CD Album Recommendations June 2016

Review: Given the length of his career, it's rather surprising to find that Under The Sun is Mark Pritchard's first under his given name. As critics have pointed out, it's an overwhelmingly beautiful and poignant set, built around an intoxicating fusion of ambient electronics, soft touch instrumentation, bubbling beats, grandiose chords, and on-point collaborations (check the vocal contributions of Beans, Thom Yorke, and Linda Perhacs). In some ways, it recalls Pritchard's pioneering work with Tom Middleton as Global Communication, while feeling altogether more grown up and musically complex. Regardless, it's an undeniably brilliant album.

Review: The last time we heard Fred P under his FP-Oner guise was for an album, the minimally named 5, which came out on Japan's powerful Mule Musiq stable. As such, FP-Oner returns with 6 for the same label, carrying a similar load of molecular deep house music coated in a distinctive sci-fi kinda feel. This is what Fred P does best; that is, constructing intricate patterns of sound and giving them a shape through house. In other words, each of these eight tunes tell a much more interesting story than the dancefloor and, instead, they force the listener to enter a world of its own, guided by airy, mystical synths and plenty of electronic manipulation. Excellent, as always, Mr P.

Review: Since releasing his second album in 2013, James Blake has become one of the most in-demand artists and producers on the planet, recently appearing on Beyonce's much-hyped "visual album", Lemonade. On The Colour In Anything, it's very much business as usual, with Blake only occasionally veering away from his drowsy, atmospheric, piano-and-vocal template. These variations on a theme - the subtle, 4/4 techno-pop of opener "Radio Silence", the autotune-sporting R&B pop of "I Need A Forest Fire", tactile warmth of "Always", and frankly quite odd accapella throw-down "Meet You In The Maze" - add interest, though Blake remains at his best when concentrating on his most emotion-rich and heart-aching songs.

Review: On its' release earlier this year, critics were fulsome in their praise of New Order's Music Complete, describing the album as a return to form. What impressed most was the veteran Mancunian combo's willingness to embrace dance music again, especially on the extended versions featured on the vinyl version. Complete Music collects together those 12" mixes on CD for the first time, allowing digital music fans the chance to revel in the Moroder-ish, Italo-disco pulse of "Plastic", the loved-up, Hacienda '90 feel of "Tutti Frutti", and the sing-along charms of lead single "Restless". If you love New Order, you'll love it; close your eyes, and you could be listening to a classic set from the late '80s, or early '90s.

Review: Almost six years have passed since Phil Reverso 68 Mison last unleashed a Cantoma full-lengther. During that time he's appeared on the creme de la Balearic creme: Claremont, Music For Dreams and Is It Balearic? Now returning to his own label with his most consistent, prolific alter ego, Cantoma lays us down where we last got up: from the subdued gospel tones of "Alive" to the Grace Jones vapour trails of "Echo" by way of the Latin street-kicker "Tala Lumi", the whole album oozes an organic soul that instantly sedates the soul. Properly beautiful.

Review: Frequent Jeremy Greenspan and Morgan Geist collaborator Jessy Lanza was hailed as a future star on the release of her 2013 debut album, Pull My Hair Back. That album projected her as some kind of New York freestyle chanteuse dragged kicking and screaming into the 21st century, backed by an all-electronic band fascinated with the potential of future R&B and left-of-centre synth-pop. This belated follow-up, which was once again produced in cahoots with Jeremy Greenspan, is even better. Colourful, vibrant and attractive, the ten songs are truthful to their '80s NYC inspirations, but smartly avoid the pitfalls of such blatant retro-futurism. In other words, it's a superb collection of future R&B and pop gems.

Review: Richard Fearless returns with Death In Vegas' sixth album 'Transmission'. Collaborating with artist and writer Sasha Grey, the project is a killer combination of Grey's lyrics with Fearless' signature sound, honed in his Metal Box studio. Said to have bonded over a shared love of Chris & Cosey and Throbbing Gristle, the duo really find their comfort zone on this LP. Alongside lead single 'You Disco I Freak', we particularly enjoyed the very Songs Of Love & Lust sounding "Consequences Of Love", the dark and tunnelling minimal techno of "Flak" and sexy EBM pulsations of "Sequential Analog Memory" .

Review: Panorama Bar resident and Ostgut Ton mainstay Virginia is back with a full length. Whether she's lending her fine vocal talents to home girl Steffi (who co-produced the album with fellow Dutch legends Dexter and Martyn) like she did on her Power of Anonymity album a couple of years ago (like on the fabulous "Yours") or getting behind the console herself to pump out some sweet grooves; she sure is versatile. Fierce For The Night is a fitting title, the dozen or so tracks on here are the perfect soundtrack to a long evening and morning experiencing her acclaimed residency and all inspired by the classic and timeless sounds of Chicago via NYC. Highlights include the sexy dancefloor drama of the mighty opener "Bally Linny", the Chaka Chan inspired boogie playground that is "Obstacle" or the emotional and bittersweet slow-mo pop of "Believe In Time" . Not to mention the high octane dancefloor bomb that is "Raverd"

Review: Quite surprisingly, The Triad is the first Pantha Du Prince solo full-length since 2010's well received Black Noise. Like that set, which saw Hendrick Weber continue his obsession with the melodious end of minimal techno, The Triad is a vibrant and picturesque affair, drawing influence from the late night atmospherics of James Blake, and the bubbly IDM of Boards of Canada, as much as the dancefloors of Berlin, Cologne or Frankfurt. As usual, Weber has managed to combine electronics with acoustic instrumentation without spoiling the shuffling dancefloor mood, and the album's various vocal tracks are notable for their immense dreaminess. If you've never taken a trip into Weber's warming world before, The Triad offers the perfect introduction.

Review: When they first emerged at the turn of the decade, Praveen Sharma and Travis 'Machinedrum' Stewart's Sepalcure outfit were responsible for the softer, more experimental side of the Hotflush Recordings discography. Some five years on from their eponymous debut album, the duo returns in a notably boisterous mood. While their dedication to melody and beauty remains, Folding Time is a much more upbeat and soulful affair, drawing more heavily on broken beat and UK garage, particularly the kind of jazzy "future garage" once promoted by the likes of Phuturistix and Landslide. The result is a sparkling, colourful and hugely entertaining set, notable for its' gleeful positivity, impeccable production and bass-heavy thrust.

Review: Since debuting on Bromance in 2013, Kaytranada has become one of the leading lights on the future R&B scene. Given his track record, it's understandable that there's plenty of hype surrounding 99.9%, his long await debut album. The 15-track sees him showcasing the depth and variety of his beat making, production and compositional skills. Thus, the string-drenched jazziness of "Bus Ride" is followed by the off-kilter R&B pop of "Got It Good", and the Onra-ish synth-hop soul of "One Too Many" sits side by side with the double bass, Rhodes and Latin-influenced beats of "Despite The Weather". It's pretty expansive, clocking in at 15 tracks deep, but the quality never dips throughout. Recommended.

Review: A new Lone album from Matt Cutler represents an about turn away from the more mellow tones found on 2014's Reality Testing back in favour for the rave tropes that characterised his output circa Pineapple Crush. The nine tracks on Levitate are rife with the energetic fervour of hardcore and jungle, blending peppy tempos and nimble drum licks with the trademark graceful melodies one would expect from a Lone record. You should be familiar with "Backtail Was Heavy," already been premiered via a phone line service and "Vapour Trail" which formally announced Levitate and the other seven cuts from Lone show Cutler is at the top of his game.

Review: Since debuting in 2010, Satin Jackets has become one of the most name-checked nu-disco acts in Europe, with a surprisingly wide fan base. Panorama Pacifico is their long-awaited debut album, and sees them largely abandoning their dancefloor roots in favour of a range of colorful, Balearic-tinged, radio-friendly pop songs. It's possibly a wise move. Certainly, the German duo is incredibly good at creating woozy, atmospheric cuts, full of dreamy synthesizer chords, shuffling grooves, and twinkling melody hooks. As a result, Panorama Pacifico is the sort of album that would sound great on the beach.

Review: Despite a career that stretches back to the tail end of the 1980s, Retro Soul is - somewhat remarkably - the full-length debut of Basement Boys man Teddy Douglas. Created with the help of vocalist Marcell Russell and his honeyed tonsils, the album begins with a spine-tingling acapella, before working through a range on sweet, immaculately produced, on-point soulful house gems. There are occasional smouldering ballads, torch songs (see "Good Morning Love" and the slick "Wonderful") and modern soul gems (the horn-heavy "Clap My Hands"), but for the most part it's a deliciously bright-and-breezy, dancefloor-centric set.

Review: Since visiting Trinidad & Tobago in the mid 2000s, experienced funk musicians Bjorn Wagner and Ben Greenslade-Stanton have been obsessed with the potential of steel drums. Since debuting in 2007, their Bacao Rhythm & Steel Band project has delivered a string of killer singles that join the dots between heavy funk, steel band music, and Cuban rhythms. Debut album 55 contains a killer mix of essential cover versions (most notably a brilliant take on 50 Cent's "Pimp" and a fantastic re-imagining of Cat Stevens' electro classic "Was Dog A Doughnut"), and original compositions. The majority of these are excellent, though it's arguably the Chic-inspired "Love Like This" and rabble-rousing "Port Of Spain Hustle" that stand out.

Review: Two years on from his previous full-length, Irishman-in-Stuttgart Marcus Lambkin returns with What Follows, his third album. Recorded in his home studio, but mixed with Juan Maclean in New Hampshire, it's a typically stylish and trippy set that methodically joins the dots between Giorgio Moroder, LCD Soundsystem, Italo-disco, German techno, Balearic deep house, and intense Chicagoan acid. Lambkin has always been adept at making club music both left-of-centre and accessible, as if he secretly pines to make '80s synth-pop but is consistently drawn towards the dancefloor. This certainly explains the quantity and quality of the vocal numbers dotted throughout What Follows.

Review:  Lack Of Afro has been pouring his shades of worldly funk and nu-soul across the Freestyle catalogue over the last few years, but this time it's his moment to shine with a brand-spanking, sparkly new LP for LOA, putting together everything he's known for under one gorgeous roof. Here, you have twelve scorching slices of upbeat lament, and from "Hello Baby" - a masterful stroke of sunny funk - to "Now I Feel Good", the artist manages to bring back the spirit of the 1970's into a new and contemporary light. Gliding piano keys, powerful vocals, and a kick-ass production surely make Lack Of Afro one of the kings of modern soul.

Review: Jamal Moss, aka Hieroglyphic Being, returns this time under the alias Africans with Mainframes. With fellow Chicagoan Noleian Reusse they have been releasing music under the name Africans with Mainframes for over 15 years now. The KMT LP is the debut album from the group, a collage of apocalyptic Chicago acid meets industrial and transcendental post-house machine funk. Both intense and unique, the album of forward-thinking, experimental, boundary-pushing Afro-futurist electronic music shows why Hieroglyphic Being is regarded as one of the most serious purveyors of experimental electronic music today.

Review: Industrial-influenced duo Youth Code (AKA Ryan George and Sara Taylor) impressed with their eponymous 2013 debut album, so hopes are naturally high for this belated follow-up. After starting with the melodious and deep electronics of "(Armed)", the American pair sprints through a series of loud, crunchy and intense fusions of gravelly thrash metal, and Nitzer Ebb style EBM. The album sparkles when they move further towards more authentic, drum machine heavy EBM territory (see "Anagnorisis" and "Glass Splitter"), while the screaming, end-of-days intensity of "Lost At Sea" provides a fittingly dystopian finale.

Review: Few D&B artists have delivered seven albums in 10 years at the high level of creativity as Logistics. Few D&B artists have delivered seven albums full stop. But this is the prolific magic of Matt Gresham, a man whose passion for melody, soul, grit and authenticity are balanced in such a way he consistently smashes it with every construction. Take the rattling jungle amens and choral soaring of "Icarus" or the weighty halfstep and Flume-style vocal trippiness of "Fight 4 U" or the hazy sunrise glimmers of the title track.... Each cut expressing weight, musicality, heaps of space and a range that's at once broad and highly defined. Impressive.