Review: Initially issued through a bespoke website described by Jaar himself as a way to hear Telas "in its liquid state," the album arrives as a concoction of workshop scraps, percussions and bit-graded effects next to tibetan singing bowls, plucked modular mechanics and all the crackle and pops of noise floor you could wonder about. Drawing from a state of consciousness that's sometimes only possible to dream in, this state is reached through the micro pops of melodic percussions and time manipulation in "Telallaes" alongside the acoustic, stringed motifs and disgruntled beats deeply embedded in "Telahora". Continuing to give deep, experimental and classically inclined music its time in the sun; pop ambient has never sounded so good.
Review: It's been some time coming for a new Nicolas Jaar LP and it's now we get to witness the continual evolution of his sound that's pushed someway into the mainstream consciousness since Space Is Only Noise. With similar appeal, it's as if in Cenizas sets Jaar as wandering back into town weary on horseback from 2016's Sirens LP, with the artist's spooky western, avant and experimental touches shimmering through an album of blurry guitars, static electronics and acoustic bass. The album delves into acousmatic music as much as it does ambient ballad rock, free jazz and musiq concrete, to prepared piano, dusty poetics and the sounds of a setting sun.
Review: The latest instalment of Crosstown Rebels' long-running Get Lost series comes from odd German deep house/tech house fusionist Acid Pauli, a man who looks more like a hairy Open University geology lecturer than a top-flight DJ. Reflecting Pauli's own style, the compilation's 41 unmixed tracks touch on shuffling, eyes-closed deepness, tactile techno, dream house and tongue-in-cheek silliness (the brilliant space-pop of "In My Spaceship" by Jan Turkenburg. More impressively, there are a string of previously unseen exclusives, including excellent tracks from Nicolas Jaar, Nu and Acid Pauli himself.
Review: Due to the hype driven nature of contemporary electronic music, it's possible you might have already forgotten how the debut Nicolas Jaar album sounds, so kudos to Circus Company for dropping the first of what should be an intriguing series of remix EPs. The words Pepe, Bradock and remix are likely to elicit shrieks of excitement amongst the more considered house heads and the Gallic deity serves up two versions of "Too Many Kids Finding Rain In The Dust"! The opening Blind Pig version is a heady brew of psychedelic sonic twirls and twisted orchestral flourishes over a bumping mid tempo cosmiche groove, whilst the Train Fantome Poke is a more intense, uptempo reinterpretation. Check the flip for Dave Aju's tinny but eminently mixable take on "Space Is Only Noise".
Review: There's going to be plenty of heat surrounding this mix-up from hot US DJ crews Wolf + Lamb and Soul Clap, and it's easy to see why. As commercially released DJ mixes go, it's exceptional. Packed with fresh material and refreshingly eclectic, it sprints between tracks - both upbeat and downtempo - at a breathless pace. From sparse nocturnal house and Arp-heavy noughties boogie to dubbed-out grooves, space-age electro and sweeping cinematic instrumentals, this installment of DJ Kicks has it all. Hell, there's even a spot of pedal steel skank from Slow Hands. With a cultured, considered feel and all manner of unreleased audio delights from the Wolf + Lamb family, it's an outstanding hour of entertainment.
Review: The New York-based Chilean Nicolas Jaar releases his first EP for Circus Company after a string of releases on Brooklyn label Wolf + Lamb. Of course this is another sombre affair from the young producer but as indicated from the abstract artwork, it's not all as straightforward as that. It seems pointless to attempt to categorise it as any one genre, which is characteristic of Jaar's complete disregard for boundaries combining anything from disjointed electronic sounds to sampling hip-hop beats or French opera. Perhaps less dark than some of his past tracks, the lyrical vocals in "Marks" are a little more upbeat, paired with light pianos and jaunty percussion, whilst "Angles" is focused around layered vocals in subtly melancholic tones, cleverly arranged with plucked strings in minor keys. "Materials" however features inevitably off-kilter pianos and brass, juxtaposed with electronic beeps and percussive claps entering the din. A superb EP.