Review: Lagartijeando is a key figure in the alt-Latin electronic scene alongside the likes of Nicola Cruz and Chancha Via Circuito. He makes an essential return here with 7 Caminos, a fourth career long player with Wonderwheel. Recorded between Cholula, Mexico and Tarapoto in Peru, it transports you in double quick time to the South American jungle and Mexican Altiplano volcanoes. Sunny melodies take flight over shuffling rhythms, dubby basslines unfurl like flowers at dawn and intimate vocal whispers bring a human touch to the rhythms. A gorgeous soundtrack to a perfect afternoon of escapism.
Santa Maria (feat Khalil Mounji & Nabila Dali) (3:15)
Cholula (feat Markio & Mariri) (4:32)
7 Caminos (4:09)
Que Lindo Sale La Luna (feat David Yturbe) (4:25)
4 Elementos (feat Brenda McMorrow) (4:29)
Review: Mati Zundel aka. Lagartijeando has been releasing cumbia-esque, Andean influenced dance music since 2010, though it's only in more recent years that the artist has rerouted his craft to LPs, of which this latest record is the fourth. With "camino" translating from Spanish to mean "path" or "way" - the word often carries a spiritual meaning - Zundel here aims to emphasise the many sprouting, vicissitudinous paths down which life may thrust us, despite the ever-present illusion of choice. After moving to Chula, Mexico, the artist drew inspiration from the landscapes and cultures of the northern tip of Latin America, reflecting local intrigues and mountainous mysteries. Armed with regional instruments, such as Andean winds and charango, Lagartijeando produces such danceable dazzlements as 'Cholula' and 'Que Lindo Sale La Luna', which stand out as the most heated songs here, their stylistic range offering a sense of the many choices that remain open to us.
Review: Braulio Lam's latest record is a unique outing, spanning pensive ambient dub and trip-hop moods, and cherrying them with an added visual element in the form of a photography insert. Born on the border region of San Diego and Tijuana, Lam's repertoire works in an expressly brooding sound that threshes its inspirations from the close but separate apposition of these two cities. The sense of a polemic being is a central theme of Lam's work; this is not only evident in his practice, which drifts back and forth between music production and photography, but also in the sonic content of Close Up itself, which drifts between depth-scouring electronica and Pacific folk in quick step, revealing them to be dialectically adjoined. Our favourites here have to be 'Buena Vista Social Dub', a crystalline immersion in dub and vocal etherics, and 'Mirror', and 'Monika', which lends a seething tape hue to a slowly moving slice of Latin blues.
Review: Danny Scott Lane's CAPUT album first arrived in 2021 as a cassette-only release and became a mini classic amongst those who know. It's a comforting, welcoming, soothing and serene ambient-jazz blend with thoughtful melodies a plenty and nice lazy rhythms. It's 'desert music inspired by the city' says the artist and is a pleasurable escape to emotionally rich places that go gentle on your soul. The pads are soft and smudged, the percussion is organic and deft, the melodies often fade to nothing as if distracted and the whole thing is a timeless work of great beauty.
Review: Hyperdub continues to stamp its authority down on a wide variety of electronic music, in this case throwing the light, bouncing club-ready sounds of Canada's Jessy Lanza into the mix of a back catalogue that touches on everything from ambient to dubstep and footwork. But, while we open on the snare-happy garage-house of 'Don't Leave Me Now', and tracks like 'Drive' also look to the dancefloor, things don't stay there long. 'Don't Cry On My Pillow', for example, is a low stepping piece of alternative electronic soul. 'Big Pink Rose' opts for synth refrains and staccato drums to create a steamy, heady neon r&b brew with added yacht. 'Double Time' deconstructs pop balladry and makes it sound lo-fi yet huge, 'I Hate Myself' seems to take a lead from tropicalia-hued, leftfield electronica.
Review: Jessy Lanza has always been quintessentially Hyperdub. A label helmed by garage, dubstep and bass DJ and producer, and academic music theorist Kode 9, the imprint has relentlessly pushed the kind of dance tracks that are unashamedly direct yet unarguably clever. Beats that acknowledge the delicate balance of fun and accessible with underground and intelligent. 2023's Love Hallucination, Lanza's fourth studio album, only adds to the evidence. It bubbles with pop sensibilities, sing-along worthiness and timeless infectiousness, but does so in an incredibly thoughtful, natural-yet-razor-accurate way. From two-step to slo-mo funk, r&b and steamy electro groove, it presents the kind of songwriter who makes sure chart and radio friendly doesn't always mean throwaway or one dimensional. Infinitely repayable stuff.
Review: When Nostalchic was first released in 2013, Lapalux was already well established as a central figure in the booming LA beat scene orbiting around Flying Lotus' Brainfeeder label. Given how entrenched in the 2010s that whole movement was, the music itself has matured beautifully over the past decade to become a heartfelt benchmark in a sub-genre that thrived on innovation and unexpected swerves. It helps that there are some choice detuned synth lines which fold time across the ages on the likes of 'Guuurl', proving Lapalux was always about the feels more than the shock and awe of the beats. Having only a modest run the first time around, now the album has been repressed for the first time as a limited edition on clear vinyl.
Review: There are few signs of 'difficult second album syndrome' to be found on "Through Water", Lapsley's confident and assured follow-up to her critically acclaimed 2016 debut "Long Way Home". This time round the former teenage prodigy has written and produced pretty much everything on the album, delivering a suite of songs that effortlessly blur the boundaries between glacial electronica, off-kilter synth-pop, R&B and folktronica. There are some moments of real beauty scattered throughout - see the rather fine "Leeds Liverpool Canal" for starters - while the way her distinctive vocals are matched by inventive and enjoyable musical arrangements is mighty impressive. Sure, there's nothing as rush inducing as club hit "Operator", but what's here is every bit as alluring.
Review: Jessica Lauren is a cornerstone of the UK jazz scene who has spent decades enhancing recordings and performances for legends like Jean Carne, Dexter Wansel and The Heliocentrics. As a core member of Emanative, her talents are well-known and her latest release, Film, affirms her status as a forward-thinking artist. Originally recorded in 1997 and released on CD in 1999, Film has been remastered and is now reissued on gatefold vinyl. The album's fusion of modal jazz, electronica, library music and field recordings feels remarkably current and blends acoustic and electric pianos, harpsichord and synths in a beguiling fashion. As such, Film cements Jessica's place as an innovative musical visionary.
Review: .Oh wow. Brussels-based Maloca label boss Le Motel has created something really beautiful here. Utilising musique concrete principles, and a renowned ear for pianos and contemporary classical, experimental electronica, ambient and the like, Odd Numbers / S? L? is an odyssey in all senses of the word. Made from time on roads less traveled and the people and places encountered en route, it also feels like an aural adventure in its own right. Catalysed by time spent in Vietnam, arriving into the sprawling colonial districts of Hanoi, then venturing out to Hmong communities in mountainous areas close to the Chinese border, those he met and engaged with have been directly involved in the final album here - making this a vast exercise in collaboration. Noisy kitchens, quiet fields, personal conversations, the laughter of a village square on a weekend morning, meet beats, bass, heavy future cuts, serenity, and bliss. 1000% yes.
The Lady Of The Sea (For Those Who Know The Tube) (4:00)
All My Life (2:32)
You're The Only One Girl (3:39)
At Least We Got Love (3:07)
All Love's Children (3:05)
Get Out In The Sun (3:53)
Golden Hues (2:53)
I Meditate Each Day (TM Try It) (2:59)
Review: Steve Leach's Ocean Potion, set for reissue on Be With Records, is a hidden gem of Balearic beach-funk from 1976, featuring Leachiknown today as Seasick Steveiin his earlier incarnation. Originally released exclusively in France on Philips, this LP is a funky AOR and blue-eyed soul masterpiece, brimming with vibrant, pop-funk energy. Recorded with the Crystal Grass Orchestra, the album boasts a lush orchestral sound that perfectly complements Leach's smooth vocals and the rich harmonies of a stellar ensemble of backing singers. The supporting musicians are legends from the French music scene, including Don Ray as arranger and synth player, Marc Chantereau on percussion, Slim Pezin on guitar, Andre Ceccarelli on drums, Christian Padovan on bass, and Pierre Halation on flute. Their combined talents create a groove that is both immediate and infectious, making it hard to believe this record has remained relatively obscure. The reissue by Be With Records has been carefully remastered by Simon Francis, ensuring the sound quality is impeccable. Cicely Balston's expert cutting preserves the record's integrity, while the original sleeve artwork, featuring a topless Leach reclining on a piano-laden flatbed truck at the beach, has been beautifully restored. This long-overdue reissue brings Ocean Potion back to the spotlight, where it rightly belongs.
Review: Leftfield really managed to make lightning strike twice back in their heyday. After the pair's seminal self-titled debut album set a new benchmark for what was possible with a dance music full length, they managed to do it again with Rhythm & Stealth. It will be forever best known for the tune that was picked and used in the Guinness advert ('Phat Planet') but that is just one of the many highlights. The album originally came in 1999 and was nominated for the 2000 Mercury Music Prize as well as making number one on the UK Albums Chart. It is a full-fat mix of epic basslines, driving percussion and dark moods that adds up to a head-melting soundtrack to a damn good night.
Review: As part of National Album Day 2023 - yep, it's new to us too - Sony are reissuing Leftfield's seminal Leftism album. It set a high water mark for dance music albums very early on and has rarely been better when it comes to complete listening experiences that also pack a dancefloor punch. It mixes up techno and house with plenty of booming baselines but also atmospheric tunes with a unique sense of mood that is utterly alluring even all these years later. This version comes on gatefold white and black marbled vinyl to make it a perfect collector's piece.
Review: Long serving Anglo-Dutch masters of psychedelic and experimental soundscapes - formed in London in 1980 but who relocated, we couldn't possibly think why, to Amsterdam four years - Legendary Pink Dots return with an album that explores the anxieties and complexities of our increasingly digital world. Tracks like 'So Lonely In Heaven' and 'The Sound of the Bell' set the tone with their haunting melodies and atmospheric textures, while 'Dr. Bliss '25' and 'Sleight of Hand' delve into darker, more experimental territories. The album's lyrical themes explore the seductive nature of technology and the potential for isolation and alienation in a hyper-connected world. 'Choose Premium : First Prize' and 'Darkest Knight' offer a glimpse into the seductive promises of the digital realm, while 'Cold Comfort' and 'Wired High : Too Far To Fall' explore the darker side of technological dependence. Psychedelic soundscapes, introspective lyrics and experimental arrangements - that'll be acid-tinged business very much as usual, then.
Review: After years working alongside Gianluca Salvadori in Italian stoner rock/dub disco fusionists Almunia, Leo Cecanti has decided to strike out on his own. Minor Circle, his full-length debut solo set, is little less than inspired. Full of layered guitar textures (both acoustic and electric), shuffling grooves, sun-bright melodies and dreamy chords, it's a much more Balearic affair than Cecanti's joint works - albeit one that still includes plenty of nods towards psychedelic rock, chugging cosmic disco and jazz-rock. The whole thing is impeccably produced, mixed and mastered, meaning each of Cecanti's numerous musical elements (and there are many on each track) seem to leap from the speakers towards you.
Review: Giuseppe Leonardi returns with his highly anticipated mini-album 7 on the fresh label Unsure following his acclaimed releases for Second Circle. This eclectic collection features seven tracks showcasing Leonardi's diverse musical range. Kicking off with the unexpected 'Suzi Wong' which blends reggae and dub influences with mutant disco vibes and captivating vocals, it then takes in tracks like 'Anti Narcotics Police,' 'Both,' and 'Rrrrrrr' with uplifting house beats with a quirky pop twist. 'Wonder Girls' and 'Wondering' evoke rhythmic echoes of Stefan Schwander's new work, while 'Deadline' brings funkiness and magical melodies. 7 is a unique sonic journey that brightens any day with its playful coolness and raw charm.
Review: Sudden Records debut Les Hommes' latest LP Si Cosi, describing the record as a set of "pulsar-driven groovetronics, folky modalisms in waltz time; dreamvitations to the cine-lounge." The three piece combo known as The Men have been an active force on the easygoing London underground, having first made their debut in a tiny club in Soho in 1994. They've since occupied the proscenium of lounge and club, relaxedly dropping three LPs and four EPs since then. This fourth LP brings the latest face of lounge music to the fore, with a set of eleven more careful but languorous compositions. Deploying instrumentation from Lowrey organ to bass clarinet to electric piano, the sensibility throughout is one of disbarred ease, best felt on the most muted among the cuts, such as the cricket-chirping modal jazzer 'Veronique'.
Review: Greek DJ/producer Lex has been part of the scene in his home city of Athens since the dawn of the millennium, though it's only in the last few years that he's focused more on making music. The results of his efforts, which were previously showcased on 12" singles for Leng and Samosa Records, amongst others, have been quietly impressive. His debut album, Waving, continues in the same vein, utilising a pool of musician friends to craft cuts that blur the boundaries between sun-kissed, sofa-friendly Balearic warmth and subtly funk-fuelled, dub disco-framed dancefloor shufflers. The plentiful highlights include the stunning, tropical-tinged opener, 'Punta Allen', the organ-sporting vocal squelch-along 'Window Spells', acid-flecked nu-disco-meets-cosmic disco workout 'Silver Peace' and high-octane number 'Down My Soul'.
Review: Next up on AD93 is the debut collab between singer-songwriter Marlene Ribeiro (of drone-psychedelic band GNOD) and electronic producer Shackleton, together masquerading as Light Space Modulator. A ghost-tropical ramble through what can only be described as a deterritorial comedown forest, The Rising Wave amounts to a floral, melty eight-tracker, easing up on concept in favour of a loop-breaking, mangrovey musical mood. The improv psycho-echoes of GNOD are heard in full force here - with lead shocker 'These Things' provides an especially depth-swelling burier bass down below - but Shackleton's long-honed dubstep abstractions serve to focus the mix, keeping things as beatmatchable as they need be open-ended.
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