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czwartek, 30 lipca 2009
The American Dollars floats in accord with stream

In these days, there's a flood of pretending bands, which want to be a heiress for Mogwai or Godspeed You! Black Emperor. But only handful of them represent something up to instrumental, very epic also, rock volumes. In bush of this repeating texture's system, you also can come up with the instances being outcomes of struggles ofvanishment this sonic chintz. Third album of The American Dollar duo, A Memory Stream, emphasizes that tends to provide glimmers of hope.

album sleeve

Another rock project from USA, you would probably say. Indeed, I would convey the same phrase if I have experienced their first two albums only. Honestly, they weren't as explorable andextendingly -developed instrumental scope as it's always expected when new, fresh forms arrived. I wish I had heard a peculiar wave through this style. Unfortunately, neither "The American Dollar", nor "TheTechnocolour Sleep" couldn't offer me something like that. Although The American Dollar's quite average, not compelling beginnings shouldn't be crossed out their forth efforts.

Richard Cupolo and John Emanuele have lived up to my expectations finally. Third time lucky. These two New Yorkers were both wandering and towering, in order to compile coherent interesting music chain ofsoundscape fully of melody and harmony. Enriched downtempo chassis, they were honing from old outlook of instrumental rock shape. "A Memory Stream" also swells to Ulrich Schnauss fabulous ambient sphere what brings more dreamy, less generic elements on this album. Here was drawn a vision of instrumental rock as unique as it could be done without redundantly leaving its standards. Hammock-like tempo doesn't allow to off-road. Skulking rock expressions revealed by smooth and gradual manners, instead rowdiness.

They strove a test of probe. This album is also a proof that composing instrumental "epic" rock is not necessary to be looped itself. Thus, The American Dollar performed better than God In An Astronaut, for example. Its balladic themes turns many ways but not to far either. So if you especially prefer something tween Epic45 and Explosion in the Sky achievements, you should get to like more advanced, and sometimes a little outlandish, instrumental (it doesn't mean the same as "post") rock made by Cupolo and Emanuele. Let's download scenic Bump or watch and listen, mostly halcyon, Anything You Synthesize.

21:46, marcin.nieweglowski , Reviews
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środa, 15 lipca 2009
Quantic and his far-off olio

Musically global trotter, the inexhaustible digginer seeks out an every badge of abandoned, earthed rhythms likewise, Will Holland, along with (partially) a new band, came up with his third album at Colombian, Cali-based studio. Already you know certainly how funk or jazz-cinematic passages from Great Britain, Africa or USA can taste. So now you have an occasion to acquaint with "Tradition in Transition" - a material which debunks a biased attitude once and for all that Colombia can offer nothing more, than the cocaine.

album cover

By taking off this mountainous, shadowy country in South America, instead of a domestic England, Quantic has surely known what he did and would like to achieve. Similarly Gilles Peterson's soul, Willl is horribly hungry and concerned about novel sonic sources, what haven't necessarily arrived at Europe ground yet. Thus, he brought about opposing move, in proportion to "import" motion, establishing himself in the rural city of Cali more than two years ago. The unique atmosphere of this place, located on the mesmerising Andes, as well as the life's conditions, in which Holland acts and works, you may slightly feel watching the trailer of his recent album, Tradition in Transition.

The tenth full-length issue in his prolific career, but the third recorded in his Latino studio. And of course, being the first album of new Quantic band called Quantic And His Combo Barbaro. Basically, the album is nothing particularly brand-new in terms of Holland's heretofore experience. As I mentioned before, they form old / new boodle of the musicians. So a line-up this quintet features the pianist Alfredo Linares, congo's master Freddy Colorado and drums-charmer Malcolm Catto - the trio which, together with Will, were accounted for the two other strictly "Hispanic" longplays ("Tropidelico", "Death of the Revolution"). What connects there three albums is to add up a silhouette of cinematic landscape this part of world with aid of local, sui generis music properties.

However, generally speaking, "Tradition in Transition" disc is stylistically similar to "Tropidelico". A plethora soul-funk combinations you can come across here. Sultry and sweltering oomph, which is get-at-able in hearts and minds of sage Latino musicians, obviously born and bred, only. One-man band Quantic en masse his dear, legendary friends constructed this album in such a way that it doesn't jar on in any while. There you can find both a solid dose of South American marching trip hop (it's not a wordplay, hint "Cancao Do Deserto"), intimate, a little bit unpolished, passionate soul (Linda Morena), and chic, sinewy, driven funk ("Mas Pan", "New Morning").

And as a matter of course, all those tunes have found in the womb of Brighton-based Tru Thoughts label, for which Will has been loyally cranking out, dropping a following imprints time and again for many years. It's all what can be expected by Holland: the variegated, springy, exotic compositions highly relating to copious, uncharted music legacy from Brazil, Peru, Panama and Colombia. This tireless trend-setter of nameless faces of black music has done his next purpose in his own balanced, fetching style. Gilles Peterson will be spinning it during his popular programme, hopefully.

00:27, marcin.nieweglowski , Reviews
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piątek, 10 lipca 2009
Captivated Hannu's hintergarten

From time to time, I play up that Finland, although its population is assessed on few million people only, has peculiarly many gifted musicians, producers likewise, about whom is always heard a lot around the Europe. Following figure, joined to this group, is Hannu Karjalainen also known as Hannu. A few days ago, he has arrived with his sophomore album, "Hintergarten", on which has been created a mosaic as an outcome putting his best leg forward of his a wide-ranging producer's skills. It's neither rock, folk, nor neoclassical and electronics. This's something above it all, a cut above.

album cover

Before he came to the place, where he stands now, Hannu had come up with a shipshape minimalist, elaborate aesthetics, searching with a fine-tooth comb a common denominator for experimental electronics and large acoustic backup. That kind of thing was his debut album, Worms iny my Piano. In spite of fact that was issued by, utterly unfimiliar for me, very small, little meaningful Irish label, Osaka, I would not be startled at all if someone pondered otherwise, reckoning it like an another treasure which could be found by courtesy of Type Records or City Centre Offices, for example. Sombre, sounding, severe silhouette of Lyhty track persuades to this even stronger.

But it's exactly as Karjalainen's soundimage has been laid out approximately three years ago. For over dozens months, he hasn't given a signal of life. Up to an occurrence of his latest EP, "Harhailua", what was presaged his forthcoming next, second longplay. However, at today's, current point of view it's seeking with diffuculty to match any connotations between these two releases. And this is because of a reason the Hintergarten is kind of a set of compositions, which I've not expected whenever he cranked them out. While the "Harhailua" was something like an oneiric, off-limits folk-neoclassical, challenging patchwork, so then the Hannu second album is likely a collection of recordings rolled out by extensively various musicians. Each volume delivers a completely dissimilar impressions, in which it's so tricky to get it straight, therefore it's a big plus for Karjalainen newest efforts.

Seemingly, there is reigned arrangement's triad (stark electronics, some subsidiary acoustic instruments and the soundspots from environment dealt with field recordings technology), but it seems his array of recombinations, kaleidoscopic, protean sonic shapes are out of to perceive absolutely. Albeit this vast, fancy palette affects much more to allow to deeper basking in this disc, where heafty, soothing a general wage though downtempo, "Lauttasaari", wends forthright Bibio nature. As well as a cinematic "Kimallus" referring to Ennio Morricone legacy, whether a surreal, frozen oriental neoclassical of "Hintergarten", thereafter a liquid, aural "Kaipaus" (its a delicate, fragile-crispy framework strongerly entangled this tune at the side of soundtrack for ... "Twin Peaks 2"). Additionaly few other elements which will lure the enthusiasts of Mum band or Twilite duo works, that is to say, fabulous rock experiences, both more technologically twisted and more typical.

Unfortunately, it hasn't gone without a drawback, seriously captured one only though. This a main disadvantage of "Hintergarten" is noised-hissing sounds (white noise perhaps?!) which really hurts may cause a little headache too like it's in an unsettled "Pop". Regardless of this temporary aching hardship, it doesn't obscure that "Hintergarten" album offers a neat options, taking a delight in the lotions for a sensible ears. Hanny couldn't knock up more compact, full diversity notwithstanding, drop-deadly full-advised album. Paradoxically, repice appears simple - entreating by whole complex surroundings (people, nature) with regard to them, of course. Overall, whatever you listen, elusive, ballad rock, somnolent ambient, hypnotic downtempo / trip hop or dotty neoclassical forms, Hannu second album is waiting for you.

01:16, marcin.nieweglowski , Reviews
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poniedziałek, 06 lipca 2009
Seamless Physics

As it's with point of the Swedish techno music scene, which can boast many bigwigs (e.g. Adam Bayer, Samuel L Session, Cari Lekebusch, Jesper Dahlbäck), as it's not worse if that local house scene is concerned. To the well-known projects I can rate Physics duo.

album cover

Actually this project of Mikael Surdi and Torbjörn Olsson was present right from the beginning of the development Deeplay Music's glamour, one of the most cognoscible house music label around the Europe. Moreover, its brand was mainly promoted by many popular after hours compilation series ("Hotel Costes, "Beach House", "Cafe del Mar") which were licensed to putting some of tracks upon following clubbing volumes. But Deeplay Music has its producers' roster, as well - Martinez and Jeff Bennett (Marek's lounge moniker, Jeff Bennett's Lounge Experience with laidback album "Ancient Keys") have recorded for it. In 2002 Physics duo has poped up by emerging the secrets of First Flight, their debut album. It's beyond a doubt that it couldn't be disliked for those, who appreciate in the deep house style its classic, stylish, soft and vibrations combined with subtle pattern.

Couple years ago I've remarked that Mikael and Torbjörn have gone away being solely the ambassadors of Deeplay Music because of diversely changing the purposes in terms of labels which would be likely to release their works. And for one of them, London-based Seamless Recordings, they made their second album in recent year. The quality of this British label was so far known mostly from many chapter of "Bargrooves", the compilation series. Curiosly enough, it occurs rarely issuing full-length, studio material. Of course, Physics album is an excepction here. To be honest, I'm not surprising at all why it has become. Two CDs of Influences point out the crux of Surdi and Olsson producer's craft.

I don't know where amid several compositions I should hear bouncing r'n'b, albeit this longplay is not flawed by laking a numerous well-built tracks adhering to many delicious music shelves. Let's I start from my favourite titbits, that is, crazy broken beat swagger "Just a Little Love" with support by vocal duo of Alexandra Hamnede and Teresa Pozgaj - first mentioned person you can also link with downtempo efforts under Bliss project. Or something between elusive nu soul and deep house vigor, hybrid "Hold On" which demonstrates a fragility and sensibility in sound production by these Swedish guys. On top of that, a handful decent organic nu jazz additions. So I know now for what there were nominated in the Swedish "Grammy Awards". Their real name is an ingenious versatility.

Breezy, smooth, tuned, exotic, refreshing arrangement, stimulated theirselves by eclecticism, are dominated here, and in which a tedium and a monotony have been ruled out world without end. Album is wired up supplying lots of the sonic relishes located somewhere at Chris Zippel, Tosca, St. Germain, Kaskade and Miguel Migs. A plethora of full doses of nice impressions which would be heard both in club and on couch. So what's the next aim, step guys? In person, it should see as follows: Mark Farina's Om Records or Ralph Lawson's 20:20 Vision. Physics duo deeply deserves it.

10:03, marcin.nieweglowski , Reviews
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poniedziałek, 29 czerwca 2009
German reliability by Tur

Far and away, to the German big wigs, who extraordinarily positively have recorded on cards of house music, belong: Ian Pooley, Mousse T., Terry Lee Brown Junior, The Timewriter  or Boris Dlugosch. But everything point out that's a turn enhancing to new generation represented by profic producer, Manuel Tur.

album cover

And all it's due to debut album by this dweller of Hesse, wherefrom Heiko Laux derives, as well. Until now, Manuel has released many EPs for various German as well as British labels. Albeit, as it usually happens - the biggest challenge for every rising producer is almost composing a complex, long-conceptual-issue, the longplay indeed. Before I heard 0201 outcomes, I had expected nothing special, taking them in stride. In spite of fact Tur has been operating on house music scene for six years, none of his compositions haven't been born in my mind, unfortunately,

However, I'm dead sure that it was changing by dint of "Passtelise" and "Rubicond" - two the newest Manuel works which they will be remembered by me, as well as are revealing about an enourmous potential of this 22-years-old musican. Certainly, he has gifted a vast possibilities and skills, combining a noble black music, soulful but slightly drowsy dance rhythm and a superb string parts. It wasn't a state secret that it could be figured to him, though. More surprises are cloaked in the rest of this album. I didn't utter "surprises" pointless here, because Tur turns out from completely other side. Being an experimentator who teases out a novel sound forms from the lavish field of ambient, downtempo and pinch of dubstep (oneiric "Such a Dream"). Thus, there's no space for the symptoms of monotonny or dullness. These sounds are too much crystalline, too august to being up disregard them.

So, Jimpster couldn't do nothing better than releasing "0201" plate by his own imprint, Freerange Records, only. It's caused that Tur has excelled himself on debut album. It reflects an entirely atmosphere of house music roots, without a reduntant hastiness, thanks to delicately soft, grazed, catchy, laidback tempo, which carefully building a pith of grace of classical house. Interesting resourcefulness and full-fledged, impeccable tapestry. Pure pleasure for every ear at the highest level. Every fan of the sounds such as: Swayzak, Ian Pooley, Terry Thaemlitz and Recloose would like to crave them for, definitely. I bank on Manuel following album will be issued by Plastic City, hopefully. I'm looking forward this moment.

23:40, marcin.nieweglowski , Reviews
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