass and some half-heard, muffled vocals that appear amid the dark electronic squelches. It's a foreboding, menacing slice of low-slung disco and appears to have been produced as a response to the increasingly precarious political state of the world. By contrast, "Resistance" sounds like it was recorded as a means of rising up through dancing. Centred on a soaring bass and tough kicks, its chants build and build to the point where even the most apathetic listener will be compelled to dance.
Review:
Key sound affiliate Damu is back on the label with a scorching two-tracker that sees the artist develop a more comprehensive approach to his sonic landscapes, and one that isn't immediately tied down to the dance floor. "Off The Spectrum", in fact, is a wonderful companion to a DJ set, whether that be as an opener, or even roaming loose on a third deck; its beatless demeanour is full of life and colour thanks to the kinetic motion of its elements. "Point & Line To Plane", on the other hand, takes a much more aggressive approach, turing the tranquility of the A-side into a distorted frenzy, a wild and unpredictable whirlpool of sounds. Don't sleep on it..!
Review:
The latest volume in Music From Memory's impressive 12" series of reissued obscurities takes us back to late '80s St Louis and the hard to find world of Workdub. Formed of Virgil Work Jnr. and Nicholas Georgieff, Workdub's output was restricted to a pair of highly limited albums recorded between 1989 and 1992. All four tracks are taken from these two albums, and offer a lucid, ear-catching fusion of early ambient house electronics, experimental oriental synth-pop, alien jazz breaks, spacey Detroit influences, and stuttering drum machine rhythms. It's a hard-to-place but wonderfully evocative mixture, arguably best displayed on standout opener "Island Breeze". That said, the curiously Balearic, Tangerine Dream influenced "Caravan" is rather tasty, too, while its' ambient alternative mix, "Caravan Revisited" is almost overpowering in its' simple beauty.
Review:
Music From Memory has a reputation for doing the unexpected. It would be fair to say that few would have predicted the Dutch label's decision to release a collection "electronic and contemporary music from Brazil". As usual, the Red Light Records affiliated crate-digging crew has done a superb job with Outro Tempo, which was compiled by label affiliate John Gomez. Musically, it's predictably varied but always beautiful. It mostly focuses on tracks that fuse traditional Brazilian instrumentation, percussion and musical ideas, with elements of electronica, ambient, jazz-fusion and Reich style minimalism. The accompanying liner notes do a great job in putting the collection in context, explaining how the music was often inspired by political changes within Brazil during the 1980s.
Review:
Jamie Tiller and Tako's Music From Memory now present Gaussian Curve's second album entitled The Distance. Comprised of Amsterdam's 'Young' Marco Sterk on machines, Melody As Truth boss Johnny Nash on guitar and Italian ambient hero Gigi Masin on synths. The trio follow up 2014's wonderful Clouds LP with more dreamy and ethereal balearica ("Suspended Motion") by way of vague kosmic rock flourishes ("T.O.R.") and bluesy tones like on the lush "Last Breath". Much like its predecessor, the album had been recorded in a mere few days in Sterk's studio near the city's infamous Red Light District and this opus could potentially be held in such high regard by critics too. It's a superb effort from start to finish and highly recommended.
