Review: Way back in 1995, Sun Electric (AKA Berlin-based twosome Tom Thiel and Max Loderbauer) released one of the greatest live ambient albums of all time, the stunning 30.7.94 Live, on R&S offshoot Apollo. Live at Votivkirche Wien is a follow-up of sorts - a previously unreleased recording from 1996 of the pair's show at Vienna's neo-gothic Votivkirche Wien concert hall, at which the duo made great use of the venue's natural reverb. Mixing their usual unfurling melodies and deep space chords with a mixture of gentle beats, sumptuous sound design and dubby basslines, the set ebbs and flows attractively before concluding with an inspired, stretched-out ambient techno re-interpretation of 1994 single 'Aaah!' In a word: brilliant!
Review: Ben Sun is a London-raised but currently Margate-based producer who is now back on Razor N Tape with his full-length offering The Henge. It draws on his love of cooking up introspective analogue electronic textures and traverses several different moods and grooves with ease. At times bright and melodic, at others dark and brooding, it offers moments of euphoria and times of reflection. Stand cuts include the downbeat sounds of 'Moon Lion' and funky rawness of 'The Khan's Reverie'. Fact fans should note that the superb artist with the album was also designed by Ben himself.
Review: Following a fine mini-album on Los Angeles' Casablanca Sunset Records four years ago, "indie-dance" trio Supertaste have kept up a steady stream of singles and one-off cuts, mostly via their own self-titled imprint. Supernova, officially their debut album, marks the Brooklyn combo's first appearance on vinyl. The sounds they showcase are warm, positive sounding and groovy, recalling the work of fellow New York outfits Holy Ghost, Escort and Midnight Magic - albeit with their own synthesiser-embracing twist. It guarantees great listening throughout, with our picks including 'Protostar', the more bluesy indie disco flex of 'Supernova', the dub disco-flecked joy of 'Play To Lose' and the deliciously slow, dreamy and spacey 'Right Place/Right Time'.
Gaoule Mizik - "A Ka Titine" (Kay Suzuki Gwoka dub) (7:38)
Broki - "Es Que Lo Es" (Kay Suzuki remix) (6:32)
Blackbush Orchestra - "Sortez Les Filles" (Kay Suzuki remix) (6:25)
Sunlightsquare - "Oyelo" (Kay Suzuki By The Sea mix) (6:35)
Review: A rare new V/A record from the diggers deific over at Time Capsule - Kay Suzuki and company - whose focus on reissues has thus far formed a dense but not unbraveable thicket of drummy disco, city pop, reggae and international rerubs. Formed out of the East London party scene centring on Brilliant Corners and Beauty & The Beat, this four-track haul of Choice Remixes is a surely credible little curation. Suzuki lends four flips to the record - first of Gaoule Mizik's 'A Ka Titine' from 2022, which reappears with expository force, providing a banging re-bake of the Guadeloupean gwoka original. The theme continues on a version of Broki's 'Es Que Lo Es', which veers Latin minimalia, before slowing to a chuggy pace on 'Sortez Les Filles', before a final, synthy piano duet leaves the proceedings on a piquant hurrah, 'Oyelo'.
Review: The Danish electronic jazz duo Svaneborg Kardyb - consisting of pianist Nikolaj Svaneborg and percussionist Jonas Kardyb - performed a short session for NPR in May 2022, a few months before the release of their third studio album Over Tage. Four tracks of exquisite jazz melded with Scandinavian folk influences, with artwork from Gondwana Records' Daniel Halsall, are presented to us in beautiful silvery-clear vinyl format. With the highs lopped off and the intonations muted, this is a serene, expectation-buttressing album.
The Heart Knows Better (Sweet Billy Pilgrim remix) (4:18)
A Fire In The Forest (Readymade FC remix) (6:07)
The Good Son (Yoshihiro Hanno remix) (4:33)
Late Night Shopping (Burnt Friedman remix) (2:52)
How Little We Need To Be Happy (Tatsuhiko Asano remix) (4:35)
The Only Daughter (Jan Bang & Erik Honore remix) (8:05)
Blemish (Akira Rabelais remix) (7:31)
Review: You can go one of two ways as an artist when you've had pop success early in life: you keep the wheel because the wheel isn't broken. Or you change the wheel and reinvent yourself and make music that's true to yourself and not guided by commercial expectation. David Sylvain has done the latter with aplomb. At the time of making this album, which is the companion album to Blemish (2003) and now on vinyl for the first time, he was free from the shackles of a major label and diving headfirst into improvisation. You can't even faintly hear echoes of the band that made his name - new wave icons Japan. For these remixes Sylvian worked with the likes of Ryoji Ikeda, Burnt Friedman, and Readymade FC, although some songs were re-recorded rather than remixed. 'Late Night Shopping', remixed by Friedman, is a great entry point to this work, with dark beats and eerie noises, making for an atmospheric triumph. This is an album that pushes music as an artform forward. Long may Sylvain continue.
Review: Second time around for Francesca Macri's first outing as System Olympia, which originally landed in stores back in 2017. This time round, she's expanded it from eight tracks to six, adding a couple more unheard and unreleased cuts from the period to the enticing bvlend of original productions, pitched-down reworks and sneaky re-edits. Beginning with the pitched-down electrofunk of 'Call Girl' (a tweak of a little-known Danny Boy tune), Macri ambles her way through synth-and-drum machine heavy cuts that variously touch on Italo-disco, leftfield '80s synth-pop, new wave, Balearic pop (see 'Close to My Nebula'), dreamy electro and slow-motion excellence. Atmospheric, synth-powered and full of playable cuts, it's a fine EP all told.
Review: Cubic Space by SYT is a highly sought album from UK's mid-90s underground trance/rave scene, originally released on the Magick Eye Records, the label co-founded by Swordfish from Astralasia. With SYT short for "shave yer tongue" - don't ask us, we don't know - Cubic Space amounted to the only record outputted by the pseudonym, yet still went on to charm club-goers, owing to its unique trance sound-sources not available to the average high street shopper, and its many sprouting tangents through futuro-"tribal" sounds, dashing any concerns over tempo regulation or idiosyncrasy in the process; an ill a fellow artist might suffer from. Club numbers like 'Eclipse' and 'Global Drift' are torrential enough; it's the filterpassed breakbeats of the likes of 'Nu Dawn', and the punctiform, recherche sound design of 'Lost Cargo' that really get us moving.
Review: If Detroit as a collective mind knows what's good for it, it'll note 8 Miles To Moenart as one of its most prized dance albums. Tall Black Guy's debut LP hears a tenth anniversary reissue edition via First Word; the artist known personally as Terrel Wallace recalls his humble Detroit beginnings; he was raised on an early staple diet of Motown, and the phono-dubbed source material of which is here heard breezily funnelled and assembled into ten gaunt, sample-flipping house numbers. But this new edition doesn't fail to switch things up either, in fact presenting it almost as a different record; two new tracks feature, 'From Home To Work, And Back' and 'Running The Motor', on top of an alt-mix of the single 'Mon Amie De'troit', previously only available on 7" vinyl. "While it's nice to reminisce,", says Wallace, "it's important to look forwards, so I wanted to include something new here to represent my progression as an artist, so there's some new versions included, that I created with the help of some jazz musician friends of mine."
Review: Four Tet's iconic label, Text Records, rarely releases much beyond the artist's own, less album-based output and collaborations with friends. So it's a revelation that a new artist is coming to release on the imprint too - Hagop Tchaparian's 'Bolts' is a uniquely trans-Armenian take on folktronic dance, blending the found sound house tropes Mr. Tet is all too used to with field recordings from the Mediterranean. An auditory homage to skateboarding, coastal tat shops, and post-punk through the lens of emotive dance music.
Review: Following a couple of decent but arguably overlooked 12" singles, Tecwaa has decided the time is right to drop his debut album. The Swedish artist proceeds to languidly shuffle through evocative, occasionally icy tracks that variously draw influence from deep house, 1980s wave music, spiritual jazz, leftfield synth-pop, trippy electronica and chugging psychedelic disco. It's an interesting and entertaining set, with each success delay-laden track delivering a new twist on his hard-to-pigeonhole late night/early morning sound. By the time the bubbly, acid flecked "Those Cosmic Plains" rounds the album off, you'll be ready to listen to it all over again.
Review: Elysian On Moon Lake is a new album from TECWAA that takes a differs path than its predecessor. Where that one was full of air and sparkle, this one is more claustrophobic and dusty. It is tight and dark an involving with plenty of weird electronics obscuring the beauty of the pianos on opener 'Never, There. Was.' 'Tropic Notations' is a cosmic workout with electro drums and aline synth sounds, while things get leggy and zoned out on 'No Lies To Her Fire.' Highlights on the second side include 'Welcome Dystopia' with its visceral techno stomp.
Review: Longtime synthpop, future dance and "washed-out" musician and DJ Teen Daze (Jamison Isaak) presents Elegant Rhythms, his latest and most personal album to date. After several years of exploring music made for a dancefloor, Elegant Rhythms is more indebted to the singer songwriters of the 70s, the sophisti-pop sounds of the 80s and the vaporwave sounds of the 10s. Negating the showoff approach - of artists gloating of how little time it took to make a song or record - Isaak does the opposite, drawing attention to the album's four-year making, and its production in parallel to other releases that do not share its scale and sense of personhood. An album developed with the express purpose of expressing personal development - facing trauma, growing older, holding true to questions of purpose - something resolute wafts from its autotuned falsettos and prismoid reflections of R&B, soul and electronische musik, the mercurial highlights of which have to be 'We're Out Of Phase Again' and 'HST Underwater'.
Review: For the first time, experimental saxophonist and composer Jimi Tenor finds Norweigan dance powerhouse DJ Sotofett, both teaming up for a collaboration: 'No Warranty Dubs'. Completing the trifecta is Berlin ensemble Kabukabu, the five-piece Afro-jazz-funkers whose original recordings - many of which were overseen expertly by Tenor himself - now come redistilled through a dubwise filter paper. The loose-limbed, lackadaisical energy of Kabukabu's live instrumentation merge fully with Tenor's genre-blurring composites, as Sotofett recasts fifteen tracks into rhythm-driven, bass-heavy versions. The original free jazz and Afro-influenced elements remain present, but they here serve as rawer material for layered studio treatments, channelling echo-drenched edit work and hypnotic repetition, where nothing ever rests to the point of complacency.
Review: Terra Utopia returns to Emotional Response with a second release, a collection of ten tracks blending ambient textures, atmospheric rhythms and fluid drum & bass. French producer Benoit B revives this project after the success of the first Terra Utopia recordings, delivering another thoughtful exploration of soundscapes. Initially conceived as a short-lived project, the first Terra Utopia was recorded in two weeks during a spring in Athens, capturing a deeply personal sonic aesthetic. This second offering reflects an evolution in style while retaining its essence. Tracks unfold like snapshots of expansive skies, tranquil seas and warm summer days, creating a narrative of serene moments and astral imaginings. The beats feel crisp and purposeful, and every cut is crafted for both personal immersion and DJ functionality. A highlight is the collaboration with singer dvdv on 'Shadows Of Memories', where her ethereal vocals float over dreamlike instrumentation, offering an evocative, hypnotic centerpiece. Terra Utopia continues to conjure vivid sonic imagery with its latest chapter.
Review: After their well-received debut, Theodor returns with a new LP that elevates their signature psychedelic soul sound. Drawing inspiration from 60s jazz and 70s soul, the band crafts a contemporary sound infused with dreamy synthesisers, mellow acoustic drums and infectious bass lines. The unique combination of falsetto and soulful timbre from the two vocalists weaves together themes of self-reflection, cosmic contemplation and poignant memories of lost friends. This release shows the band's evolution, with tracks that feel cinematic and emotive, leaving you in a tranquil, sun-drenched atmosphere. Static drum machines and elastic instrumental layers give the music a hypnotic quality, while classic pop song structures provide a familiar yet fresh appeal. The LP's wide sonic range and mellow grooves evoke a lazy summer afternoon, perfect for a relaxed tea break. Fans of AIR's silky synthesisers, early Mac DeMarco's mellow vibes, or the rhythmic soul and funk of the 70s will find much to enjoy. Theodor's refined approach to their distinctive style marks a significant step forward, blending nostalgia with innovation to create a soundtrack that stirs both the soul and imagination.
Review: Tidiane Thiam's Africa Yontii speaks volumes beyond its melodic notes, conveying a powerful message of change and empowerment for Africa. Thiam's expressive guitar work serves as his voice, articulating the need for African agency and self-determination. Born in the Senegalese town of Podor, Thiam's compositions draw from his deep roots in Pulaar folk music, enriched by collaborations with hip-hop producer Ndiaye Moctar. In this album, Thiam addresses pressing issues facing Africa's youth and reflects on the challenges of leaving loved ones behind in pursuit of a brighter future. Despite grappling with heavy themes, his music radiates with love for his homeland and heritage. Africa Yontii boldly reclaims the narrative of "world music," placing African voices and perspectives at the forefront. Through soulful melodies and poignant lyrics, Thiam beckons Africa to seize its destiny and usher in a new era of change and progress.
Review: Originally released in 2002, this album remains one of Washington-based duo's most well-known albums, blending trip-hop, downtempo, and an eclectic mix of global influences. While it's often categorised as sophisticated lounge music, its world-fusion approach offers a real depth, from hypnotic opener 'Heaven's Gonna Burn Your Eyes', featuring Emiliana Torrini's airy vocals over a light, looping keyboard melody and deep bassline, onwards. The track's ethereal quality sets a contemplative tone and back s it up with dynamic shifts that make it equally as engaging. 'Facing East' brings in Middle Eastern violin phrases and tribal drums, adding a richer texture. Here, Thievery Corporation excels, weaving together global sounds into a flowing, immersive piece. Tracks like 'The Outernationalist' and 'Un Simple Histoire' fall into the duo's familiar patternipleasant but formulaic dub and bossa nova elements that, while polished, don't push boundaries. However, 'Meu Destino' and 'Exilo' set themselves apart thanks to the authentic performances from Patrick de Santo and Vernie Verla, allowing the music to breathe without overproduction. Helping to validate Thievery Corporation's signature sound, this is a beautifully produced work and somewhat of a landmark in the history of downtempo lounge-hop.
Heavens Gonna Burn Your Eyes (feat Natalia Clavier)
Love Has No Heart (feat Shana Halligan)
Ghetto Matrix (feat Mr Lif & Natalia Clavier)
Passing Stars (feat Elin Melgarejo)
Until The Morning (feat Natalia Clavier)
Depth Of My Soul (feat Shana Halligan)
Sweet Tides (feat Lou Lou Ghelichakhani)
Lebanese Blonde (feat Elin Melgarejo)
Weapons Of Distraction (feat Puma)
The Forgotten People (instrumental)
Marching The Hate Machines (feat Frank Orrall)
Review: Back in 2017, Thievery Corporation's Rob Garza and Eric Hilton performed a now legendary concert in their home city of Washington D.C in which their band was backed by a fully-fledged orchestra. Three years on, they've decided to commit the orchestrated alterations to album. The results are largely superb, with the pair's slinky dub, lounge music and hip-hop influenced grooves and traditional guest vocals now coming accompanied by orchestral arrangements that veer from the subtle and sympathetic to the swooping, soaring and grandiose. Some of the versions of Thievery Corporation classics are particularly potent, with "Weapons Of Distraction" and "Lebanese Blonde" - one of their most celebrated early cuts - standing out.
Review: It Takes a Thief, released in 2010, is Thievery Corporation's first "Best of" compilation, curated by Rob Garza and Eric Hilton. This album is an excellent entry point for newcomers and a treat for longtime fans. Featuring standout tracks like 'Lebanese Blonde, from the Grammy-winning Garden State soundtrack, and 'Sound the Alarm,' a funk-infused live show staple, the compilation captures the essence of the duo's eclectic sound. The album spans their rich career, blending dub, trip hop and world music influences.
Review: World music and downtempo pioneers Thievery Corporation dropped their seminal It Takes A Thief album back in 2010 and it instantly became another one of their many classics. Drawing on sounds from across the globe from Indian tablas drums to Lebanese funk via Far Eastern strings, it's a cultured and laid-back listen rich in instrumentation and escapist grooves. The beachy bliss and gentle horns of 'All That We Perceive' and dubby swagger of 'The Richest Man In Babylon' are just two standouts among many.
Review: Eric Hilton and Rob Gaza very much mastered the art of crafting stoner soundtracks, post-club comedown music and Sunday sonics with a cultured and worldly bent. They did so more than two decades ago and turnout plenty of landmark albums, many of which are now being reissued. Their debut studio album from 1996 featured guest vocals including Pam Bricker - who went on to appear on more albums after this one - and Bebel Gilberto and samples include Kool and the Gang and Cal Tjader's 'Samba Do Suenho'. The album performed well and set the band on the road to success which they enjoyed for many years after.
Review: It Takes A Thief is the 2010 compilation from the electronic duo Thievery Corporation. Now reissued via Primary Wave, the album comes back again as a sore reminder of a rock-solidly wicked set of tracks, a collection specially selected by the dream team of Rob Garza and Eric Hilton for both longtime fans, and for music lovers who'd heard of Thievery Corporation but may have never listened to the band. It Takes a Thief features 'Lebanese Blonde,' the beautiful track notably used in the soundtrack to the controversial Zach Braff film Garden State, as well as 'Sound the Alarm', the funk-infused track that has since become a staple opening track for the band's live shows. Now released on vinyl for the first time, we're more than pumped to help get this one back in circulation.
Review: Amongst fans of the late Coil member (and prolific electronic experimentalist) Peter 'Sleazy' Christopherson, the Amulet album has long been spoken of in hushed tones. The second and final set he recorded as The Threshold Houseboys Choir, it was recorded in 2008 and only available at gigs (or via mail-order) in a "hand-made four mini-CDR package housed in a circular Thai amulet case". This, then, is the set's first "proper" release, with the material now stretched across two CDs. Reminiscent of some of Coil's more colourful and polished works of the early-to-mid 1990s, much of the material on Amulet blurs the boundaries between ambient, dub, trip-hop and downtempo psychedelia, sitting somewhere between vintage Orb albums and the more out-there escapades of Future Sound of London.
Review: Rose Robinson's debut album as Tigerbalm, 2022's International Love Affair, was a genuinely glorious affair in which she wrapped indigenous instrumentation and all manner of global music influences around grooves rooted in cosmic disco, nu-disco, proto-house, Italo and Balearic beats. This palette of influences once again comes to the fore on this remixed version, which boasts some of her favourite artists rework tracks from the LP. It's all killer, no filler - as the old saying goes - with our picks including Session Victim''s percussive deep house fix of 'Cocktail D'Amore', Isaac Soto's devilishly dubbed-out interpretation of 'La Brisa', a hybrid jazz-funk/Balearic soul re-build of 'Cosmic Camel' by Mystic Jungle, and a predictably proto-house leaning vocal interpretation of 'Tokyo Business' by Andrew Meecham AKA The Emperor Machine.
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