CD Album Recommendations July 2015

Review: After releasing Luke Vibert's acid-heavy Ridmik set, Hypercolour boss Jamie Russell asked the Cornishman if he had any disco-flavoured Kerrier District material knocking about. He answered in the affirmative, and 4, Vibert's first full-length under the alias for a decade, was born. Although the project was initially inspired by Black Devil Disco Club's warped electronic disco (and, presumably, the smoother grooves of Metro Area), a decade on Vibert's approach is noticeably different. While the fluid synths, undulating disco basslines and cheery grooves remain in place, the intoxicating depth of the original has been replaced by a cheekiness more readily associated with Vibert's Wagon Christ pseudonym. It is, then, a different beast than previous Kerrier District outings, but no less entertaining.

Review: Ricardo Villalobos has clearly found a kindred spirit in former Sun Electric and Moritz Von Oswald trio man Max Loderbauer. The duo has been remixing together for some time, delivering some notable reworks, including a stunning minimal jazz re-imagining of Nightmares on Wax's "Aftermath". Safe in Harbour marks the Berlin-based pair's first original work together under the Vilod alias, and continues their theme of melding elements of fizzing jazz, minimal, and dub techno. It's an impressive set, all told, full of wonky, off-kilter fusions of live instrumentation - most notably some brilliant drumming - glitchy electronics and a Berghain-friendly attitude. In fact, it may be Villalobos' most impressive studio work to date.

Review: Yes! Pretty soon after Vancouver label 1080p issued Much Less Normal by local artist Lnrdcroy, there were rumours surfacing regarding label interest in licensing the album for a wider release. In the end it was Edinburgh's Firecracker Recordings that secured dibs on Lnrdcroy's fine collection of whimsical electronic odes to British Columbia and they've done a typically superb job of bringing it to the vinyl and CD format. Like the remastered vinyl version, this CD edition features a slightly amended track listing to that original 1080p tape with two productions not making the transition. However in their place is new Lnrdcroy track "Kendal in Kalusia", an epic 13 minute finale that will have you enraptured.

Review: There was much gnashing of teeth from committed enthusiasts of the physical format when Maurice Fulton decided to release his latest Boof full-length - the follow-up to 2011's inspired Sshh, Dandelions at Play - solely as a digital download. Having rescued that album from obscurity via a physical release, Gerd Janson has decided to do the same with The Hydrangeas Whisper, here delivering a CD edition to complement the double LP version. Given the album's undoubted quality, it's something of a result for wax-maniacs everywhere. While Fulton takes a few odd turns - see the dubbed-out, trippy title track and after-party techno throb of "Backlash" - for the most part it's as expected, with the Chicagoan-in-London delivering a typically jazzy, disco-flecked range of sweet, life-affirming dancefloor cuts.

Review: For all his dancefloor destroying singles and party-starting anthems, Brazilian D&B legend DJ Marky hasn't much pedigree when it comes to the album format. In fact, My Heroes is his debut solo full-length, and his first album of any sort since XRS collaboration In Rotation way back in 2004. It's perhaps unsurprising, then, that My Heroes has a celebratory feel throughout, with Marky delivering a range of melodious, soulful, carnival-friendly rollers and spiralling, anthem-like cuts (see recent single "Silly"). These are interspersed with a number of surprising diversions, including two memorable trips into soulful house territory ("Around You", the samba-flecked "Freedom"), and the synth-boogie influenced goodness of "Bella Drix".

Review: It's been five years since James 'Breakage' Boyle last treated us to full-length exploration of his dusty, dubby, enveloping musical world. Given the half-decade gap, it's perhaps unsurprising that When The Night Comes in is a more mature set than previous explorations. While rooted in the kind of post-dubstep, trap and half-step drum & bass with which he's best known, there are nods to bustling, bass-heavy house, glitch-hop, and modern soul, with a range of vocalists swinging by to lend a hand. For all the enjoyable eclecticism, it's notable that the album's standout moment, "I On U", is a roughneck exercise in pounding jungle revivalism that doffs a cap to the early days of liquid D&B.

Review: Given Leftfield's well-earned legendary status, it's fair to say that there's much excitement surrounding the release of Alternative Light Source, their first album in 16 years. Produced by founder member Neil Barnes, and with an impressive range of guests - Sleaford Mods, Polica's Channy Leaneagh and TV on the Radio's Tunde Adebimpe all feature - it's as woozy, robust and heavily electronic as you'd expect. There are clear influences from vintage new wave synth-pop throughout, as well as nods to sub-heavy bass music, dubstep, vintage progressive house (in sensibility, rather than execution), bubbling electronica (see the excellent "Dark Matters"), and the kind of fearlessly tough dancefloor fare for which they were once renowned ("Little Fish", "Shaker Obsession").

Review: Here's something guaranteed to ensure a rush of excitement in deep house heads everywhere: a brand new album from much-loved U.S producer Fred P. It's the first under the previously unused F.P-Oner alias, and his first studio outing since 2013's Black Jazz Chronicles set, Codes & Metaphors. Unsurprisingly, the simply titled 5 is as inspired, sumptuous and melodious as you'd expect, with gentle dub house, jazz and - in the case of the wonderful "Infinite Love" - Detroit techno influences. While much of the album is slinky, sensual and ultra-deep (see the fabulous "Visions of You" and "Sleepless in Shibuku"), there are a couple of thrillingly percussive moments to get the pulse racing, including the African-influenced tribal workout "The Realm of Possibility".

Review: There's no denying ASC's work ethic; the Brit-in-San Diego has released a steady stream of albums and singles since 1999, and still finds time to run the lauded Auxillary imprint. Here he returns to Samurai Red Seal, with his first full-length for the imprint since 2012. As usual, he's working at drum and bass's experimental fringes, delivering blends of fuzzy electronics, creepy textures and subtle, pared-back jungle rhythms that arguably have more in common with vintage IDM (the much-forgotten Neotropic project on Ninja Tune's NTone offshoot, for starters) than blistering dancefloor jungle. Few do this kind of murky D&B futurism better, though, and Imagine The Future is a mighty impressive set.

Review: For those interested in the creative potential of drum & bass, Hospital offshoot Med School has long been of more interest than it's festival-friendly parent label. Designed to showcase experimental, off-kilter and lesser-known D&B producers, its' consistently offered up singles and albums that bristle with great ideas. Here the label offers up a full-length from Russian producer Electrosoul System, a man who has been impressing at the margins of the D&B sound for the best part of a decade. Accessible but always unusual, Flawless impressively blends elements of liquid D&B, jungle, half-step, hip-hop and more ragged rhythms to deliver something fresh, intoxicating and hugely enjoyable.

Review: The longevity of Alex Patterson's Orb project never ceases to amaze. While the ambient outfit has gone through many changes since making its debut in 1989 - longtime production partner Thomas Fehlmann being the man at the controls these days - Patterson shows little sign of wanting to call it a day. Here the duo delivers their 21st album, returning to the stargazing obsessions that have served them so well over the years. Consisting of four typically epic workouts, Moonbuilding 2703 AD doffs a cap to many of their obsessions of recent years - hypnotic Berlin techno, classic ambience, woozy tech-house and dub, primarily - with the jazz-funk-meets-ambient dub flex of the title track standing out.

Review: UK techno veterans Mark Broom and James Ruskin first joined forces under The Fear Ratio alias back in 2011, delivering the inventive - and hugely enjoyable - IDM-meets-techno full-length, Light Box. Here they join forces once more for a follow-up that gleefully explores similar sonic territory, whilst throwing a few more influences - most notably experimental hip-hop and vintage electro - into the pot for good measure. The result is a hugely entertaining album that naturally doffs a cap to Skam Records' dystopian roots, as well as the heavyweight soundsystem throb of dubstep, the hypnotism of dub techno, and the crackling electronic wizardry of Autechre.

Review: It's taken Birmingham-based duo Spectrasoul three years to make the follow-up to their promising debut album, Delay No More, but it seems to have been time well spent. The Mistress is a pleasingly varied set, rooted in their deeper, more melodious take on D&B, but blessed with a range of other influences. "Hot Head, Rock Bed", for example, sounds like vintage James Blake, while "More To Give" - featuring the soulful tones of vocalist Tamara - expertly blends half-step rhythms with luscious modern soul. They even go experimental and gnarly on the frankly quite odd "Kutchi". For all the twists and turns, they've not forgotten their roots, and The Mistress also contains a number of straight-up D&B rollers that should appease DJs and fans alike.

Review: BCee returns to the scene with his third full length LP, and yes, it's a stunner. If you enjoy intricately woven drum and bass with a deeply rooted feel (designed with the dancefloor in mind), this ticks all the right boxes. Kicking off with the beautiful and deadly "Firebox", there is no let-up in high quality sounds throughout the extensive tracklisting. BCee teams up with LSB and Rocky Nti for the stunning "River Runs Dry", Villem employs the unmistakeable voice of Frank Carter to deliver "I Believe", and the one and only SPY reaches out with the soulful and deeply rolling "It Begins With You". You could be forgiven for bagging this for the top-drawer collaborations alone but of course BCee's own music here is this release's crowning achievement.

Review: By the time Biometry was first released in 2004, Der Zyklus has developed from an electro supergroup featuring Anthony Shakir and members of Dopplereffekt, to a solo project from Drexciya member Gerald Donald. At the time, it was hailed as one of Donald's finest moments, and 11 years on has lost none of its' ability to inspire and entertain. Now freshly re-mastered, it pops, whirrs and confuses with a claustrophobic intensity. It's notably less dancefloor-focused than much of Donald's work - a couple of frisky work-outs aside - and gains its' allure from a ghostly mix of wild electronics, melancholic melodies, fizzing textures, intergalactic ambience and off-kilter IDM. As a study in 21st century paranoia, it's unsurpassed.

Review: Periodically, labels get a little fascinated with reissuing material from certain previously overlooked scenes. Recently, that's meant a surprising re-focus on the Icelandic dub techno scene of the late '90s early 2000s. The chief beneficiary of this has been Arnvidur "Exos" Snorrason, whose pioneering 1998 12", Q-Box, recently resurfaced on Thule. Here, his 2001 album My Home Is Sonic gets the reissue treatment on Delsin. Sat somewhere between hypnotic German minimal, the relentless loops of Robert Hood, the dubwise Berlin antics of Rhythm & Sound, and classic Motor City futurism, the album remains a timeless example of dub techno at its' very best.

Review: It's some 26 years since Satoshi Tomiie announced his arrival via the brilliant Tears single with Robert Owens, and 16 since he released his only album, 1999's impressively eclectic Full Lick. New Day, then, is long overdue. While rooted in deep house - see the sensual vocal outing that doubles as the title track - the album's blend of bold synthesizer lines, crunchy electronic instrumentation and analogue drumbeats has more in common with Metro Area than the booming, mid-90s progressive house for which he was once renowned. It's a hugely enjoyable set, all told, with the shuffling, Balearic-influenced house of "Thursday, 2am" standing out.

Review: Recorded last year at Rome's contemporary art museum, MAXXI is as graceful and noble as the environment in which it was created. "Intro" sets the tone for this work with its understated pulses and chilling synths. This leads into the deeper, more textured depths of "Sonia Danza" and the aptly named "Dreamscape Generation", which features warbling streams and rivulets of sound, squelches and chatter, like a moist riverbank on a spring morning. "Orange Steps" and "Scintille" are serene and more reflective, after this veritable flurry of musical activity. The release finishes with "Max", a cover of a piece by Italian composer Paolo Conte, but its chimes and layered textures are unmistakably Neel and Dozzy's.

Review: Ross Birchard has been such an omnipresent figure on modern electronic music as Hudson Mohawke it seems strange to think Lanterns is only his second album. A lot has happened in the world of Hud Mo in the six 6 years since his Warp issued debut set Butter (hello Kanye) and the 14 track Lanterns comes across as a more compelling and adventurous album from the Scottish producer. Featuring some interesting guest appearances (Anthony Hegarty, Irfane, Miguel, Ruckazoid, Jhene Aiko) it's clear Lanterns is being presented as a chance for Birchard to reach the next level, and packs in a whole load of musical ideas along the way.

Review: The fourth album by house brothers the Schwarzs sees them venture farther in a song-based approach. Featuring vocal contributions from Khan, Mama and Emily Karpel, it moves from the gospel-tinged openers of "Heavy Weather" and "Free Falling" - which both feature Khan - to the brass-sampling underground acid of "Morgen Abend" and the deeper, atmospheric techno of "Dark Light". That's not to suggest that they have abandoned their electro house sound - check the grinding groove of "Hi Fu" - but the best moments do come when they depart from the script. "Echo Drug", which again features Khan on vocals, is a beautiful electronic torch song, while the dreamy keys of "Dings" brings a breathless quality to Tiefschwarz's music.

Review: The Audika label picks up its stellar efforts to dig through the vast archives of unreleased music left behind by Arthur Russell after his passing in 1992, presenting the nine track Corn. Russell's canon falls roughly between producing seminal disco ("All Over My Face") and solo works where his skill for the cello features prominently. Corn will be received with rapture by fans of the latter, gathering together compositions Russell made in the early '80s with the assistance of Peter Zummo and Rik Albani. Alternate versions of Russell classics like "Lucky Cloud" and "See My Brother, He's Jumping Out (Let's Go Swimming)" are included in this most wonderful archival release.

Review: London-based producer Laurence Matthew Blake has been causing a stir under his Citizenn alias for some time, delivering intoxicating, tactile, otherwordly blends of tech-house, powder-house, garage and electronica for the likes of MadTech, Love Fever, 20:20 Vision and, most recently, Crosstown Rebels. Here, he returns to the latter with Human Interface, his debut album. It's a typically fluid and quietly soulful affair, with dreamy pads, touchy-feely electronics and shuffling dancefloor rhythms the order of the day. While there are a few powder house dancefloor moments - as you'd expect - Blake also doffs a cap to 2-step garage, booming bass-house, skewed synth-pop and, on the wonderful "You Are", string-drenched deep house loveliness