Review: Keiran Hebden rarely does things by halves, though it's still surprising to find that Morning/Evening, his eighth full-length, consists of two contrasting 20-minute explorations, each inspired by a time of day. "Morning" is, as you may expect, warm, bright and evocative, with intoxicating Eastern vocals, dreamy chords and various bursts of melodious instrumentation riding a rolling, jazz-flecked, soft touch deep house groove. It is, of course, intensely beautiful. Hebden largely disposes of the beats entirely on "Evening", delivering 15 minutes of picturesque electronic melodies and sunset-friendly ambience, before introducing a jazz-flecked house rhythm for the final five minutes. It, too, is a thing of great beauty.
Review: What really impresses about Meteorology, the third album from post minimal adventurer Daniel 'Frivolous' Gardner, is its cheeky playfulness. Sure, there's a minimal-ish swing to the beats and liberal use of crackly noises, but these are offset by deliciously melodic bounce, a wonderful sense of adventure and even the odd nod to jazz. Gardner regularly gets on the mic to add his own bittersweet vocals (see the swirling noughties jazz-house of "Red Tide"), and thinks nothing of offering up both Nicolas Jaar-ish experimentation ("One Fine Solstice", "Lunar Phaser") and global dancefloor fusions (the tango-techno of "Cinemascopique", chiming "Olstagia" and thrilling "Serenades Des Excentriques"). It makes for an album that entertains and exceeds expectations throughout.
Review: Remarkably, it's been 11 years since Leipzig-based minimal techno producer Marko Furstenberg released his debut album, Gesamtlaufzeit. While he's been pottering away releasing singles ever since, Ghosts from the Past marks a welcome return to the full-length format. Like its' predecessor, it delivers a range of smooth, warm, hypnotic and dub-influenced techno missives, high on tactile textures and low on crusty textures. The result is a set rippling with intoxicating grooves, soft-focus rhythms, fluttering chords and woozy late night electronics. Wisely, Furstenberg inserts a number of sublime downtempo interludes to break up the flow a little, with the beautiful "Piano" standing out.