Everything’s In You delivers eleven minutes of intriguing, brilliance which never falters from exploring as many ideas as humanly possible. Its journey through sounds encompasses a diverse range of influences while defining its own path, shooting out across the distance. A breath-taking production which fuses haunting sequences together with a smouldering, uplifting intensity feeling nothing short of delicious. The more introspective, though equally stunning, 311 Trillion Years follows probing more atmospheric richness while this time allowing for more space to do so.
Insanely good. When you love four beats to the bar, and within that space the message is spelled out loud and clear, then this latest from Claude VonStroke & ZDS is that explosive. Excellent that there is only one version to date as the sizzling combination of hot vocal and intense, heavy-duty instrumentation delivers addictive, do it again sounds. All over again…
What can I say about DJ W!ld that you don’t know already. You either tune in and turn on to his unique sound or not. This new EP for Cardinal solidifies the thought process with further crunchy grooves worming their way into your consciousness. As always with the artist it’s the splashes of soulful musicality which helps to set it all alight and on the opening Grass Lighter that’s very much in evidence. Cab Drivers supply the remix injecting more electricity into the heady arrangement. While the punchy Goutte A Goutte follows suit compacting the shuffle of swinging rhythms together with brutal intensity, leaving the excellent title track to complete via twisted disco and a bag full of attitude. Play Loud.
I’m not going to risk boring you with the word otherworldly. Although, of course, it does fit this strange concoction of ever expanding soundscapes. But because listening to the artists music, predating him signing to 4AD, is a blissful experience that tugs at the edges of beauty, albeit in slightly unnerving ways. It is slightly confusing to think that these tracks have been transferred from cassette tape as the sheer intensity of it all speaks volumes about the music itself rather than anything else. You could imagine the breath of Nick Drake’s voice adorning the acoustic guitar strains on Something About Hope. While, All The Mirrors In The House conjures up a sinister imagination, contrasted by the turmoil injected emotional rush of Because Piano. This is music which exits beyond time and place. Completing via the melancholy sensations of the F Choir. If it’s safe to use the word, spiritual then let’s go for that instead.
The word Joy popped into my head when I opened the box to reveal what lay within this tastefully packaged compilation of gems from the history of movie soundtracks. So it turned out to be entirely relevant as this selection charts moments of elation, alongside deeper darker terrain. From outright Classical via the brilliance of Claude Debussy and Beethoven through to old-time songs from the likes of Ray Charles this release contains it all. It’s enjoyable to let the sounds escape and weave from the room to room filling empty spaces, as not only music but likewise the accompanying pictures generated in your mind while remembering snippets from celluloid, or even imagining new ones. There’s also lots of Mozart with a great quote on the sleeve stating: “Mozart is for eight in the evening. Beethoven is for midnight”, Jean-Luc Godard. If indeed you did need reminding about the sheer strength contained in orchestras, as well as the traditional assembled array of played by hand instruments, then this is also an excellent place to start. Besides, Erik Satie is present too with his lone piano and for beautiful, unequalled poignancy there is none better: Gnossiennes No.3 Lent. A diverse selection of films are drawn on across the three-CD boxset from such disparate classics as Rosemary’s Baby through to The Italian Job and Clockwork Orange, alongside The Man Who Fell To Earth via the outstanding Mars by Holst. There are so many movements that feel reassuringly familiar, and yet almost forgotten until you reengage with them again – preferably with the volume turned up. And you really should engage again.
Love the tantalising combination of searing, dark beauty and pumping, succinct drums which never feel less than brilliant – also the accompanying artwork. There’s more than enough funk injected into the core sensations generated by this crisp, forward-reaching production that positively sizzles with tension as punctuating keys stab at the heart of the matter. And that’s just Signals. The effervescent, Intelligent Machines follows with more pace and furious rhythms dancing across the stereo as the warm musical rush of keys hit the airwaves during the breathless breakdown. More than enough…
Thonk! Sounds like completely the right title for this latest production from Dave Seaman. It sequences a wealth of creative flair with moments of poetic genius while always keep you guessing. Clocking up to seven minutes the experience sees you trip through a breathless reach of sounds that feel cosmopolitan in nature and yet worldly-wise and ultimately, perfect for the dancefloor. The excellent Whitesquare remix follows with guitar punctuated rhythms feeling even bigger than before, again signifying music of quality and distinction.
When the opening chords of Georgy Porgy wash over you in a tingle of anticipation, and then the voice of Cheryl Lynn arrives, you’re right back where you started from. Its moments like these that transcend time. This double CD compilation of the singers Columbia Records releases’ spans the years between 1978 to 1985, covering the best of six albums worth of R&B inspired gems. The title track, which she co-wrote, hits next and if you’ve been on a dancefloor anywhere in the world, or switched on the TV then at some point you will know this. But it’s not just the up-tempo numbers that gather harmonic pace as Cheryl Lynn’s voice shines on any occasion, fast or slow and low. It’s also surprising how many flashes of music are also seared into our collective consciousness such as the unforgeable bars of You Saved My Day. Keep It Hot and the life-affirming qualities of Shake It Up Tonight still remain personal favourites highlighting a time when music spoke an almost different language to what occupies dancefloors in modern days. By the second disc sounds softened with ballads featuring more heavily, including a duet with Luther Vandross on If This World Were Mine. Although standout tracks like the Jimmy “Jam” Harris and Terry Lewis produced Encore helped define not only the sound of American dance music but also that of the UK in 1984.
The brilliant new EP from the hands and minds of long-term FUSE resident Rich NxT along with East End Dubs does all sorts of things. Firstly, E3 delivers hot, liquid funk that stretches the bounds of tension as its wild concoction of drums, twisted sounds and dark notes all hit the spot. Feeling full of energy, brimming with creative flourishes. Next the aptly titled Bubbles continues the theme, this time via hints of Acid teasing the edges producing with another starkly invigorating slice of music.
When you listen to One year On, the beginning of the new album from Solo Collective you feel lost and found. Something in your subconscious gets directly plugged into the piano as the keys unfold, drifting along only to be enhanced via an assortment of strings. What happens next is, For Hazel. And what I love about Solo Collective is the rich, diverse music that they draw from when creating their own sounds. In this case a heady rush of ambience informs the piece. So it continues. The heart-stopping piano of For Mathew. The brutal industrial landscapes of Ripness Is All taunt and tease. Ending beautifully on the Solo Collective version of Holy Island.