CD Album Recommendations August 2011

Review: If the first single from this album, "Natalia's Song", left you worried that Zomby may have toned down his sound to fit the current zeitgeist in bass music, then don't. Dedication is a long way removed from Where Were U In '92?, but the influence of jungle and hardcore remains, albeit in a more spectral form, where skeletal beats play off against organic tones, his characteristic purple arpeggios drenched in reverb. The progression in his sound is just enough to add an element of introspection to his productions, while retaining the essence of what made his earlier material so irresistible; it's an album where air horns can co-exist happily with string sections and it doesn't seem jarring .With several tracks that are at times almost baroque in their execution, Dedication is an album that, whatever your preconceived notions of Zomby's sound, or bass music as a whole, must be heard.

Review: Back in the day, it was common practice for ravers to pass around tapes of top DJs (often accompanied by irritating, shouty MCs) live in the mix at legendary venues. More often than not, these tapes were of dubious quality audio-wise, but captured a genuine sense of excitement. It's this that makes Rub 'N' Tug Live In Los Angeles such a fascinating beast. It actually sounds like one of those hardcore-era tapes - replete with aforementioned excitable MC - but with relentless acid jackers, twisted disco, gospel soul and weirdo Balearica in place of silly rave tackle. Sure it's raw, rough-and-ready and the sound quality is not perfect, but it brilliantly captures a moment in time - and a near-legendary set from a New York duo at the top of their game.

Review: There's not much information to be found about this mysterious album from Underground Quality. Here's the basics: it's a first full-length from little-known Brazilian house producer Apoena. That's pretty much it in terms of details. Musically, it largely focuses on a sunshine-soaked brand of deep house that simply bristles with warming pads, darting melodies and beach-friendly electronics - all underpinned by rock-solid grooves that are crying out to be tested over a soundsystem. There are brief sojourns into techier territory and occasional moments of murky late night darkness, but for the most part Apoena is effortlessly summery. That is never descends into 'beach house by numbers' is testament to the quality of Apoena's production.

Review: Chill wave explorer Washed Out (aka musician Ernest Greene) has long been regarded as "one to watch". Ever since he debut single dropped in 2009, hype has been steadily growing. This short-but-sweet debut album delivers on that early promising, showcasing a delicate, drifting take on leftfield pop that rewards repeat listens. Opening with early Washed Out favourite Eyes Be Closed, Greene works his way through a variety of moods and tempos, lacing his distinct, world-weary vocals over shimmering synth wave grooves, upbeat MDMA-pop soundscapes, piano-laden laments (brilliant closer "A Lament") and slowly shifting lo-fi indie moments ("Far Away").

Review: Norwegian jazz veteran Bugge Wesseltoft has a long history of embracing electronic music, and has in the past collaborated with some of Oslo's finest (most notably DJ Strangefruit, the madman behind Mungolian Jet Set) and Laurent Garnier. Here, he joins forces with another man prone to open-minded experimentation, German house producer Henrik Schwartz. In truth, the album is a far more traditional jazz set than many would have expected, and Wesseltoft's contributions - his immaculate piano playing in particular - take centre stage. Listen carefully, though, and Schwartz's delicate electronics, mood-setting ambience and intricate grooves come over loud and clear.

Review: For their 86th release the mighty, mighty Perlon bring on board Margaret Dygas with a self titled not EP not album. Working her way through sparse and cosmic minimal spirals as we expect, "Missing You Less" shows her delicate edge with light piano keys and muffled strings giving a feminine touch to her otherwise driving style. "Soon" reverts to Dygas as we know her, with hitting drum patterns and reverbed tech goodness from the start. "Country Way Of Life" on the second disk is meandering and spooky, with indecipherable vocals popping up intermittently as a heavy kick and syncopated drums rise from below. "Ocbinh's Groove" meanwhile is dark and moody, as pads swoop and samples howl. Diverse, quality, pure minimal techno... Perlon live on.

Review: Edinburgh-based DJ, producer, blogger and Echodub label owner DFRNT (aka Alex Cowles) has chosen an apt title for his second full-length. Perhaps more than any other dubstep or dub techno producer, Cowles makes music designed to provoke an emotional response. In parts deep and melancholic, in others bright and breezy, Cowles' tracks are influenced as much by classic IDM and electronica as Basic Channel or the mellow junglisms of LTJ Bukem and the Good Looking label. As a result, Emotional Response is an easy, rewarding and highly enjoyable listen, flitting effortlessly between sturdy dancefloor grooves and satin-lined headphone fodder.

Review: Finnish producer Tes La Rok is a good example of dubstep's growing global appeal. Despite living thousands of miles away from dubstep's twin hubs of Croydon and Bristol, Jari Niiranen has managed to elbow his way into the scene's top table - thanks in no small part to his prolific output and a signature sound that's intensely atmospheric. Them, his debut full-length, features 13 club-friendly explorations of dubstep's more sinister fringes. At times it's unashamedly paranoid (see the title track or creeping dub of "Murda"), at others icy, aloof and otherworldly. Throughout, Niiranen maintains a strong focus on dubstep's most crucial elements: strong beats and bass.

Review: For the last half-decade, Connecticut-based Jenifa Mayanja has quietly been developing a deeply personal take on house music that offers a feminine twist on the global grooves of Joe Claussel and Osunlade. This second full-length offers a chance to revel in that sound, a pleasingly soft focus mix of broken and 4/4 rhythms, emotion-rich jazz pianos, subtle African percussion and dewy-eyed electronics. Woman Walking In The Shadows also highlights Mayanja's other great strength: ideas. From the sleazy sax grooves of "All Things Being Equal" to the impeccable downtempo jazz of "Rising Out of the Ashes" via sleepy deep house and afro-leaning broken beat, Mayanja barely pauses for breath.