tag:blogger.com,1999:blog-69020530776744797192024-02-07T19:25:45.613+00:00White NoiseTom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.comBlogger486125tag:blogger.com,1999:blog-6902053077674479719.post-91015743621255496792016-01-27T11:05:00.000+00:002016-01-27T11:05:49.772+00:00Q3A - Space Chamber<div class="separator" style="clear: both; text-align: center;">
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Hungarian producer Gergely Szilveszter Horváth, better known
as Route 8, has made an impressive name for himself over the past few years
with his melancholy brand of deep house. Combining raw drum workouts with
subdued, emotive melodies, his best work for Lobster Theremin and Nous hits a
sweet spot between the dancefloor and the heart. <o:p></o:p></div>
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Last year Horváth first donned his techno-leaning Q3A
moniker (apparently a reference to the influence of videogame Quake 3 Arena) on
promising new label Black Venison. Now he picks up where he left off for
Delsin, on a functional four-tracker that showcases all his best traits.<o:p></o:p></div>
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Horváth’s blueprint is clear: a machine-fed rhythm with
fearsome low-end is layered with a dreamy ambient wash and subtle flashes of
brighter melody. Each untitled cut here plays out this formula with slight alterations.
The A1 is as glacial as they come, with a mammoth kick and glittering keys,
while the B1 rides on a swift elastic bassline and a synth melody that soars
past like so many shimmering birds in sunlight.<o:p></o:p></div>
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The EP’s other two cuts toy a little more with the recipe. The
A2 is the toughest club cut on show, with a crunchy breakbeat and a melody sunk
deep into the mix, while the standout final track uses an 808 electro snap and
a growling bassline to keep things fresh. Space Chamber’s tracks are solid club
cuts but they lack the emotional punch of some of his best work. Still, while
they may not break the Route 8 mould, they certainly continue to prove why that
mould was so appealing in the first place.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-large;">7/10</span><o:p></o:p></b></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-35010401763106755682016-01-25T15:02:00.001+00:002016-01-25T15:02:22.116+00:00Shanti Celeste - Being<div class="separator" style="clear: both; text-align: center;">
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<b>Label: </b>Future
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The town of Bristol on the UK’s south-west coast has always
had an influence on the electronic scene that belies its size. Following its reggae
roots and the birth of trip hop, recent years have seen the establishment of
some of the UK’s most essential imprints in Bristol such as Livity Sound and
Idle Hands, founded on the fertile tectonic boundary of soundsystem culture and
4/4 dance. A result of this unique intersection of ideas is the central concern
with bass found in a lot of the city’s dance music. Bristol’s producers seek to
exploit the low frequencies so that they provide more than just added muscle. <o:p></o:p></div>
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It’s not just the old guard who keeps Bristol’s music scene
so vibrant. A slew of new labels such as Hotline and BRSTL have been keeping
the city’s output fresh and the quality control very high, and local producer
Shanti Celeste has had a big part to play in this. While grounded in Bristol’s
house sound, her productions have always set their sights beyond, taking in a
range of influences and styles from beyond the coastal city.<o:p></o:p></div>
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It is somewhat fitting then that what is probably Celeste’s
best record to date has come out on a US imprint, Max D’s reliable stable for
new age house experimentations, Future Times. Having contributed one of
the <a href="https://www.youtube.com/watch?v=fisyTTNDip8">highlights</a> on last year’s Vibes 3 compilation, now Celeste brings
out her first solo record for the label, Being. <o:p></o:p></div>
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The title track could be a religious rave anthem, its sharp
church organ stabs and punchy rhythm all wrapped in an elastic bassline that
keeps up a constant pressure and highlights the glittering synthwork. The
quality of these melodies comes to the fore on the <i style="mso-bidi-font-style: normal;">Ambient Mix</i> as they shimmer through thick reverb, standing strong
even without a rhythmic backbone. B-side <i style="mso-bidi-font-style: normal;">Good
Spirits </i>taps into Celeste’s <a href="http://www.junodownload.com/plus/2015/12/17/best-of-2015-artists-djs-label-owners-and-producers-on-the-music-that-defined-their-year/">growing interest in electro</a>, all
staccato claps and subtle clicks, where a dramatic intro gives way to a taut
snap and searing scifi melodies. <o:p></o:p></div>
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Celeste’s output becomes more assured and impressive with
each successive release, as she alights on a personal sound born of, but not
limited to, the rich musical history of her surroundings.<o:p></o:p><br />
<b><br /></b>
<div style="text-align: center;">
<b><span style="font-size: x-large;">8/10</span></b></div>
</div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-5168289768204513512016-01-20T15:22:00.002+00:002016-01-20T15:22:39.722+00:00Bianca Chandon Presents &Co - Best Of Friends<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSCSv0Tcov7parLkFCOqbNzU4qFT8U9ESHgUxNY-Us4lfd2PFmktJvKntDjmclZfwP0Y8T3kGjZLcI3-qjSrJ3yQ_2xHqvqmkEQL4JEUyLUvo4U5n8VMUG0AQ_QxNJ4L-o4WwnL4jMlLMW/s1600/bianca+chandon+%2526+co+best+of+friends.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSCSv0Tcov7parLkFCOqbNzU4qFT8U9ESHgUxNY-Us4lfd2PFmktJvKntDjmclZfwP0Y8T3kGjZLcI3-qjSrJ3yQ_2xHqvqmkEQL4JEUyLUvo4U5n8VMUG0AQ_QxNJ4L-o4WwnL4jMlLMW/s400/bianca+chandon+%2526+co+best+of+friends.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<b>Label: </b>Bianca
Chandon<br />
<br />
<i>Listen to EP clips <a href="http://www.juno.co.uk/products/bianca-chandon-co-best-of-friends/586071-01/">here</a></i></div>
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<br />
<o:p></o:p></div>
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While it could be said that all great art has a story behind
it, this is not always the case in the electronic music world. The best novels
and poems can be the fruit of sudden epiphanies, incredible life experiences or
years of labouring in obscurity. Rather unromantically, the best dance tracks
are often the product of someone sitting hunched over a PC in their bedroom at
5am. But how much does a great narrative really add to our enjoyment of a
piece?<o:p></o:p></div>
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<br /></div>
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It’s true that sometimes our finest records come from an
unusual place. One might mention that this EP combines the talents of skater/
society boy Alex Olson, Sarcastic Disco’s Paul T and film composer Alberto Bof.
Maybe add that it’s all released under the banner of Olson’s fashion label
side-project Bianca Chandon. Or you could just say it’s the work of three
friends who’ve spent a lot of time chilling out together on Venice beach. Either
way, when the sound is this good, it’s easy to leave the story behind and focus
on the music.<o:p></o:p></div>
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<br /></div>
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Two ten-minute epics occupy either side of the wax, mining a
slo-mo disco sound with a tough acid streak. <i style="mso-bidi-font-style: normal;">Best Of Friends </i>lays down a tough kick and then contrasts a
gurgling 303 with crystalline piano keys, perfectly balancing elegance and
menace. B-side <i style="mso-bidi-font-style: normal;">Wine Cooler </i>is the
real party-starter though, where a long jazzy build drops into an irresistible
disco stomp. The two tracks are accessorised with a few filter sweeps and
mix-friendly in/outros, but the pure funk coursing through these tunes is more
than enough reason to get on board. There’s even a bonus acid workout included,
but it doesn’t add much to the original package.<o:p></o:p></div>
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<br /></div>
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<div class="MsoNormal">
Nu-disco with actual substance, acid that doesn’t leave
behind the funk, it’s a surprising and well-executed release that leaves us
hoping that this unlikely trio will get together more often. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-size: x-large;">8/10</span></b></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-75047979446447424022016-01-18T12:59:00.002+00:002016-01-18T12:59:52.031+00:00Khotin - Baikal Acid<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIbUKyb_-duQgy32Ree-gVVe7CzQE07QHgmDz0rTcY9Rd9hUSxUYywnVaf7UM7aAcuAUsmKRnED0FM32193lYTY9Bk7FdRfSgfkTVPJ3_ELL8jeNR96c5OMddId9WzPaT3IzdwltxkN53z/s1600/Khotin-Baikal+acid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIbUKyb_-duQgy32Ree-gVVe7CzQE07QHgmDz0rTcY9Rd9hUSxUYywnVaf7UM7aAcuAUsmKRnED0FM32193lYTY9Bk7FdRfSgfkTVPJ3_ELL8jeNR96c5OMddId9WzPaT3IzdwltxkN53z/s400/Khotin-Baikal+acid.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<b>Label: </b>1080p<br />
<br /></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<div style="text-align: center;">
<iframe frameborder="no" height="65" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/240804611&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
</div>
<div style="text-align: center;">
<br /></div>
</div>
<div class="MsoNormal">
Few local scenes have caused a stir in recent years like the
house sound coming out of Canada’s west coast. There’s a gentle, daydreaming
quality to the hardware jams that have coalesced around labels like Mood Hut
and 1080p that proves irresistible, with producers eking out the softer fringes
of acid, jazz and new age. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Vancouver transplant <a href="http://whitenoisereview.blogspot.co.uk/search/label/Khotin">Dylan Khotin</a> is a strong example,
announcing himself with releases on <a href="https://1080pcollection.bandcamp.com/album/hello-world">1080p</a> and <a href="http://whitenoisereview.blogspot.co.uk/2015/10/dan-white-khotin-split.html">Normals Welcome</a>
emotionally situated between dewy melancholy and misty-eyed optimism. While
local affiliates such as <a href="http://whitenoisereview.blogspot.co.uk/search/label/Pender%20Street%20Steppers">Pender Street Steppers</a>, <u><a href="http://whitenoisereview.blogspot.co.uk/search/label/Project%20Pablo">Project Pablo</a></u> or
<a href="http://whitenoisereview.blogspot.co.uk/search/label/Fl%C3%B8rist">Florist</a> keep a touch of humanity front and centre in their productions,
using voices and acoustic instrumentation, there is something decidedly
mechanical about Khotin’s productions, like the songs of love and loss that
machines would write to one another.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>In <i style="mso-bidi-font-style: normal;">Recycle (5AM Reflection Mix) </i>everything
is descending: hollow drum hits and glistening synthwork, a burbling acid
bassline and a distant whirring like a spacecraft failing to take off. It’s
wistful material, the synths flowing into a pool of shimmering reverb,
emphasised on the beatless <i style="mso-bidi-font-style: normal;">Drift Mix </i>beside
the lapping of waves on the shore.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The B-side holds material more primed for the dancefloor,
with highlight <i style="mso-bidi-font-style: normal;">Human Voice </i>beaming
out new age synthwork over clattering cymbals and the distant sound of
celestial chipmunks. Meanwhile the final title cut is more introspective, a
busy rhythm writhing under an uncertain synth motif, before a yearning melody
emerges for the track’s second half. It’s a convincing statement for both
Khotin and 1080p for the new year, wintery music for contemplating grey skies
and hushed dancefloors.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-large;">7.5/10</span></b></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-55424574076811352812016-01-15T15:49:00.002+00:002016-01-15T15:49:48.495+00:00Omar Souleyman - Heli Yuweli<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-FL53ZDr9pY4TwNy8Nd_NZRd_OBE6ZzaDz8qbkVOFa1UeSkVdO2VmRiTIPFK3Edn067PWb2YssXYMY2Afa2HJjBl5FTQZEggXwiAv3z2KkTNUFRF6IX5YMKNRrP5YJtWQHClik4rRhuge/s1600/omar+souleyman+heli+yuweli.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-FL53ZDr9pY4TwNy8Nd_NZRd_OBE6ZzaDz8qbkVOFa1UeSkVdO2VmRiTIPFK3Edn067PWb2YssXYMY2Afa2HJjBl5FTQZEggXwiAv3z2KkTNUFRF6IX5YMKNRrP5YJtWQHClik4rRhuge/s1600/omar+souleyman+heli+yuweli.jpg" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<b>Label: </b>Trilogy
Tapes<br />
<br /></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div style="text-align: center;">
<iframe frameborder="no" height="65" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/233441469&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="450"></iframe>
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The rise of Omar Souleyman in the western musical world is a
kind of cross-cultural fairy tale. A Syrian performer known for raucous <i style="mso-bidi-font-style: normal;">dabke </i>improvisations at weddings, Souleyman
achieved international recognition in 2007 on an <a href="http://www.discogs.com/Omar-Souleyman-Highway-To-Hassake-Folk-And-Pop-Sounds-Of-Syria/master/133245">American compilation</a> and
now, exiled from his conflict-riven homeland, he tours the world’s music festivals
and collaborates with some of the dance scene’s brightest stars.<o:p></o:p></div>
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This ascent has born two albums, ‘Wenu Wenu’ in 2013 and
last year’s ‘Bahdeni Nami’, the first produced by Four Tet and the latter with
a range of producers including Modeselektor and Gilles Peterson. Thus far these
European names have steered clear of changing too much of Souleyman’s sound,
tidying the production here, beefing up a kick there, elongating the track
times to suit western dance tastes. This is perhaps due to respect for the
artist and the conventional role of a music producer, but the fact that the
crème of European DJs didn’t leave any fingerprints on Souleyman’s sound also
feels a little like an opportunity missed. <o:p></o:p></div>
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When real remixes have emerged, rather than production
credits, from the likes of <a href="https://www.youtube.com/watch?v=XJWN_w_g5qY">Legowelt</a> or <a href="https://www.youtube.com/watch?v=EMdww9QW2aQ">Crackboy</a>, they’ve worked
well, and hinted at new avenues in the emerging exploration of Arabic sounds in
European dance music. Enter Trilogy Tapes and their shadowy lofi militia
Rezzett, who, in a willingness to rip the original apart without respect for
its fidelity or structure, have made something exciting and new.<o:p></o:p></div>
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The Souleyman original takes up the A-side, and it’s as good
as the best cuts on his 2015 LP. On <i style="mso-bidi-font-style: normal;">Heli
Yuweli </i>(“let him leave”) Souleyman wishes somewhat cruelly for the
departure of a girl who has hurt him, accompanied by a slamming 4/4 and some
typically dextrous keyboard workouts by affiliate Rizan Sa’id. It’s sweaty
party music that shows exactly why ‘the other Omar S’ has gone down such a
storm at western clubs.<o:p></o:p></div>
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On their first remix, Rezzett lay the acapella over a
crushed rhythm and grainy synths that bubble to the surface, showing just how
well the duo pair a punk approach to audio fidelity with curiously emotive keys. They do one better on the <i style="mso-bidi-font-style: normal;">Rerezz</i>,
which turns Souleyman’s voice into distant radio crackle as wistful pads haunt the snare-heavy drumwork like mist. It’s spacey, mesmerising, and
totally Rezzett. More confirmation, as if it was needed, that the most
interesting results of artistic collaboration often come from a willingness to
tear it up and start again.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-large;">8/10<o:p></o:p></span></b></div>
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<o:p>Rough translation of the lyrics (the 'him' that Souleyman is addressing is his love for a woman):</o:p></div>
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‘Let him leave/ he filled my heart with wounds/ I’ll let God
punish him, he deserves it / I gave him my heart and my soul / let him leave, so I don't see him/ so my hand
doesn’t touch his/ let him leave, so I don't see him / let him live the rest
of his life crying in grief / regret is useless / why does he want to cause me
more grief and pain, let him leave, let him leave’</div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-39760250412950531862016-01-13T17:44:00.003+00:002016-01-13T17:44:59.502+00:00DJ Sotofett - Percussion Mixes 1<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsBd6y5IhFb361f4NSNh85qYbTWQBlHcSu_VoL4TsKzfuBSRlBvy31EKMt4Mp9mazx0oLt8uGLVg_XJNMx6Uh2wPedbwBYxUveq6883ZdRa0AK7LTXC9Ds358QGJmH2c19TXpauyrBNMqv/s1600/sotofett+percussion+mixes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsBd6y5IhFb361f4NSNh85qYbTWQBlHcSu_VoL4TsKzfuBSRlBvy31EKMt4Mp9mazx0oLt8uGLVg_XJNMx6Uh2wPedbwBYxUveq6883ZdRa0AK7LTXC9Ds358QGJmH2c19TXpauyrBNMqv/s640/sotofett+percussion+mixes.jpg" width="640" /></a></div>
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<b>Label: </b>FIT</div>
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<o:p></o:p></div>
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<iframe frameborder="no" height="60" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/232481291&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="450"></iframe>
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From the primitive days of drum circles right up to
industrial techno in a grimy basement, rhythm has always been a central human
concern. It speaks the language of the body, compelling us to move, hypnotising
until we are outside ourselves, be it just to escape or to commune with
something higher. The possibilities of rhythm and tone from a single drum are
staggering. Strange then, that so much of contemporary dance music relies on
one of the simplest patterns imaginable: the 4/4 kick.<o:p></o:p></div>
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While many of electronic music’s brightest lights may flirt
with unquantised rhythms or 2step, few explore the outer possibilities of
percussion as dedicatedly as Norway’s DJ Sotofett, head of the esteemed Sex
Tags imprint. Whether it be spaced-out breakbeats or African polyrhythms,
Sotofett’s music is always alive with rhythmic complexity, and his latest for
Aaron Siegel’s FIT imprint is no different.<o:p></o:p></div>
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Siegel and Sotofett are a perfect fit. Not only were they
both responsible for some of <a href="http://whitenoisereview.blogspot.co.uk/2016/01/best-tracks-of-2015-part-3.html">last year’s mightiest tracks</a>, but the two
have collaborated before and Siegel handles Sex Tags’ US distribution. Here
Sotofett shows off his impressive drum programming on both sides of the wax. <i style="mso-bidi-font-style: normal;">Tribute To “Sore Fingers” </i>is probably a
reference to Laurent Garnier’s <a href="https://www.youtube.com/watch?v=7iWz2Mqw6G8">furious rhythm cut</a>, but takes a gentler
approach with a tidy bassline, swooning background synths and a complex cycle
of light drums and hand percussion. It’s just the kind of raw drumwork that can
spice up a dancefloor, mesmerising right up to its long, spacey outro.<o:p></o:p></div>
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As accomplished as the A-side is, <i style="mso-bidi-font-style: normal;">Houran (Percussion Mix) </i>is a wilder beast, and the real prize of
this 12”. Tapping the source material from an upcoming LP by Arabic musician Abu
Sayah on Versatile, Sotofett uses the keening yarghol (an Arabic flute) as a
central melody, adding an intoxicating flavour to his tough percussive workout.
The introductory wordless chanting lends the track a cosmic vibe, harking back
to the early religious purpose of music, <i style="mso-bidi-font-style: normal;">ekstasis</i>,
standing outside of the self.<o:p></o:p></div>
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Because isn’t that what we really search for in dance music?
A stimulus that will travel through us, the body merely a conduit that takes in
music and transmutes it, expelling motion. It elevates us from the mundane, and
takes us somewhere new. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-large;">9/10</span></b></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-19150740267740962852016-01-09T18:37:00.000+00:002016-01-09T18:37:56.373+00:00Best Tracks of 2015 - Part 3<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPLVebBqSvp0ViwvT213HztIYX4Lzk0T7g4QYn_w2iMMuGX54Az81vmrfvml8TPRtqaJF7rE6YBIHNu325ePo-jO60GRr3U4wio7hLETGdJLPSQ4a05mhx3P1BZsOwp6345R0NdmsDmvj3/s1600/tracks+pt+3+pic.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPLVebBqSvp0ViwvT213HztIYX4Lzk0T7g4QYn_w2iMMuGX54Az81vmrfvml8TPRtqaJF7rE6YBIHNu325ePo-jO60GRr3U4wio7hLETGdJLPSQ4a05mhx3P1BZsOwp6345R0NdmsDmvj3/s1600/tracks+pt+3+pic.png" /></a></div>
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Our <a href="http://whitenoisereview.blogspot.co.uk/2016/01/best-tracks-of-2015-part-1.html">last</a> <a href="http://whitenoisereview.blogspot.co.uk/2016/01/best-tracks-of-2015-part-2.html">two</a> instalments lined up some of the
very best tunes of the last year, but now we’ve got the absolute crème – White
Noise’s twenty favourite tunes of the year.</div>
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<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">20. Denis Sulta –
It’s Only Real </b>[Numbers]<o:p></o:p></span></div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/2kfzWt8NYaA?rel=0&showinfo=0" width="400"></iframe>
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Glasgow’s Denis Sulta’s two releases on Dixon Avenue
Basement Jams marked him out as a serious new talent, and this single-sided
outing on Numbers showed that he could pull of an anthem too. <i style="mso-bidi-font-style: normal;">It’s Only Real </i>is deceptively simple,
essentially an unchanging drum loop and one showstopping melody, but it tears
apart dancefloors like little else.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">19. Pender Street
Steppers – The Glass City </b>[Mood Hut]</span></div>
</div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/YYfb7vernAI?rel=0&showinfo=0" width="400"></iframe>
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Scene favourites Pender Street Steppers offered a <a href="http://whitenoisereview.blogspot.co.uk/2015/06/pender-street-steppers-glass-city.html">perfect distillation</a> of their sound with this year’s <i style="mso-bidi-font-style: normal;">The Glass City</i>, an ultra-chilled confection of gentle percussion,
fluttering melody and a broad bass swagger.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">18. Bicep – Just </b>[Aus]<o:p></o:p></span></div>
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Honestly, we didn’t expect to see <a href="http://whitenoisereview.blogspot.co.uk/search/label/Bicep">Bicep</a> on this list
again. After the trend for balls-to-the-wall 90s diva house faded, we rather
thought the Northern Irish duo would disappear along with it. But we’ll be the
first to admit where we were wrong. Bicep turned out the winning <i style="mso-bidi-font-style: normal;">Just </i><span style="mso-bidi-font-style: normal;">in 2015 </span>and rightly
dominated dancefloors. While earlier Bicep tracks were instant-gratification
affairs, <i style="mso-bidi-font-style: normal;">Just </i>is sinuous and subtle,
its earworm synthline calling out like a siren til the soaring scifi keys reach boiling point. <o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">17. Khotin – Sorry
Sequence </b>[Normals Welcome]<o:p></o:p></span></div>
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We expected great things from <a href="http://whitenoisereview.blogspot.co.uk/search/label/Dan%20White">Dan White</a> on his <a href="http://whitenoisereview.blogspot.co.uk/2015/10/dan-white-khotin-split.html">split EP</a> with Khotin, and we got them, but we never thought he would get so dramatically upstaged.
<i style="mso-bidi-font-style: normal;">Sorry Sequence </i>is a stunner,
raw yet melancholy with its stainproof rhythm, cycling melody and corrosive
acid flex.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">16. Soichi Terada –
Sun Showered </b>[Rush Hour]</span></div>
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<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/I6YW7FB1lYQ?rel=0&showinfo=0" width="400"></iframe>
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It was hard to pick a single tune from Hunee’s superbly
curated compilation of Soichi Terada’s forgotten house gems, but <i style="mso-bidi-font-style: normal;">Sun Showered </i>hits the sweet spot of
rhythmic drama, colourful melody and flat-out optimism that makes all his
tracks so winning.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">15. Merle –
Mimi Likes 2 Dance </b>[Stripped & Chewed]</span></div>
</div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/t8qUmBlMMPY?rel=0&showinfo=0" width="400"></iframe>
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Chicago outpost Stripped & Chewed did a stellar job
reissuing this lost beauty from ’99. Merwyn Sanders even reworked the original lead
single, with a new vocal line and cleaner production (and a change of title as a nod to his wife). With its catchy pop vox,
funky backbone and urgent synth sweeps, this cut adds a pinch of joy to any
set.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">14. Whispers Beirut –
Away</b> [Unreleased]<o:p></o:p></span></div>
</div>
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<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/222160105&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
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Still officially unreleased, this collaboration between Baba
Stiltz and Petrodollar caught us off-guard with its simplicity and its
melancholy. A yearning synth rules the track’s first half, before a slack hip
hop beat picks up the pace. Sometimes less is so much more.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">13. Hidden Spheres –
Waiting </b>[Distant Hawaii]</span></div>
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If you’re going to open a sub-label just for one release, it
better be a good one. <a href="http://whitenoisereview.blogspot.co.uk/search/label/Lobster%20Theremin">Lobster Theremin</a> heeded this rule when they
opened Distant Hawaii for a <a href="http://whitenoisereview.blogspot.co.uk/2015/08/hidden-spheres-waiting.html?q=lobster+theremin">single summer release</a> by Mancunian Hidden
Spheres. Opener <i style="mso-bidi-font-style: normal;">Waiting</i> was the most
sublimely chilled house track we heard all year, a breeze of warm melodies
wafting over a textured drum workout.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">12. Palms Trax – Sumo
Acid Crew </b>[Dekmantel]</span></div>
</div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/o7fgUDJ8KHY?rel=0&showinfo=0" width="420"></iframe>
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Two years after <i style="mso-bidi-font-style: normal;"><a href="http://whitenoisereview.blogspot.co.uk/2013/10/palms-trax-equation.html">Equation</a></i>,
Palms Trax went one better with this elegant slice of acid. Here the 303 is far
from its alienating roots, burbling beside warm Chicago pads and harmonising
with a soaring synth climax.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">11. Harvey Sutherland
– Bermuda </b>[MCDE]</span></div>
</div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/u47LZJIKPkU?rel=0&showinfo=0" width="400"></iframe>
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It’s easy to see why Motor City Drum Ensemble snatched up
this synth-maestro for his own label – in 2015 Sutherland <a href="http://whitenoisereview.blogspot.co.uk/2015/08/harvey-sutherland-bermuda-ep.html?q=sutherland">brought the funk</a> like no other. <i style="mso-bidi-font-style: normal;">Bermuda </i>is
an absolute masterclass in songwriting, from its virtuosic opening to its
astonishing climax which crams in more melodies than we would’ve ever
considered coherent. But Sutherland pulls it off with flair. More please. <o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">10. Florist – Final
Bounce </b>[All Caps]</span></div>
</div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/cImt9CXXuhM?rel=0&showinfo=0" width="400"></iframe>
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After a long gestation period on Soundcloud, one of the Vancouver scene’s best releases showed up unexpectedly on the
Glaswegian All Caps imprint. The <a href="http://whitenoisereview.blogspot.co.uk/2015/10/flrist-phenomena.html">Phenomena EP</a> was a winner, the feather
in its cap <i style="mso-bidi-font-style: normal;">Final Bounce</i>, a spare
slice of house with aquatic vibes and a soulful choir that rises magnificently
from the mist. <o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">9. Haydn – Booty Meat
</b>[Junk Yard Connections]</span></div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/C8mslLKBMhg?rel=0&showinfo=0" width="400"></iframe>
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Buried on the B2 of a V/A release from Sweden’s underlooked
Junk Yard Connections imprint, Haydn’s <i style="mso-bidi-font-style: normal;">Booty
Meat </i>is the definition of a secret weapon. The unusual combination of
gentle keys and a racy vocal line keeps dancers on their toes, and when that
mighty rhythm kicks back in after the dubby breakdown everyone on the ‘floor
will drop to make it clap.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">8. Raw M.T. –
Untitled </b>[Mörk]</span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/whizBk7c0pw?rel=0&showinfo=0" width="400"></iframe>
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After he wowed us with the brittle techno of <i style="mso-bidi-font-style: normal;"><a href="http://whitenoisereview.blogspot.co.uk/2013/11/raw-mt-raw-music-theory.html?q=raw+m.t.">Walkman Is Dead</a> </i>a couple of years
back, Italian producer Raw M.T. was back with a vengeance this year. In the
middle of a <a href="http://whitenoisereview.blogspot.co.uk/2015/04/raw-mt-la-duna.html?q=raw+m.t.">superb EP</a> on Lobster Theremin offshoot Mörk was <i style="mso-bidi-font-style: normal;">Untitled</i>, a humid house killer with
exotic vocals and a malevolent bassline. Intoxicating stuff.<o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">7. Nebraska –
Emotional Rescue </b>[Mister Saturday Night]</span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/PbpzZZIXViI?rel=0&showinfo=0" width="400"></iframe>
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White Noise’s favourite party-starter of 2015 came from the
reliable MSN stable courtesy of Nebraska. On the diverse <a href="http://whitenoisereview.blogspot.co.uk/2015/05/nebraska-stand-your-ground.html">Stand Your Ground EP</a> a disco killer nestled on the B2, a shot of euphoria served over
filtering brass and earworm vocals.<o:p></o:p></div>
</div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">6. Route 8 – The
Sunrise In Her Eyes </b>[Lobster Theremin]</span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/mwMvfedBMuA?rel=0&showinfo=0" width="400"></iframe>
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We’ve got a bit of a fetish for melancholy deep house heavy
on the ambience, and few producers bring the feels as magically as Hungarian
talent Route 8. The opener to <a href="http://whitenoisereview.blogspot.co.uk/2015/03/route-8-this-raw-feeling.html">This Raw Feeling</a> is as dreamy as its title
suggests, warm pads caressing the ear like a gentle tide, a quickened pulse and
hopeful chimes leading us deeper down the rabbit hole.<o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">5. Fatima Yamaha –
What’s A Girl To Do</b> [Dekmantel]</span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/7Ej6g3KhinM?rel=0&showinfo=0" width="400"></iframe>
</div>
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Okay, so maybe everyone’s sick of hearing about this tune by
now. But if we leave aside the bittersweet melody, searing synth lead and
solemn bassline, we’re left with a hopeful story. <o:p></o:p></div>
</div>
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Keeping up with the lightning-paced electronic music world
can lead us to treat tracks as disposable tools, each EP skimmed for parts,
forgotten by the month’s end. The fact that a house tune from 2004 caused such
a stir in 2015 proves that longevity and beauty can triumph over disposability.
We are capable of treasuring our beloved music like the art it is.<o:p></o:p></div>
</div>
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</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">4. Dude Energy –
Renee Running </b>[Animals Dancing]</span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/UJxip423AZ8?rel=0&showinfo=0" width="400"></iframe>
</div>
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Not content just issuing <a href="https://melodyastruth.bandcamp.com/album/suzanne-kraft-talk-from-home">a fine album</a> under his
Suzanne Kraft moniker this year, Californian wizard Diego Herrera also dropped
one of our favourite club tunes of the year as Dude Energy. Combining
impressive bass weight, razor snares and a mesmerising melody that sounds
plucked from a gypsy songbook, this tune was a shot in the arm of samey
dancefloors throughout the year.<o:p></o:p></div>
</div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">3. Leon Vynehall –
Midnight On Rainbow Road </b>[Rush Hour]</span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/M4zSy07qPkI?rel=0&showinfo=0" width="400"></iframe>
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From the <a href="https://www.youtube.com/watch?v=ur5xpIvIkJI">very</a> <a href="https://www.youtube.com/watch?v=WlF0xwpwjBI">start</a>, Leon Vynehall has had a
way of evoking complex emotions with his music that few artists can parallel.
His only release this year was a solitary tune on Gerd Janson’s lovely <a href="http://whitenoisereview.blogspot.co.uk/2015/09/various-artists-musik-for-autobahns-2.html">Musik For Autobahns 2</a>, and, though beatless, it's one of his greatest
compositions to date. A glittering melody flutters through a rain-streaked
landscape, accompanied by skipping snares, traffic sounds and a heaving ambient
wash. It’s music to get lost in, and you won’t want to be found.<o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">2. Fit Siegel – Carmine </b>[Fit]</span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/qbEWpDw_q54?rel=0&showinfo=0" width="400"></iframe>
</div>
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Detroit’s Aaron Siegel doesn’t put out much music, but when
he does it’s practically buy-on-sight. This year’s <i style="mso-bidi-font-style: normal;">Carmine</i> was an immensely emotive slice of house that takes you
places that little music can reach. A delicate construction of gossamer synthwork,
filtered snares rattling through the scales and a taut electro rhythm, this was
the tearjerker to rule every 5am dancefloor in 2015.<o:p></o:p></div>
</div>
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<span style="font-size: x-large;"><b style="mso-bidi-font-weight: normal;">1. DJ Sotofett –
Nondo </b>[Honest Jon’s]</span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/8XZYx0tCa6s?rel=0&showinfo=0" width="560"></iframe>
</div>
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Sex Tags head DJ Sotofett has risen to underground legend
status over the last few years, and it’s not hard to see why. With an excellent
label and <a href="https://soundcloud.com/trushmix">mix series</a>, an adventurous DJing style and a penchant for
explorative, breakbeat-fuelled remixes, Sotofett (and his crew) stand as rather
unique figures in an often homogeneous scene. <o:p></o:p></div>
</div>
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<br /></div>
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Yet one of the reasons why Sotofett’s releases are so
successful is how adeptly he adapts and works with a stream of varied
collaborators. This is the story of White Noise’s favourite tune of 2015. On a
superb album chock full of ace collaborative efforts, the standout tune had
Sotofett jamming with Karolin Tampere on drum machines and synths while
Maimouna Haugen offered hushed, sinuous vocals. With a seductive synth motif
and spare afrobeat percussion it’s a simple piece, but all the deadlier for it.
It’s easy to feel jaded by the 4/4 scene if you don’t keep searching for
something different. Sotofett always provides.<o:p></o:p></div>
</div>
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*** </div>
</div>
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<br /></div>
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<div style="text-align: center;">
That’s all for 2015, we’ll be back soon with fresh coverage
for the new year. Hope you enjoyed the roundups, check out all our Best Of
articles below:<o:p></o:p></div>
</div>
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<div style="text-align: center;">
<a href="http://whitenoisereview.blogspot.co.uk/2015/12/best-albums-of-2015.html">Best Albums 2015<o:p></o:p></a></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<a href="http://whitenoisereview.blogspot.co.uk/2016/01/best-tracks-of-2015-part-1.html">Best Tracks Part 1<o:p></o:p></a></div>
</div>
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<a href="http://whitenoisereview.blogspot.co.uk/2016/01/best-tracks-of-2015-part-2.html">Best Tracks Part 2 </a><o:p></o:p></div>
</div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-38689676405026435712016-01-07T12:27:00.000+00:002016-01-07T12:38:40.728+00:00Best Tracks of 2015 - Part 2 <div class="separator" style="clear: both; text-align: center;">
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Following on from <a href="http://whitenoisereview.blogspot.co.uk/2016/01/best-tracks-of-2015-part-1.html">part one</a>, here are some fantastic tunes that just missed out on the top spots. Running down from #40-21.</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">40. Jack J –
Thirstin’ </b>[Future Times]<o:p></o:p></span></div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/JkfvlQ75WUg?rel=0&showinfo=0" width="400"></iframe>
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While it may not be edged with the same melancholy as last
year’s <a href="https://www.youtube.com/watch?v=W6FSAP5Gcvs">anthem</a>, Jack J’s <a href="http://whitenoisereview.blogspot.co.uk/2015/07/jack-j-thirstin-atmosphere.html?q=jack+j">Future Times outing</a> had all the
ingredients for summer killer: effortlessly lazy vibes, an irresistible groove,
milky keys and a catchy vocal line.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">39. Unknown Artist –
A Jazz Thing </b>[Uniile]<o:p></o:p></span></div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/_DPbTl6RK7U?rel=0&showinfo=0" width="400"></iframe>
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While it may not be worth the extortionate prices <a href="http://www.discogs.com/Unknown-Artist-Uniile-1/release/6770398">currently on discogs</a>, new label Uniile delivered the finest anonymous release of the
year from a young French artist. <a href="http://whitenoisereview.blogspot.co.uk/2015/06/unknown-artist-uniile-1.html">All four tracks</a> are fire, but the
undisputed highlight is this low-slung jazzy number which strolls by with a seedy sax and a heaving reggae bassline. <o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">38. Florian Kupfer –
Discotag </b>[WT Records]<o:p></o:p></span></div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/5Y0lO7qdEbA?rel=0&showinfo=0" width="400"></iframe>
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The best thing Kupfer’s put out since <a href="https://www.youtube.com/watch?v=CHJ8R0k1VYM">Feelin</a>, this
slice of techno is both spare and raucous. A funky vocal struts out over a
tunnelling acid workout to destructive effect.<o:p></o:p></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">37. The Galleria
feat. Jessy Lanza – Mezzanine </b>[Environ]</span></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/-dDHCJKldDc?rel=0&showinfo=0" width="560"></iframe>
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Alongside her <a href="http://whitenoisereview.blogspot.co.uk/2013/10/jessy-lanza-pull-my-hair-back.html?q=jessy+lanza">solo work</a>, Jessy Lanza put out a
stunning series of guest vocalist spots in 2015, most notably with legend
Morgan Geist on freestyle project The Galleria. Lanza’s voice flexes with
pure-pop allure atop Geist’s titanium electro skeleton. This is how pop music
should sound.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">36. Porn Sword
Tobacco – Kristallisering </b>[Aniara]<o:p></o:p></span></div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/0mzMHW4eWrA?rel=0&showinfo=0" width="400"></iframe>
</div>
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PST made his name on a series of experimental/ IDM albums in
the late 2000’s, but the past couple of years his sound has been refined and
reborn on Kontra-Musik and with the trendy SVN crew. <i style="mso-bidi-font-style: normal;">Kristallisering </i>is one of his most appealing cuts to date, a breezy
piano riff fluttering over a taut electro snap, a composition of air and joy.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">35. Rita Furstenhof –
Hadron Collider </b>[Optimo Music]<o:p></o:p></span></div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/kL_vu_Hod0s?rel=0&showinfo=0" width="400"></iframe>
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This one seems to have flown under everyone’s radars. Out in
September on JD Twitch’s reliable Glaswegian outpost, this is electro at its soaring
zenith, with a cheeky malfunctioning breakdown and an unashamedly epic synth
motif.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">34. Matthew Herbert –
Earthenware </b>[Concrete Music]</span></div>
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Herbert may have put out an album this year, but our
favourite cut of his in 2015 was this melodic house tune buried on a V/A
release from Parisian clubnight Concrete. A sawtooth bassline and bright keys
give way to a genuinely moving breakdown, fusing jazz and house as only Herbert
can.<o:p></o:p></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">33. Hodge – I Don’t
Recognise You Lately</b> [Hemlock]<o:p></o:p></span></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/yfhYmX44UlQ?rel=0&showinfo=0" width="560"></iframe>
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Any number of Hodge’s <a href="https://www.youtube.com/watch?v=U9GKD6tN9F0">excellent</a> techno/grime <a href="http://whitenoisereview.blogspot.co.uk/2015/04/hodge-hek025.html">hybrids</a>
could have made our 2015 list, but it was this oddly subdued cut that
ultimately impressed us most. By dialling down the energy Hodge makes the
listener focus on the little things: that haunting glockenspiel melody, garbled
voices and washes of static, a spare rhythm and near-constant bass pressure.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">32. Paranoid London -
Lovin U (Ahh Shit) With DJ Genesis </b>[Paranoid London]<o:p></o:p></span></div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/sK42IwSQRu8?rel=0&showinfo=0" width="400"></iframe>
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The <a href="http://whitenoisereview.blogspot.co.uk/2015/04/paranoid-london-paranoid-london.html?q=paranoid">debut album</a> from this all-analog crew was as
uncompromising as acid gets, yet firmly floor-focused. One tough-as-nails
throwback acid workout. One ethereal synth melody. One fiery diva vocal. Built
up, broken down. What more could you ask for?<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">31. Hunee – Rare
Happiness </b>[Rush Hour]</span></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/8E63bH18xf0?rel=0&showinfo=0" width="400"></iframe>
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Deep at the heart of Hunee’s lush debut on Rush Hour was
this aptly-titled gem, which wriggles infectiously around a clipped vocal,
textured percussion and a re/de-tuning synthline. Pure bliss.<o:p></o:p></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">30. Asusu – Serra </b>[Impasse]<o:p></o:p></span></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/8wGB8IBvNk4?rel=0&showinfo=0" width="400"></iframe></div>
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Once the Livity Sound newcomer, Asusu has marked out a real
unique spot of late. Nowhere was this more clear than on his first step outside
the Livity stable with <i style="mso-bidi-font-style: normal;"><a href="http://whitenoisereview.blogspot.co.uk/2015/03/asusu-serra.html">Serra</a></i>,
a masterclass on the tone, timbre and propulsion of rhythm. <o:p></o:p></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">29. Mosey – Tuff
Times </b>[Future Times]<o:p></o:p></span></div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/r6B3AW0-Mqg?rel=0&showinfo=0" width="400"></iframe>
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Some dance tracks tug at your heartstrings in a way that you
can’t even explain. This is certainly the case with <i style="mso-bidi-font-style: normal;">Tuff Times</i>, a relaxed house outing from newcomer Mosey. The rhythm
is simple, as is the new-age melody, leaving just an eccentric bassline that
hops through the frequencies to guide us each through our own tuff times.<o:p></o:p></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">28. Damiano von
Erckert – We Flow ft. Amalia </b>[ava.]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/OW5i1pMqsKQ?rel=0&showinfo=0" width="400"></iframe>
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The centrepiece of Damiano’s <a href="http://whitenoisereview.blogspot.co.uk/2015/10/damiano-von-erckert-also-known-as-good.html">sophomore album</a> was this
breezy cut of joy, with jazzy keys perfectly accompanying Amalia’s effortless
vocal performance.<o:p></o:p></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">27. Aurora Halal –
Shapeshifter </b>[Mutual Dreaming]</span></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/oF36L9gyCss?rel=0&showinfo=0" width="400"></iframe>
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Aurora Halal went through quite a stylistic shift from her
first to her <a href="http://whitenoisereview.blogspot.co.uk/2015/09/aurora-halal-shapeshifter.html">second EP</a>, yet the new sound fits her like a glove. This is
slinky Detroit techno par excellence, all twinkling keys, pacing percussion and
an all-important sense of mystery.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">26. Sparky – Signals </b>[Numbers]</span></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/NiBQ6Sg_TG8?rel=0&showinfo=0" width="400"></iframe>
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After delivering a <a href="https://www.youtube.com/watch?v=uLcvvzfjzFA">lost anthem</a> in 2013, Sparky’s new
material this year was just as powerful. Translating pop-grade melodies to an
electro format, <i style="mso-bidi-font-style: normal;">Signals</i> is
unashamedly huge, with an unstoppable bassline and a cornea-searing melody.<o:p></o:p></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">25. Luca Lozano &
Mr. Ho – Dripbox </b>[Crème Organization]<o:p></o:p></span></div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/25neR5nCWsk?rel=0&showinfo=0" width="400"></iframe>
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Luca Lozano has been responsible for a number of heavyweight
tunes this year, and our favourite was this pitch-black collaboration with Mr.
Ho. A storming kick underpins two duelling grime-inflected melodies that’ll
detonate the dancefloor.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">24. DJ Richard –
Vampire Dub </b>[Dial]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/C9xprRf9jB8?rel=0&showinfo=0" width="400"></iframe>
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So much of DJ Richard’s <a href="http://whitenoisereview.blogspot.co.uk/2015/09/dj-richard-grind.html">superb debut LP</a> could’ve made
this list, but final cut <i style="mso-bidi-font-style: normal;">Vampire Dub </i>just
edged out the competition. A grand slice of deep house in a classic vein, its
starry keys and martial stomp soundtracked us gazing mistily at many a sunset.<o:p></o:p></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">23. Domenique Dumont
– L’Esprit de l’Escalier </b>[Antinote]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/BlQtwotiPvs?rel=0&showinfo=0" width="400"></iframe>
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Dumont’s <a href="http://whitenoisereview.blogspot.co.uk/2015/07/domenique-dumont-comme-ca.html">lovely debut</a> came out of nowhere, and this
breathless appeal is sustained on its catchiest highlight. A mighty range of
influences are handled with a light touch, resulting in a buoyant stoner-pop
cut with a bridge that won’t quit and a chorus that’ll have you singing along
even if you can’t make out the words.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">22. Basic House –
Cones </b>[Opal Tapes]</span></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/JG0zn3POisY?rel=0&showinfo=0" width="400"></iframe>
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The head of Opal Tapes issued a limited cassette at the end
of 2014 with the mighty <i style="mso-bidi-font-style: normal;">Cones </i>hiding
within. A venomous rhythm track with a melody like <a href="https://en.wikipedia.org/wiki/Afterimage">afterimage</a> from a
strobe, it didn’t leave our playlists in 2015 and it’s unlikely to in the year
to come.<o:p></o:p></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">21. Floating Points –
Peroration Six </b>[Pluto]</span></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/W7nC_93J-fs?rel=0&showinfo=0" width="560"></iframe>
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<div class="MsoNormal" style="text-align: center;">
The restless conclusion to Floating Points’ wonderful
Elaenia album, <i style="mso-bidi-font-style: normal;">Peroration Six </i>has a
whole jazz group building intensity to terminal velocity. You keep expecting it
to boil over, something has to give, it’s too heavy – and then the track cuts
out, leaving only a deafening silence. A brave and challenging finale to an
uncompromising LP. <o:p></o:p><br />
<br />
***<br />
<br />
Come back in a few days for the twenty best tunes of the year.<br />
<br />
<a href="http://whitenoisereview.blogspot.co.uk/2015/12/best-albums-of-2015.html">Best Albums of 2015</a><br />
<a href="http://whitenoisereview.blogspot.co.uk/2016/01/best-tracks-of-2015-part-1.html">Best Tracks of 2015 Part 1</a></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-84680920186580653412016-01-05T20:08:00.000+00:002016-01-05T20:19:10.012+00:00Best Tracks of 2015 - Part 1<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGrMsQdBn6YqHpoyoNQ9R6JqZmwNNYtCnBM8eIN9pe2epiTDeEjQmvYY3b4q7M8nUYW2MqE37MqqhLJw_aymywqAZ2StKzjAxIkVePPKrl1mS8_rIWiyZ6JmFkWfU94OLYkn9MFwT2EkcR/s1600/tracks+pt+1+pic.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGrMsQdBn6YqHpoyoNQ9R6JqZmwNNYtCnBM8eIN9pe2epiTDeEjQmvYY3b4q7M8nUYW2MqE37MqqhLJw_aymywqAZ2StKzjAxIkVePPKrl1mS8_rIWiyZ6JmFkWfU94OLYkn9MFwT2EkcR/s1600/tracks+pt+1+pic.png" /></a></div>
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<o:p>It's been another scorcher of a year for electronic music, and our year-end list is looking more diverse than ever. Here's the first helping of 2015's best cuts, as we run down from </o:p><span style="background-color: #f9f9f9; color: #252525; font-family: sans-serif; font-size: 12.3704px; line-height: 17.3186px;">#</span>65-40.<b> </b></div>
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<b><br /></b></div>
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<b>***</b></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><o:p><br /></o:p></b></div>
</div>
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<div style="text-align: center;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">65. House of Doors –
Starcave </b>[Mood Hut]</span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/QcV0qdJ8pLk?rel=0&showinfo=0" width="400"></iframe>
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Pacing burner from the Mood Hut camp, capped off with a
catchy reedy synthline. <o:p></o:p></div>
</div>
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<br /></div>
</div>
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<div style="text-align: center;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">64. Lipelis –
Weirdshit Xu Paelk <span style="mso-spacerun: yes;"> </span></b>[L.I.E.S]<o:p></o:p></span></div>
</div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/ayDS_NLFMDo?rel=0&showinfo=0" width="400"></iframe>
</div>
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The best of Lipelis’ strong edits collection on LIES, a dangerous
bassline and Thai vocals make for a scorching piece of wonky funk that lit up
many a dancefloor.<o:p></o:p></div>
</div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">63. Ekman – GMMDI
(Breaker 1 2 Remix) </b>[Berceuse Heroique]<o:p></o:p></span></div>
</div>
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/4KV7YNq-yqs?rel=0&showinfo=0" width="400"></iframe>
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One of the year’s darkest scorchers came from Breaker 1
2, who many will know better as Greg Beato. His flip of Ekman’s <i style="mso-bidi-font-style: normal;">GMMDI </i>is black as pitch, with a raw
rhythm and lethal synthwork.<o:p></o:p></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">62. Palmbomen II –
Leo Danziger </b>[Beats In Space]<o:p></o:p></span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/UXGM3D-eu5w?rel=0&showinfo=0" width="400"></iframe><br /></div>
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The affecting coda to <a href="http://whitenoisereview.blogspot.co.uk/2015/04/palmbomen-ii-palmbomen-ii.html?q=palmbomen">Palmbomen’s LP on Beats In Space</a>
was short but heart-rending, a bittersweet dirge for a fantasy funeral.<o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">61. Entro Senestre –
Rosegold </b>[W.T. Records]<o:p></o:p></span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/nfROT6jWSkw?rel=0&showinfo=0" width="400"></iframe><br /></div>
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ES’ neon-soaked outing on W.T Records came with this
propulsive opener, a moody house roller to rival Detroit’s finest night-drive
anthems.<o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">60. Imaabs – Voy </b>[Naafi]<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="250" src="https://www.youtube.com/embed/mZySmRv_6VU?rel=0&showinfo=0" width="450"></iframe>
</div>
</div>
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Few tunes this year got dancefloors popping as surely as
this one from Chile’s Imaabs. It may be short but its punchy drum section and
pinch of dramatic synthwork would get your gran throwing shapes from her chair.<o:p></o:p></div>
</div>
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</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">59. Kornél Kovács –
Pantalón </b>[Numbers]<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/Q6AqqlR0C_Q?rel=0&showinfo=0" width="400"></iframe>
</div>
</div>
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Kovács’ discoid anthem with its tunnelling bassline and nonsensical Spanish vocal line is catchy, fun and huge.<o:p></o:p></div>
</div>
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</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">58. Kirk The Flirt
& Peter Pressure – Never Ever Give Up </b>[1080p]<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/226373876&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
</div>
</div>
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In another strong year for 1080p an LP from Berlin’s
Physical Therapy stood out with a selection of prime club cuts. The strange
whistling hook and deep pads made this cut the highlight.<o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">57. Call Super –
Migrant </b>[Houndstooth]<o:p></o:p></span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/VsNfx2GYgXw?rel=0&showinfo=0" width="400"></iframe><br /></div>
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<div style="text-align: center;">
JR Seaton’s ace two-tracker was another refinement of his
elegant sound. Here the melodies and effects come to life as a dense
rainforest, a sound that makes you want to crawl inside and nest.<o:p></o:p></div>
</div>
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</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">56. Mark Barrott –
Saviours Or Savages </b>[International Feel]<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/200572545&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
</div>
</div>
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The I-Feel <a href="http://whitenoisereview.blogspot.co.uk/2015/06/mark-barrott-bush-society.html?q=mark+barrott">label head</a> put out one of his best
balearic cuts to date with these swooning melodies and crystalline synthscapes.
<o:p></o:p></div>
</div>
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<br /></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">55. Foreign – B1 </b>[BAROC]</span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/p7qr7STIFas?rel=0&showinfo=0" width="400"></iframe>
</div>
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The edgy BAROC imprint came out with some real thunder on
Foreign’s raw machine-driven outing. The A1 is dancefloor killer but it was with
the ghostly ambience and lost animal cries of the B-side that he struck
platinum.<o:p></o:p></div>
</div>
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</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">54. Chaos In The CBD
– Midnight In Peckham </b>[Rhythm Section]<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
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<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/Rv99RWNeWz4?rel=0&showinfo=0" width="400"></iframe>
</div>
</div>
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Bradley Zero continued to tease out the jazzier side of
house on Rhythm Section this year, with a starring role played by <a href="http://whitenoisereview.blogspot.co.uk/2015/09/chaos-in-cbd-midnight-in-peckham.html?q=chaos+in+the+cbd">this Kiwi duo</a>. Trumpet and piano serenade each other over a dusty drumtrack in this
timeless cut.<o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">53. Andrea – Outlines
</b>[Ilian Tape]<o:p></o:p></span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/9f83XVUrkew?rel=0&showinfo=0" width="400"></iframe><br /></div>
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It’s not easy to make a techno track that’s both epic and
raw, but Andrea managed it with the soaring synths and canny rhythms of <i style="mso-bidi-font-style: normal;">Outlines</i>.<o:p></o:p></div>
</div>
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</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">52. Adesse Versions –
Pride </b>[Numbers]<o:p></o:p></span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/n342f6dZags?rel=0&showinfo=0" width="400"></iframe><br /></div>
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Deadly in its simplicity, here Adesse Versions paired a diva
vocal with the most vicious piano line this side <a href="https://www.youtube.com/watch?v=IOhFl80B2fE">of Prosumer</a>. <o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">51. Local Artist –
Feelings </b>[Rhythm Section]<o:p></o:p></span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/HRnOR-kBSPw?rel=0&showinfo=0" width="400"></iframe></div>
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One of the wonkiest cuts to come out of Canada’s house scene
in 2015, <i style="mso-bidi-font-style: normal;">Feelings</i> was an unlikely
anthem whose curious effects and hazy ambience shone through a scene crowded
with similar artists.<o:p></o:p></div>
</div>
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</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">50. Kasra V – Last
Order </b>[Make Love In Public Spaces]<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/209822453&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
</div>
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Heavyweight house that lopes along with a searing bassline
and a cinematic sense of drama.<o:p></o:p></div>
</div>
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</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">49. Obas Nenor –
Change Got To Come </b>[Mahogani Music]<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/8hnT6CmGGQo?rel=0&showinfo=0" width="400"></iframe>
</div>
</div>
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Either side of Nenor’s <a href="http://whitenoisereview.blogspot.co.uk/2015/07/obas-nenor-my-way-home-change-got-to.html?q=obas+nenor">ace 12” on Moodymann’s imprint</a> could
have made this list, but we favour the darker B-side, which shifts from a dirty
dancehall riddim to catchy twilight disco in the blink of an eye.<o:p></o:p></div>
</div>
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</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">48. Bleaker – Hype
(Funk) </b>[Unknown To The Unknown]<o:p></o:p></span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/QLOljPDNahk?rel=0&showinfo=0" width="400"></iframe></div>
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Another example of deadly simplicity was Bleaker’s flip of a
classic on <i style="mso-bidi-font-style: normal;">Hype (Funk)</i>. A propulsive
rhythm track, a brief late melody and that loopy vocal make for raw dancefloor
killer.<o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">47. Sabre – Ghetto
Prophet </b>[Royal Oak]<o:p></o:p></span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/bShHFNEXa2I?rel=0&showinfo=0" width="400"></iframe><br /></div>
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Portugese duo <a href="http://whitenoisereview.blogspot.co.uk/2015/03/sabre-morning-worship.html?q=sabre">Sabre</a> knocked it out of the park with this
maximalist house epic, masterfully building tension with operatic drums and
polished synthwork to an enormous climax. <o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">46. Suzanne Kraft –
Flatiron </b>[Melody As Truth]<o:p></o:p></span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/-LPxcm4jUFI?rel=0&showinfo=0" width="400"></iframe></div>
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The enormously talented Suzanne Kraft dropped some gorgeous
ambience and guitar work on his Talk From Home LP, the centrepiece being this
blissed-out cut, all smoky riffs and featherweight percussion. <o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">45. PCK – Amen Garage
</b>[The Final Experiment]<o:p></o:p></span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/w0HP3NIfj1U?rel=0&showinfo=0" width="400"></iframe></div>
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Everything that Shed touches is gold, and this year we were
particularly wowed by a high-octane slice of jungle under a new moniker, PCK.
Lightning-fast breakbeat juggling and an urgent vocal meant that this one’s
power more than made up for its brief length.<o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">44. The Horn –
Villager </b>[Workshop]<o:p></o:p></span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/knQ-wHzc17Q?rel=0&showinfo=0" width="400"></iframe><br /></div>
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The first reissue to enter our list is this ’96 synth piece
that featured on Workshop’s ace mixed artist release early in the year. Why does
it deserve to come back after twenty years? The reverb-drenched melody conjures
a lingering nostalgia, the snappy electro beat the bittersweet need to move on.
More emotions than your average album, all in seven minutes.<o:p></o:p></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">43. DJ Koze – XTC </b>[Pampa]<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/8VdBqQ1Ps2Y?rel=0&showinfo=0" width="560"></iframe>
</div>
</div>
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Koze’s annual entry into the year-end list is unusually
straight. On first listen it’s a normal (though subdued) deep house cut. Then
you hear those jagged synths, the constant bass pressure, the misty ambience,
and that ambiguous vocal that creeps under your skin. <a href="http://whitenoisereview.blogspot.co.uk/2015/07/dj-koze-xtc.html?q=dj+koze">He’s got you</a>. <o:p></o:p></div>
</div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">42. Sound Stream –
Bass Affairs </b>[Sound Stream]<o:p></o:p></span></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="45" src="https://www.youtube.com/embed/EhTWqV1BbiM?rel=0&showinfo=0" width="400"></iframe><br /></div>
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With his release rate of seven singles since 1999, any year
that Sound Stream drops a release is a blessing. His is disco-house polished to
perfection, oozing funk and charm, dynamite on the dancefloor.<o:p></o:p></div>
</div>
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<br /></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">41. Paxton Fettel –
Dots On The Skyline </b>[Greta Cottage Workshop]<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/203835487&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
</div>
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One of the highlights of Paxton Fettel’s <a href="http://whitenoisereview.blogspot.co.uk/2015/07/paxton-fettel-everything-stays-same.html?q=paxton">superb debut album</a> was this elegant construction which fuses a hefty hip hop rhythm with
delicate harp and a jazzy acid line.<o:p></o:p></div>
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<br /></div>
<div style="text-align: center;">
***</div>
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<br /></div>
<div style="text-align: center;">
Come back for part two in a few days.<br />
<br />
<a href="http://whitenoisereview.blogspot.co.uk/2015/12/best-albums-of-2015.html">Best Albums of 2015</a></div>
</div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-32703588201490022062015-12-28T12:29:00.000+00:002015-12-28T17:14:35.103+00:00Best Albums of 2015<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><b><o:p> </o:p></b><b>12. Grant – The
Acrobat </b>[The Lauren Bacall]</span></div>
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<o:p></o:p></div>
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<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/224273437&color=8e8a88&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
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<i style="mso-bidi-font-style: normal;">The Awful Truth</i></div>
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An unknown artist on an unknown label was responsible for
one of the year’s most mesmerising deep house LPs. Grant’s sound is decidedly subdued
yet his production talents should not be underestimated. Grainy rhythms and
swooning pads are everywhere yet this is no standard house-by-numbers – flashes
of warehouse techno, sublime ambience and snarling acid are teased into a
single slinky package. Like the striking photo on its cover, these tracks are rich
moments of suspended animation: joy, movement, and grace.<o:p></o:p></div>
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<span style="font-size: large;"><b>11. Sven Atterton –
The Cove </b>[Omega Supreme]<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ajUplLv4z4rYsyl9J0rA_8iSnpT11Wl8ZXX7jv4RzpJ0IZTJi5yiSjcozbv7LZ_GnMZRraI8H5MGCXIoUd3h1iRRxaaKz3hdx95ZWgkbnznvfnBeaecpjlsqTtMiVbEOrMF5yq4ReSjO/s1600/sven+atterton+the+cove.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ajUplLv4z4rYsyl9J0rA_8iSnpT11Wl8ZXX7jv4RzpJ0IZTJi5yiSjcozbv7LZ_GnMZRraI8H5MGCXIoUd3h1iRRxaaKz3hdx95ZWgkbnznvfnBeaecpjlsqTtMiVbEOrMF5yq4ReSjO/s320/sven+atterton+the+cove.jpg" width="320" /></a></div>
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<div class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;">The Cove<o:p></o:p></i></div>
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<br /></div>
<div class="MsoNormal">
Omega Supreme and People’s Potential Unlimited have spent
the last few years issuing the very best of modern funk, and nothing came
better than Sven Atterton’s early 2015 debut The Cove. An outstanding
musicality stalks through these sun-drenched jams, played out through sinuous
keyboard solos, hazy pads and languid basswork. Absolute killer for the summer
chill.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><b>10. Palmbomen II –
Palmbomen II </b>[Beats In Space]<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><o:p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIoNVFTzQhr0MCg3OYfYy2IRmNfJBbQq4lTQMIYzDJtCeo8mbExC9tq6H23RgH2PvJ2fPTmee9NWqNpMPuttM24wA4KPWJrpu9BebwC3roGG_sRIjw10GbJPlnmBgCFo4E9OHcBgsidOa8/s1600/BIS019.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIoNVFTzQhr0MCg3OYfYy2IRmNfJBbQq4lTQMIYzDJtCeo8mbExC9tq6H23RgH2PvJ2fPTmee9NWqNpMPuttM24wA4KPWJrpu9BebwC3roGG_sRIjw10GbJPlnmBgCFo4E9OHcBgsidOa8/s320/BIS019.jpg" width="320" /></a></o:p></b><br />
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<i style="mso-bidi-font-style: normal;">Mary Louise Lefante<o:p></o:p></i></div>
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<div class="MsoNormal">
"As a Dutch transplant to LA, Hugo is clearly a
sun-worshipper, a fact abundantly clear in his colourful, saturated take on
club music. The sun blazes through a thick haze over these tracks, which corral
burbling house, dew-eyed new age melodies and the occasional foray into
gurgling acid into a memorable, mesmeric package…<span style="background: white; color: #333333; font-family: Calibri; font-size: 10.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span>It’s a winner, an
album that invites you to wander through an alien landscape guided by a warm,
comforting hand. It’s a walk you’ll want to take time and again.”<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;">Read the full review
<a href="http://whitenoisereview.blogspot.co.uk/2015/04/palmbomen-ii-palmbomen-ii.html">here</a><o:p></o:p></i></div>
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<span style="font-size: large;"><b>9. Linkwood –
Expressions </b>[Firecracker]<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj03VpVDwB5y0-oFz60k3lZASSe9yYTHoj7OArN5wtIsRaU4FsnuUmnLB6Wzf6WpakBrzH8cDd6gUf600LyHWf6XDGToJXLdzndMrhXDRweg8zFhrYBWYaz8UVHiQ7-4n9jPiwSsLAh9Ml3/s1600/linkwood-expressions.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj03VpVDwB5y0-oFz60k3lZASSe9yYTHoj7OArN5wtIsRaU4FsnuUmnLB6Wzf6WpakBrzH8cDd6gUf600LyHWf6XDGToJXLdzndMrhXDRweg8zFhrYBWYaz8UVHiQ7-4n9jPiwSsLAh9Ml3/s320/linkwood-expressions.jpg" width="320" /></a></div>
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<div class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;">Off Kilter (No Midi
Mix)<o:p></o:p></i></div>
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<br /></div>
<div class="MsoNormal">
“It’s been four years since the last Linkwood emission, and
six since his debut LP, and you can hear how slowly these tracks have matured,
offering a richness and attention to detail uncommon in the fast-paced dance
scene, particularly when it comes to albums. Whether you come for the gorgeous
ambient meditations, the compelling club cuts or the whole opulent package,
Expressions is an album you’re not going to want to leave anytime soon.”<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;">Read the full review
<a href="http://whitenoisereview.blogspot.co.uk/2015/05/linkwood-expressions.html">here</a><o:p></o:p></i></div>
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<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><b>8. Lifted – 1 </b>[PAN]<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO-tE1KufY_NiL0CPrNSzlSL6Fvoqx8P5OdThQ4TODezP8fHxvht6ux_t8R6VNwWJKDvhqN-6x0T5vKepf5f6SlYkfCiBDxAbmbyKbdyL-nigLl0nraT2jC4UYVmiwVCKmdt6GH2FbkjbY/s1600/pan+lifted+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO-tE1KufY_NiL0CPrNSzlSL6Fvoqx8P5OdThQ4TODezP8fHxvht6ux_t8R6VNwWJKDvhqN-6x0T5vKepf5f6SlYkfCiBDxAbmbyKbdyL-nigLl0nraT2jC4UYVmiwVCKmdt6GH2FbkjbY/s320/pan+lifted+1.jpg" width="320" /></a></div>
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<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="100" src="https://www.youtube.com/embed/v-299KDgiuw?rel=0&showinfo=0" width="400"></iframe>
</div>
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<i style="mso-bidi-font-style: normal;">Bell Slide<o:p></o:p></i></div>
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“Lifted’s debut is the rare album which feels purely
next-level, like music beamed from an idealised future. The sound that the
group have created is like an unstable chemical: constantly mutating, joyously
effervescent. So few artists who chart fresh electronic terrain manage to do so
with such lightness and joy in their sound. Because Lifted do, you won’t just
follow them willingly – you’ll do it with a broad smile on your face.”<o:p></o:p></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;">Read the full review
<a href="http://whitenoisereview.blogspot.co.uk/2015/06/lifted-1.html">here</a><o:p></o:p></i></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">7. Domenique Dumont –
Comme Ca </b>[Antinote]<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqHnQlAjVkWiIDWVp9-_whypMQl7IGOFf4hatqyC8MXxhC6ijQ5bioTTl6YWwKgGYPBqenkmbAbfKCISsxe63r0kxRzGFAxVm-CDB8S3xOAuk3mbY4P1WMnNGF7HrYSwdKK5O4Svp6HpYq/s1600/domenique+dumont+comme+ca.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqHnQlAjVkWiIDWVp9-_whypMQl7IGOFf4hatqyC8MXxhC6ijQ5bioTTl6YWwKgGYPBqenkmbAbfKCISsxe63r0kxRzGFAxVm-CDB8S3xOAuk3mbY4P1WMnNGF7HrYSwdKK5O4Svp6HpYq/s320/domenique+dumont+comme+ca.png" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;">L’esprit de l’Escalier<o:p></o:p></i></div>
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“These aren’t really tracks or cuts, they’re <i>songs</i>,
addictive and hummable, but with a fine producer at the helm, who has a light
touch but never lets things get too sugary…<span style="background: white; color: #333333; font-family: Calibri; font-size: 10.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span>a curious and winning
package from yet another great Antinote discovery, as if they needed another
feather in their cap.”<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;">Read the full review
<a href="http://whitenoisereview.blogspot.co.uk/2015/07/domenique-dumont-comme-ca.html">here</a><o:p></o:p></i></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">6. DJ Sotofett –
Drippin’ For A Tripp </b>[Honest Jon’s]<o:p></o:p></span></div>
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<o:p> </o:p><img src="http://www.residentadvisor.net/images/reviews/2015/hjp74-djsotofett.jpg" height="320" style="-webkit-user-select: none;" width="320" /><br />
<br /></div>
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<iframe allowfullscreen="" frameborder="0" height="100" src="https://www.youtube.com/embed/iETgzM1BxTY?rel=0&showinfo=0" width="400"></iframe>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<i>Drippin For 97 Mix</i></div>
</div>
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<br />
Honest Jon’s struck gold this year, offering us the broadest
exploration of DJ Sotofett’s demented musical world yet. Here the inimitable
producer teams up with an array of collaborators but takes his own tools along
for the ride – birdsong, reggae rhythms and acres of post-euphoric ambience. It
was a tripp that took us from future-afrobeat to humid house via beatless
excursions poised impossibly between prog and Balearic. Absolutely essential
for fans of the Sex Tags crew.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">5. Project Pablo – I
Want To Believe </b>[1080p]<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><o:p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrXAdIzEjBd5RhTNqh7k6ehUec69aaMio2zuSOktMwJ0KTXjNl3RZyZEiwOuGZaf3tREGxUJ8vJxY5zowEWXq4UmALdESUCzRFoGMi4JLCh5dX37OKyrYNinSXkoBVR-XGNb4_OUfcAoM/s1600/project+pablo+i+want+to+believe.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrXAdIzEjBd5RhTNqh7k6ehUec69aaMio2zuSOktMwJ0KTXjNl3RZyZEiwOuGZaf3tREGxUJ8vJxY5zowEWXq4UmALdESUCzRFoGMi4JLCh5dX37OKyrYNinSXkoBVR-XGNb4_OUfcAoM/s320/project+pablo+i+want+to+believe.jpg" width="320" /></a></o:p></b></div>
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<br />
<br />
<iframe frameborder="no" height="100" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/191650631&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe><br />
<i style="mso-bidi-font-style: normal;">Sky Lounge<o:p></o:p></i></div>
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“The beats crunch and shuffle, lush pads drift like smoke,
and the basslines are summoned straight from a 70s funk record. Then there’s
the rising melody, hitting the perfect balance between hope and introspection.
With this first track, Project Pablo hits a wondrous note which he sustains
across the album without a single misstep…<span style="background: white; color: #333333; font-family: Calibri; font-size: 10.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span>Listening to I Want
To Believe, faces seem happier, objects prettier, and all those pesky problems
seem like they might just work out okay, after all.”<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;">Read the full review
<a href="http://whitenoisereview.blogspot.co.uk/2015/06/project-pablo-i-want-to-believe.html">here</a><o:p></o:p></i></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">4. Dwig – From Here
To There </b>[Dwig]<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq6JMDV2gLNMdGPxKKbPgNhrRK2PD5Gm7fD7u0Gs6wcNRdZR-gVMoaoR0u93WFcLaycKiSh1Im8ujEnDy-JcIDDDjwhYFwtAfax4ajaG48BdmIrk1yzMsCvd3fQXhbkeiNkEyTBSq4VR3H/s1600/dwig+form+here+to+there.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq6JMDV2gLNMdGPxKKbPgNhrRK2PD5Gm7fD7u0Gs6wcNRdZR-gVMoaoR0u93WFcLaycKiSh1Im8ujEnDy-JcIDDDjwhYFwtAfax4ajaG48BdmIrk1yzMsCvd3fQXhbkeiNkEyTBSq4VR3H/s320/dwig+form+here+to+there.jpg" width="320" /></a></div>
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<br /></div>
<div style="text-align: center;">
<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/218564669&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
</div>
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<i style="mso-bidi-font-style: normal;">Different Days<o:p></o:p></i></div>
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<br /></div>
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“It’s immediately accessible yet generous to the attentive
listener, excelling in the mesmeric capabilities of the genre while pushing a
varied, refreshing palette. If there’s any upside to the fact that this
graceful album is unlikely to sell out or chart on critics’ lists at the end of
the year, it’s that those few listeners who caught it and engaged will forge a
more intimate relationship with this music, unhindered by hype or popularity.
For theirs is an album of rare substance and beauty, something to treasure for
them and them alone.”<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;">Read the full review
<a href="http://whitenoisereview.blogspot.co.uk/2015/06/dwig-from-here-to-there.html">here</a><o:p></o:p></i></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">3. J Albert – Dance
Slow </b>[Exotic Dance]<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw_qQcsxwivwd_qmWNhcgkQPFghys0Qng4OT2hyYwfaMO37rEZCH48tN70q1FUUKPqqyxr0oqhJ48wyAZbTzuGjZ1CFdL61XTIijwKdfgOJNBEIkpJxkdG2hmtZIt3lOxDauc5hRIsRGr8/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw_qQcsxwivwd_qmWNhcgkQPFghys0Qng4OT2hyYwfaMO37rEZCH48tN70q1FUUKPqqyxr0oqhJ48wyAZbTzuGjZ1CFdL61XTIijwKdfgOJNBEIkpJxkdG2hmtZIt3lOxDauc5hRIsRGr8/s400/cover.jpg" width="400" /></a></div>
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</div>
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<i style="mso-bidi-font-style: normal;">Love Delivered<o:p></o:p></i></div>
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<br /></div>
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It’s a shame that J Albert’s stunning debut came out on such
a limited cassette run, because this is music that demands to be heard. Deftly
weaving between starry-eyed house and ruff analog exploits, Dance Slow is a
twilit masterclass in 4/4 dance.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;">Read the full review
<a href="http://whitenoisereview.blogspot.co.uk/2015/07/j-albert-dance-slow.html">here</a><o:p></o:p></i></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">2. Floating Points –
Elenaia </b>[Pluto]<o:p></o:p></span></div>
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<a href="http://luakabop.com/floatingpoints/images/fp_elaenia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://luakabop.com/floatingpoints/images/fp_elaenia.jpg" height="320" style="-webkit-user-select: none;" width="320" /></a></div>
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<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/220899357&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
<i style="mso-bidi-font-style: normal;"><br /></i></div>
</div>
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<i style="mso-bidi-font-style: normal;">Silhouettes (I, II
& III)<o:p></o:p></i></div>
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<br /></div>
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After six years of stunning singles, we were expected big
things from Floating Points’ debut. Yet Sam Shepherd’s long-awaited debut
album, the fruit of five years’ work, wasn’t what anyone expected. Slow,
slight, strangely ineffable, Elaenia makes you come to it. But when you do, and
give this music time and attention, a world of sumptuous detail reveals itself,
with a lifetime of emotions and influences ever-shifting across its dappled
surface. This is a record of a subtlety and mastery that only Floating Points
could achieve. We’ve rarely been so happy to be wrong.<o:p></o:p></div>
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<span style="font-size: x-large;"><b style="mso-bidi-font-weight: normal;">1. DJ Richard – Grind
</b>[Dial]<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh61WT-x1QUlVMbswyToSg4OSzYVD6AhN5mI7JcHk6d1D1QvXtwk-3qRximPo5vkGurJJ4X6HxGDh-6HBshBpKhNy2DwMFIoPjZ-snlOLqMomLvRZTjViCLjiLrOMr_Tmlfk-nYegw_a7E_/s1600/dj+richard+grind.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh61WT-x1QUlVMbswyToSg4OSzYVD6AhN5mI7JcHk6d1D1QvXtwk-3qRximPo5vkGurJJ4X6HxGDh-6HBshBpKhNy2DwMFIoPjZ-snlOLqMomLvRZTjViCLjiLrOMr_Tmlfk-nYegw_a7E_/s320/dj+richard+grind.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;">Nighthawk<o:p></o:p></i></div>
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“DJs will find some great club tracks if they choose to skim
it for parts, but that would be to miss the holistic effect of the album. This
is narrative techno, and in typical artistic form, the narrative of conflict
draws us inexorably towards reconciliation. This is heard on <i>Vampire
Dub</i>, a confection of twinkling synth work, gauzy keys that leave behind
calming jet-trails, and bubbling mechanical accents. Here the feelings of
displacement are left behind, resolution can be found in a composition which is
nakedly beautiful. This is the deserved conclusion to a great artistic
accomplishment; a dance album with no fat, no misfires, every tune essential,
surprising and rewarding. We hear darkness and conflict resolved through
artistic expression, and we find peace.”<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Read the full review
<a href="http://whitenoisereview.blogspot.co.uk/2015/09/dj-richard-grind.html">here</a><o:p></o:p></i></div>
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***<o:p></o:p></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;">What we listened to when we couldn’t bear to hear another synth:<o:p></o:p></b></div>
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You can’t always listen to electronic music. Well, we can’t.
Every so often you need some nice acoustic earthiness to soothe those throbbing
ears. 2015 was a rich year outside of electronic music, with Kendrick Lamar
pulling an astonishingly ambitious jazzfunkhiphopsoul album off to perfection
that’s still got us reeling. Young Thug picked up a lot of the excess hip hop
weight with an endless slew of tunes baring his half-crazed flow and stark trap
production. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Meanwhile Beach House kept doing exactly what we want them
to with two new albums of dreamy, nostalgic pop, D'Angelo returned after 14 years with an RnB masterclass and Sufjan Stevens bared
everything on the supremely affecting Carrie & Lowell. Finally, White Noise
patron saint <a href="http://whitenoisereview.blogspot.co.uk/search/label/Joanna%20Newsom">Joanna Newsom</a> made a welcome return after five years with
the satisfyingly dense and complex Divers, packed with allusions, esoteric
instrumentation and heart-rending melodies. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">***<o:p></o:p></b></div>
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That’s all for the best albums of 2015. Come back next week
for a roundup of the best tracks of the year. <o:p></o:p></div>
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Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-48145656156110648092015-11-13T17:00:00.000+00:002015-11-13T17:00:02.172+00:00Guest Mix: Moth - Night Sketches<div class="MsoNormal">
We've got a darker-than-black guest mix for you today from
Moth with some of our favourite recent techno and electro tunes. This one's for
late-night skanking, and we've got the tracklist exclusively here on White
Noise.<o:p></o:p></div>
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<o:p><b>Tracklist:</b></o:p></div>
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Kasra V – Last Order<o:p></o:p></div>
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Dan White – Death Flutes<o:p></o:p></div>
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Khotin – Sorry Sequence<o:p></o:p></div>
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Hodge – I Don’t Recognise You Lately<o:p></o:p></div>
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Surfing – Surfing<o:p></o:p></div>
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Aschof Mal – Untitled<o:p></o:p></div>
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Olerton – Nolact<o:p></o:p></div>
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Basic House – Cones<o:p></o:p></div>
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Asusu – Serra<o:p></o:p></div>
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Pev & Kowton – Raw Code<o:p></o:p></div>
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Luca Lozano – End of Line<o:p></o:p></div>
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Aurora Halal – Just Tell Me</div>
<div class="separator" style="clear: both; text-align: center;">
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Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-12242726116219613852015-10-30T17:30:00.000+00:002015-10-30T17:30:00.752+00:00Guest Mix: Moth - Dawn SketchesThe third in our guest mix series turns to sun-soaked house, but focuses on 6am sunrise constellations rather than sweaty bangers. Enjoy the jazzy vibes and the tracklist exclusively on White Noise. More to come.<br />
<br />
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<b>Tracklist:</b></div>
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Leon Vynehall – Midnight On Rainbow Road<o:p></o:p></div>
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Jack J – Something (On My Mind)<o:p></o:p></div>
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Local Artist – Feelings<o:p></o:p></div>
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Jodan GCZ – Crybaby J<o:p></o:p></div>
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New Musik – Warp (ILO Edit)<o:p></o:p></div>
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Merwyn Sanders – Mimi Likes 2 Dance<o:p></o:p></div>
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Project Pablo – Movin’ Out<o:p></o:p></div>
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Lord Of The Isles – Ultraviolet<o:p></o:p></div>
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Daniel Jacques – End Of My World<o:p></o:p></div>
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Pepe Bradock – Deep Burnt<o:p></o:p></div>
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Florist – Final Bounce<o:p></o:p></div>
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Kerri Chandler & Jerome Sydenham – Powder (Deep@Legends
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Laguna Ladies – Egyptian Bag (Moomin Remix)<o:p></o:p></div>
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<div class="MsoNormal" style="text-align: center;">
Damiano Von Erckert – Work For Love ft Tito Wun<o:p></o:p></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_FWQSJ_cz-P9nuGS5ErwcvwENTjRN4-rk7BrLLz8rVLDj6zk8ZqnhP8X80IFJJ4lb7SlKKAmA9iA3gDLGA3Pm7twQbNZt53kOoQbVHCTp5KmVMFTtHBRoMZ3l6JJId6RRlgPSF4gnXndd/s1600/9101475482_f47f18f1b6_k.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_FWQSJ_cz-P9nuGS5ErwcvwENTjRN4-rk7BrLLz8rVLDj6zk8ZqnhP8X80IFJJ4lb7SlKKAmA9iA3gDLGA3Pm7twQbNZt53kOoQbVHCTp5KmVMFTtHBRoMZ3l6JJId6RRlgPSF4gnXndd/s400/9101475482_f47f18f1b6_k.jpg" width="400" /></a></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-33369858381935467432015-10-13T13:36:00.000+01:002015-10-13T13:43:24.857+01:00Damiano Von Erckert - Also Known As Good<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3XdCZdDzoKZrE8jrCbzjUtkTTwpng9OanV6eSe6fshEbcYbrfSyz58P-1n-Dq18EojCy4m7NVjaS4VmiZ_tUYvH8R77fhkPtoIz6L1Voyk27LEiFl3jgKJmu8Yf6MyNrw9bniAABKCC_s/s1600/damiano+aka+good.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="background-color: white; font-family: inherit;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3XdCZdDzoKZrE8jrCbzjUtkTTwpng9OanV6eSe6fshEbcYbrfSyz58P-1n-Dq18EojCy4m7NVjaS4VmiZ_tUYvH8R77fhkPtoIz6L1Voyk27LEiFl3jgKJmu8Yf6MyNrw9bniAABKCC_s/s400/damiano+aka+good.jpg" width="400" /></span></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="background-color: white; font-family: inherit;"><b><span lang="EN-US">Label: </span></b><span lang="EN-US">ava.</span></span></div>
<div class="MsoNormal">
<span style="background-color: white; font-family: inherit;"><br /></span></div>
<div style="background: white; line-height: 13.45pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 7.5pt;">
<span style="background-color: white; color: #141823; font-family: inherit; font-size: 12pt;">Damiano Von Erckert
has built his ava. imprint into a goldmine for soulful grooves, concentrating
on the funkiest breeds of house and hip hop. Much of this success is down to
Damiano’s own excellent productions, where he shows an excellent retro
sensibility – sunny melodies and catchy vocal turns – without ever resorting to
pastiche or recycling.<o:p></o:p></span></div>
<div style="background: white; line-height: 13.45pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 7.5pt;">
<span style="background-color: white; color: #141823; font-family: inherit; font-size: 12pt;">His first album,
<a href="http://whitenoisereview.blogspot.co.uk/2013/09/damiano-von-erckert-love-based-music.html">Love Based Music</a>, was a tour de force of colourful house and winning sketches,
and while there are many great moments to be found on this follow-up, it lacks
the consistency and energy of Damiano’s debut.</span></div>
<div style="background: white; line-height: 13.45pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 7.5pt;">
<div style="text-align: center;">
<span style="background-color: white; font-family: inherit;"><br /></span></div>
<div style="text-align: center;">
<span style="background-color: white; font-family: inherit;"><iframe allowfullscreen="" frameborder="0" height="125" src="https://www.youtube.com/embed/OW5i1pMqsKQ?rel=0&showinfo=0" width="400"></iframe>
</span></div>
<div style="text-align: center;">
<i><span style="background-color: white; font-family: inherit;">We Flow feat. Amalia</span></i></div>
<div style="text-align: center;">
<span style="background-color: white; font-family: inherit;"><br /></span></div>
<span style="background-color: white; color: #141823; font-family: inherit; font-size: 12pt;">Part of this seems
down to some odd mixing choices. <i style="mso-bidi-font-style: normal;">Love
Love Love </i>is an unsatisfying opener, Miles Bonny’s voice strangely treated
and distant, while the promise of a funky organ line is never really developed.
<i style="mso-bidi-font-style: normal;">Hustle With The Big Boys’ </i>riff sounds
crushed and flat, while the relatively experimental <i style="mso-bidi-font-style: normal;">Infinity</i>’s shuffling drum patterns sound disconnected from May’s
vocal line, the track fading out abruptly, its mournful melody not even allowed
to complete the bar.<o:p></o:p></span><br />
<span style="background-color: white; color: #141823; font-family: inherit; font-size: 12pt;"><br /></span></div>
<div style="background: white; line-height: 13.45pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 7.5pt;">
<span style="background-color: white; color: #141823; font-family: inherit; font-size: 12pt;">That said, one can’t
expect an album to be perfect from top to bottom (though Damiano’s last LP came
close), and when he gets into a groove midway through the LP, he’s on as fine a
form as ever. <i style="mso-bidi-font-style: normal;">We Flow </i>lays clean
jazzy keys under a gorgeous vocal turn from Amalia, a simple construction which
gives off a perfect dancefloor glow. The run of great tunes continues with<i style="mso-bidi-font-style: normal;"> Jai Alai</i>’s airy disco collage and the
propulsive <i style="mso-bidi-font-style: normal;">BUBBLES</i>, which builds
operatically to a great funky twist. These cuts show off not only Von Erckert’s
melodic chops but also his skill at structure, crafting a great deal more drama
than your average disco-editor.<o:p></o:p></span><br />
<span style="background-color: white; color: #141823; font-family: inherit; font-size: 12pt;"><br /></span></div>
<div style="text-align: center;">
<span style="background-color: white; font-family: inherit;"><iframe allowfullscreen="" frameborder="0" height="125" src="https://www.youtube.com/embed/RBUD5dl1c5A?rel=0&showinfo=0" width="400"></iframe>
</span></div>
<div style="text-align: center;">
<i><span style="background-color: white; font-family: inherit;">Work For Love</span></i></div>
<div style="text-align: center;">
<span style="background-color: white; font-family: inherit;"><br /></span></div>
<div style="background: white; line-height: 13.45pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 7.5pt;">
<span style="background-color: white; color: #141823; font-family: inherit; font-size: 12pt;">A run of shorter
tracks lead the album to a satisfying conclusion, with highlights in the woozy
lust of hip hop sketch <i style="mso-bidi-font-style: normal;">New Ehrenfeld
Swing</i> and the funky bass licks of <i style="mso-bidi-font-style: normal;">There’s
No Wrong</i>. Yet it’s only when you get to closer <i style="mso-bidi-font-style: normal;">Work For Love</i>, which reunites Von Erckert with long-time
collaborator Tito Wun, where you realise what’s missing from much of Also Known
As Good – the feels. Sure, there’s club joy and sultry funk aplenty, but few
tracks emote as effortlessly as this closer, with its bittersweet keys and
rumbling live-style drums. <o:p></o:p></span></div>
<div style="background: white; line-height: 13.45pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 7.5pt;">
<span style="background-color: white; color: #141823; font-family: inherit; font-size: 12pt;">Aside from a
slightly uneven opening salvo, there’s little that’s actively wrong with AKA
Good. But that last track reminds how powerful Von Erckert’s music can be, for
your mind as well as your body, and it might just send you scurrying back to
some of his wonderful back catalogue. <o:p></o:p></span></div>
<div style="background: white; line-height: 13.45pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 7.5pt;">
<span style="background-color: white; color: #141823; font-family: inherit; font-size: 12pt;"><br /></span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 13.45pt; margin: 7.5pt 0cm 0.0001pt; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #141823;"><span style="background-color: #f3f3f3; font-family: inherit; font-size: x-large;">7/10</span></span></b></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-11430338457768836372015-10-10T11:51:00.000+01:002015-10-10T11:51:25.161+01:00Guest Mix: Moth - Mist SketchesNew guest mix for y'all from our main man Moth. This one is mostly ambient and dreamy house, the same mood we explored in our <a href="http://whitenoisereview.blogspot.co.uk/2015/01/deep-house-introspective.html">Deep House Introspective</a>. We've also got the tracklist exclusively here on White Noise. Enjoy!<br />
<br />
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<div style="clear: both; height: 3px; text-align: center; width: 652px;">
<br /></div>
<br />
<div style="text-align: center;">
<b>Tracklist:</b></div>
<div style="text-align: center;">
2 8 1 4 - 恢复</div>
<div style="text-align: center;">
Moomin - Valentine</div>
<div style="text-align: center;">
Arnaldo - With You By The Lake</div>
<div style="text-align: center;">
J Albert - Come Across</div>
<div style="text-align: center;">
D. Tiffany - Tranq Moon</div>
<div style="text-align: center;">
Lnrdcroy - I Met You On BC Ferries</div>
<div style="text-align: center;">
Tuff Sherm - Burglar Loops</div>
<div style="text-align: center;">
DJ Koze - XTC</div>
<div style="text-align: center;">
John Roberts - August</div>
<div style="text-align: center;">
Nick Holder - Feelin' Sad</div>
<div style="text-align: center;">
DJ Richard - Vampire Dub</div>
<div style="text-align: center;">
Vril - Torus XXXII</div>
<div style="text-align: center;">
Oneohtrix Point Never - Chrome Country</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtOIZ99LxTNZtAYFYE7mvTps_S5WJBoGSUF8aduvawHP3ZTd3GWV8QJEpIvmC7-8bK40X5N0R20IneMImB8TWLs8s5hGroX_OQGi-QEHvVCrhFjnsLFndBj0surWQ-DQLCFnOUdDSCu8Md/s1600/9257940436_4d4c6f8fdc_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtOIZ99LxTNZtAYFYE7mvTps_S5WJBoGSUF8aduvawHP3ZTd3GWV8QJEpIvmC7-8bK40X5N0R20IneMImB8TWLs8s5hGroX_OQGi-QEHvVCrhFjnsLFndBj0surWQ-DQLCFnOUdDSCu8Md/s400/9257940436_4d4c6f8fdc_z.jpg" width="400" /></a></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-35237782545327081262015-10-07T11:31:00.001+01:002015-10-07T11:31:38.404+01:00Dan White & Khotin - Split<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiQCbSkm-MMndYFwvLi-3mY60t2i401U8uTu_8ki08lu8cda_YdkO1_kFfuHhOefzDaSKpkbIHq5yACTi35EZpJqsXkq11t8orRC3PoSiVp9K8rQ9-OwBJ5DcSwmToKAiFL3xYd9zO2LGI/s1600/dan+white+khotin+split.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiQCbSkm-MMndYFwvLi-3mY60t2i401U8uTu_8ki08lu8cda_YdkO1_kFfuHhOefzDaSKpkbIHq5yACTi35EZpJqsXkq11t8orRC3PoSiVp9K8rQ9-OwBJ5DcSwmToKAiFL3xYd9zO2LGI/s400/dan+white+khotin+split.jpg" width="400" /></a></b></div>
<br />
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;">Label: </b>Normals
Welcome<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Although Candian club night-cum-label Normals Welcome has
been releasing music since 2005, it’s only in the last couple of years that
it’s turned to dance EPs, and so far they’re doing it with style. The imprint’s
latest is a split EP between two producers geographically distant but sonically
intimate, Normals Welcome resident Khotin and rising Australian producer Dan White.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The two producers are indeed excellent bedmates, dealing in
forms of subdued, machine-fed house soaked in melancholy. Both issued debut
mission statements in the past year, Khotin for Normals Welcome and White on an
ace EP for fellow Canadians Forbidden Planet, and here they both sound as
evocative as ever.<o:p></o:p><br />
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<iframe frameborder="no" height="120" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/205967800&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
</div>
<div style="text-align: center;">
<br /></div>
</div>
<div class="MsoNormal">
Dan White’s tracks are more melody-driven, with a fluid feel
to his music as if the synths are rising through water. <i style="mso-bidi-font-style: normal;">Grey Bishop</i>’s spare rhythm clicks along at a fine pace, but it's
the aqueous synths and melancholy wash that prove most striking. <i style="mso-bidi-font-style: normal;">No No No </i>is grounded in a series of
echoing chimes, flecked with the restrained acid lines that find their way into
most of his music. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Khotin’s tunes are more rooted and club-focused but don’t
skimp on the melody, starting with the superb <i style="mso-bidi-font-style: normal;">Sorry Sequence</i>. Here searing acid and a revolving synth motif is
welded to a tough kick, taking off into striking harmony in its second half. <i style="mso-bidi-font-style: normal;">AT07 </i>is a subtler beast, as an uncertain
synth note pushes reluctantly forward under bubbling 303 meditations. Both
artists adeptly conjure a sound both propulsive and moving, ushering Normals
Welcome assuredly towards a bright future.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-large;">8/10</span></b></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-14846783849405081142015-10-05T20:00:00.003+01:002015-10-05T20:04:48.193+01:00Florist - Phenomena<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdyhrYcO_0_JbYNepdTDm9JuiksnDelx9B6nThkFaM35m7gGKJ4p58bwSnx3NJiiK3z4cYATqC-m__hsriASL0YJI9X1-TE4KDbYJNta3LUlQuvbpXrWfbjbx9fs6G5EFakveMXEYunKMU/s1600/florist+phenomena.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdyhrYcO_0_JbYNepdTDm9JuiksnDelx9B6nThkFaM35m7gGKJ4p58bwSnx3NJiiK3z4cYATqC-m__hsriASL0YJI9X1-TE4KDbYJNta3LUlQuvbpXrWfbjbx9fs6G5EFakveMXEYunKMU/s400/florist+phenomena.jpg" width="397" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<b>Label: </b>All Caps<br />
<br /></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div style="text-align: center;">
<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/110707944&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Glaswegian outpost All Caps are the latest to draw on the
current obsession with Vancouver’s house scene on the debut single from
graphic artist and DJ Flørist. After a two-year gestation on Soundcloud these
tunes have been begging to be committed to wax, and now they sound just as good
as they did on first listen.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Flørist’s style is not as warm and upbeat as many of his
contemporaries, but this difference works to his advantage on Phenomena. He
comes straight out of the gate with <i style="mso-bidi-font-style: normal;">Final
Bounce</i>, a hybrid of aquatic dub-techno chords and stripped, intricate drum
patterns. The hook is a soulful choir that rises over the track’s second half,
never quite breaking the surface, eerie and seductive as a half-remembered
dream. <i style="mso-bidi-font-style: normal;">Marine Drive </i>is just as
indebted to overcast skies but more colourful, with new age flourishes and
lapping chords over a subdued breakbeat.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Both cuts come with a more restrained alternate version
(we’re getting pretty damned restrained by this point). Neo Image flips <i style="mso-bidi-font-style: normal;">Final Bounce </i>into a serene glide, adding
a gentle break and a warm synth wash, while Flørist gives his own <i style="mso-bidi-font-style: normal;">Internal Dub </i>for <i style="mso-bidi-font-style: normal;">Marine Drive</i>, drowning the drums in tape hiss and letting those
jangling chords float free. Flørist’s debut is supremely accomplished with its misty aesthetic, a
serotonin-depleted glow angled for the best after-parties. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-large;">8.5/10</span><o:p></o:p></b></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-68866125937239396682015-10-02T14:50:00.001+01:002015-10-02T14:55:14.521+01:00August / September Roundup 2015Here's White Noise's favourite songs of the last two months, including a few that slipped through our net earlier in the year. It's a bumper package spanning all our favourite styles, get stuck in.<br />
<br />
We kick off on the sunny side, with top soulful house from Damiano Von Erckert, Braque, Chaos In The CBD, and new blood Flørist. Things get deeper and stranger via new material from top producers John Roberts and DJ Richard, alongside new slices from 45 ACP and CAll Super. Bicep and Midland keep the heat up in darker waters, before we descend to full-on electro with Helena Hauff, Aurora Halal and intriguing new voice Rita Furstenhof.<br />
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/videoseries?list=PLrEvc2lQxCwn_BJ--FCH__CAf8Yyc9t0N&showinfo=0" width="500"></iframe></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>Tracklist:</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: center;">
Leon Vynehall - Midnight On Rainbow Road [<a href="http://whitenoisereview.blogspot.co.uk/2015/09/various-artists-musik-for-autobahns-2.html">LP Review</a>]</div>
<div style="text-align: center;">
Damiano Von Erckert - We Flow ft Amalia</div>
<div style="text-align: center;">
Flørist - Final Bounce</div>
<div style="text-align: center;">
Laguna Ladies - Egyptian Bag (Moomin Remix)</div>
<div style="text-align: center;">
Braque - Diners En Ville</div>
<div style="text-align: center;">
Chaos In The CBD - Midnight In Peckham [<a href="http://whitenoisereview.blogspot.co.uk/2015/09/chaos-in-cbd-midnight-in-peckham.html">EP Review</a>]</div>
<div style="text-align: center;">
Bell Towers - Hyper - Realised - Self [<a href="http://whitenoisereview.blogspot.co.uk/2015/09/bell-towers-hyper-realised-self.html">EP Review</a>]</div>
<div style="text-align: center;">
DJ Richard - Vampire Dub [<a href="http://whitenoisereview.blogspot.co.uk/2015/09/dj-richard-grind.html">LP Review</a>]</div>
<div style="text-align: center;">
John Roberts - Orah</div>
<div style="text-align: center;">
45 ACP - Fjm</div>
<div style="text-align: center;">
Call Super - Meltintu</div>
<div style="text-align: center;">
Jayda G & Fett Burger - Velvet Vortex (Sleep D Rainforest Version)</div>
<div style="text-align: center;">
Severed Heads - Greater Reward (Piano Power Edit)</div>
<div style="text-align: center;">
Paradise 100 - Heat.Wav</div>
<div style="text-align: center;">
Lipelis - Weirdshit Xu Paelk (ft. Simple Symmetry)</div>
<div style="text-align: center;">
Khotin - Sorry Sequence</div>
<div style="text-align: center;">
Midland - Stop (Don't Let The Beat)</div>
<div style="text-align: center;">
Bicep - Carmine [<a href="http://whitenoisereview.blogspot.co.uk/2015/09/various-artists-musik-for-autobahns-2.html">LP Review</a>]</div>
<div style="text-align: center;">
Rita Furstenhof - Hadron Collider</div>
<div style="text-align: center;">
Helena Hauff - L'Homme Mort</div>
<div style="text-align: center;">
Aurora Halal - Shapeshifter [<a href="http://whitenoisereview.blogspot.co.uk/2015/09/aurora-halal-shapeshifter.html">EP Review</a>]</div>
<div style="text-align: center;">
Andrea - Outlines</div>
<div style="text-align: center;">
2 8 1 4 - 恢复<br />
<br />
As ever, here's the one we couldn't find on Youtube:<br />
<br /></div>
<div style="text-align: center;">
Kasra V - Last Orders</div>
<div style="text-align: center;">
<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/208449934&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
</div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggpTLRX5XbZjtkS5tjRPL4dbT-nksDDPNWx74crfhlbq_c6gDGfNWRx7VJbkQGJAduxB4dm4D5BHHXlb5c5WzxFCJT8Br_D3rdMioY0DOEKcBN2EZsn50VkssSsZY6vlTrEwYwVETUS8Fu/s1600/2+8+1+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggpTLRX5XbZjtkS5tjRPL4dbT-nksDDPNWx74crfhlbq_c6gDGfNWRx7VJbkQGJAduxB4dm4D5BHHXlb5c5WzxFCJT8Br_D3rdMioY0DOEKcBN2EZsn50VkssSsZY6vlTrEwYwVETUS8Fu/s400/2+8+1+4.jpg" width="400" /></a></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-44817847593614850162015-09-30T21:19:00.000+01:002015-09-30T21:19:34.368+01:00Various Artists - Musik For Autobahns 2<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiECnDAvvNtu7rzlIbBMzcS6LVbUds4UScrh4NfZ0GcZwyUJmlxy2uy2hAvZdLO4nq8b4DG33pIDOTU24GbMBEufqhXVluqJ1skV-ZEyznHjnXnvq5gZpOc0PWJ7uLPcUj4mdDftpgoh8IS/s1600/music+for+autobahns+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiECnDAvvNtu7rzlIbBMzcS6LVbUds4UScrh4NfZ0GcZwyUJmlxy2uy2hAvZdLO4nq8b4DG33pIDOTU24GbMBEufqhXVluqJ1skV-ZEyznHjnXnvq5gZpOc0PWJ7uLPcUj4mdDftpgoh8IS/s400/music+for+autobahns+2.jpg" width="392" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<b>Label: </b>Rush Hour</div>
<div class="MsoNormal">
<b><o:p><br /></o:p></b></div>
<div class="MsoNormal">
The art of DJing has long been a synthesis of two skills:
technical expertise and curation. The arrival of digital mixing possibilities
has made the former an option rather than a necessity, but the importance of sequencing,
reading a crowd and picking great tunes remains the measure of a good DJ. Given
all this, it’s a shame that more of the dance world’s best DJs don’t put their
time into releasing compilations. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
German DJ Gerd Janson has made his name largely as a record-slinger.
This is an increasingly rare feat in a world whose club scene initiates are now
asked to be masters of both production and selection. Not content with sharing
his curatorial skills one dancefloor at a time, three years ago Janson put out
his first Music For Autobahns compilation, a compelling selection of cuts that
explored the melodic possibilities of the dance scene.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now he’s returned with another collection of cuts handpicked
for a house-head road trip, taking in Kraftwerk-era electronics, ambient house
and even synth pop. Here we have new talents exposed and old hands trying new
tricks, and a compilation unafraid to explore colour and light in a scene so
often stuck in monochrome.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div style="text-align: center;">
<iframe frameborder="no" height="120" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217868711&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
</div>
<div style="text-align: center;">
<br /></div>
<div class="MsoNormal">
The collection is inspired by trips along German highways,
and in true road-trip mix-tape style the LP is varied, dreamy and propulsive.
Roughly half of the cuts are variations on melodic, electro-indebted house, and
here the more familiar names tend to shine brightest. It’s not that their
tracks are technically better, but more that a handful of these producers are
more adept at eliciting emotion from the melodies they weave. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Fort Romeau’s <i style="mso-bidi-font-style: normal;">Seleno </i>snaps
along with an Italo-disco bounce, as melancholic synths soar and ripple across
the surface. Melody-maestro Orson Wells drops the 90s-indebted <i style="mso-bidi-font-style: normal;">Orbiting Jupiters</i>, whose cheap reed
synths are eaten away by a boiling acid line, the two later entwining in a
bittersweet coda. For a closer Bicep drop the LP’s best club-track, the
churning <i style="mso-bidi-font-style: normal;">Carmine</i>, where an endlessly
mutating synth line and tunnelling bass are counterpointed with a deft balance
of muscle and patience. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Elsewhere similar styles are attempted ably but with a
little less finesse. Conga Radio’s <i style="mso-bidi-font-style: normal;">168
North </i>is an upbeat house burner combining Nugroove synth washes and
chiptune melodies, while Disco Nihilist’s <i style="mso-bidi-font-style: normal;">Melancholy
</i>is saw-toothed construction of shimmering synths and a beetling bassline
that doesn’t quite conjure its titular feeling. Lauer’s <i style="mso-bidi-font-style: normal;">Autofahrn </i>is a moody retro cut with a Kraftwerk-esque vocoder, whose
closeness to its inspiration makes it sound more parody than regeneration.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The other half of the long-player is occupied by more intriguing
variations which range from good to excellent, the best being Leon Vynehall’s
superb opener <i style="mso-bidi-font-style: normal;">Midnight On Rainbow Road</i>
(his <a href="https://www.youtube.com/watch?v=1OyU1ry-H6Q">second cut</a> referencing Nintendo). Here is a stunning slice of sound
design, as a glittering motif plays out over subtle percussion and shifting
ambience, evocative of rain-streaked windows at night and feelings more complex
than your average musician can conjure. A rare Joy O track continues the
relatively unshowy musical path he’s been walking recently in his work with
Boddika, most notably <i style="mso-bidi-font-style: normal;"><a href="https://www.youtube.com/watch?v=Rg1VzMsbx8o">TMTT</a></i>. Here
<i style="mso-bidi-font-style: normal;">A213 </i>is restrained but impressive,
with fluttering synth figures occasionally brought to the boil over a woody
rhythm section.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Janson includes some stranger variations which still manage
to fit the aesthetic snugly, such as Orlando Voorn’s spindly <i style="mso-bidi-font-style: normal;">Turn Left Here</i> or Running Back alum
Shan’s <i style="mso-bidi-font-style: normal;">Awakening</i>, who turns the
mechanics of dub techno up to eleven with a huge aqueous synth bounce and a
glittering lead. Perhaps most unexpected of the lot is AKSK’s <i style="mso-bidi-font-style: normal;">Breaking </i>(produced by the chameleonic
Suzanne Kraft), a cut of retro-leaning synth pop that proves particularly
catchy over repeated spins. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On any compilation you’re bound to like some tracks more
than others, but Janson has done a wonderful job eking gems from talents old
and new, sticking to a strong core aesthetic while providing variation and
style. He makes it look easy.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-large;">8/10</span></b></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com1tag:blogger.com,1999:blog-6902053077674479719.post-35904891950492085602015-09-24T10:12:00.001+01:002015-09-24T10:12:22.515+01:00Chaos In The CBD - Midnight In Peckham<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4RmoV9usmxUlv75tmdSogE4Ry13VA9wyh6puBrvQITawaDucfDK-ItwLVO8IjJtfxsxrZnU0AXCoIFo8lEFoZ8O9FlVg8FG3zueTaSZLojPL1jfNjLz3y9N6mlVQcFR7DMxX-d-2PXlP2/s1600/chaos+in+the+cbd+midnight+in+peckham.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4RmoV9usmxUlv75tmdSogE4Ry13VA9wyh6puBrvQITawaDucfDK-ItwLVO8IjJtfxsxrZnU0AXCoIFo8lEFoZ8O9FlVg8FG3zueTaSZLojPL1jfNjLz3y9N6mlVQcFR7DMxX-d-2PXlP2/s400/chaos+in+the+cbd+midnight+in+peckham.jpg" width="398" /></a></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b>Label: </b>Rhythm
Section</div>
</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div style="text-align: center;">
<iframe frameborder="no" height="120" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/219762469&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
</div>
<div style="text-align: center;">
<br /></div>
<div class="MsoNormal">
The Rhythm Section club night, a family affair run out of
London’s Peckham Pool Club for the last year, has smoothly made the transition
to record label over the last year. The team, helmed by rising star Bradley
Zero, have been showcasing the jazzier side of London’s house scene, with notable
releases from the likes of Henry Wu and Canada’s Local Artist. Their latest is
one of the most chilled and mature yet, courtesy of Kiwi brothers Chaos In The
CBD. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The pair have nimbly genre-hopped over EPs for the likes of
ClekClekBoom, Hot Haus and Amadeus, and here they showcase a particularly
laid-back strain of house, focusing on acoustic instruments and tasteful
composition. It makes for a stylish, super-smooth listen, but the lack of
variation in style means that some cuts shine brighter than others.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Observe </i>is one of
the best, an upbeat piano line clipping over a swaying, NuGroove synth line and
bristling percussion. Later title cut <i style="mso-bidi-font-style: normal;">Midnight
In Peckham </i>lets a sax drift lazily over feathery keys and twinkling synths,
the soundtrack to a Film Noir coda where the detective and femme fatale drive
off into a monochrome sunset.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Elsewhere the duo continue to mine the same jazzy strand of
house, with <i style="mso-bidi-font-style: normal;">Trust Is Key</i>’s gentle
melodic oscillations and the languid brass of <i style="mso-bidi-font-style: normal;">Luxury Motivation</i>, but the sonic homogeneity across the release
means there’s little reason to play these ones out over the EP’s catchier
siblings. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The kick drum has been relegated to a pulse across the four
main tracks, but Chaos In The CBD join forces with club-jazz experimentalists
Archie Pelago for a stomping final cut, its boom-bap beat unhurried but
certainly adding a pinch of muscle to the delicate arrangement. As a whole the
Midnight In Peckham EP doesn’t offer much in the way of variation, but if you
dig house at its smoothest and most tasteful, there’s plenty of accomplished
grooves on offer.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-large;">7/10</span></b><br />
<br />
<span style="mso-bidi-font-weight: normal;"><i>Read this review in context at <a href="http://inverted-audio.com/review/chaos-in-the-cbd-midnight-in-peckham/">Inverted Audio</a>.</i></span></div>
</div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-17320071389041409552015-09-22T10:49:00.000+01:002015-09-22T10:49:41.945+01:00Guest MixFresh guest mix from WN resident Moth, here serving up a whole party in 90 minutes, from sultry summer slow jams to raucous rave and techno via footwork, salsa and acid. So many of our favourites in here we've lost count.<br />
<br />
<div style="text-align: center;">
<iframe frameborder="0" height="180" src="https://www.mixcloud.com/widget/iframe/?embed_type=widget_standard&embed_uuid=1ab037fd-358f-4b76-95d6-a7859182b19c&feed=https%3A%2F%2Fwww.mixcloud.com%2F_moth%2Ffrom-time-to-time%2F&hide_cover=1&hide_tracklist=1&replace=0" width="500"></iframe></div>
<div style="clear: both; height: 3px; width: 652px;">
<br /></div>
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<div style="text-align: center;">
Exclusively on White Noise, here's the <b>tracklist</b>:</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Linkwood Family – Miles Away</div>
<div style="text-align: center;">
Pender Street Steppers – The Glass City</div>
<div style="text-align: center;">
Ishmael – Time & Time Again</div>
<div style="text-align: center;">
Hidden Spheres – Waiting</div>
<div style="text-align: center;">
Mosey – Tuff Times</div>
<div style="text-align: center;">
D-Ribeiro – Down You Will Get</div>
<div style="text-align: center;">
Cool Peepl – Free</div>
<div style="text-align: center;">
Damiano von Erckert – We Flow </div>
<div style="text-align: center;">
Harvey Sutherland – Bermuda</div>
<div style="text-align: center;">
Matthew Herbert – Earthenware</div>
<div style="text-align: center;">
Obas Nenor – Change Got To Come</div>
<div style="text-align: center;">
La Pesada – Cumbia y Tambo (En La Lluvia)</div>
<div style="text-align: center;">
Paradise’s Deep Groove – I Love</div>
<div style="text-align: center;">
Adesse Versions – Pride</div>
<div style="text-align: center;">
Todd Terry – Bounce To The Beat</div>
<div style="text-align: center;">
TXC – Dream Is Alive</div>
<div style="text-align: center;">
Luca Lozano & DJ Fett Burger – Telegronn</div>
<div style="text-align: center;">
Luca Lozano & Mr. Ho – Dripbox</div>
<div style="text-align: center;">
Henrik Bergqvist – Caballo Blanco</div>
<div style="text-align: center;">
Paxton Fettel – Lift Off</div>
<div style="text-align: center;">
Foreign – B1</div>
<div style="text-align: center;">
Paranoid London – Lovin U (Ahh Shit)</div>
<div style="text-align: center;">
AFX – VBS.Redlof.B</div>
<div style="text-align: center;">
Jessy Lanza, DJ Spinn & Taso – You Never Show Your Love<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2R4QsgN9gudakmwCcTEdEDi6fyNuRlcuUpROl6tUX7Zh41gsSVkiMuDh48M35p9wdALIDnlfTdH6OajEI8ve4Q4IkQCroRH7lPtYoOfMWonggyhWa3XTjn37jSUZhd91nArZqSBIDlo_J/s1600/disco+ball.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2R4QsgN9gudakmwCcTEdEDi6fyNuRlcuUpROl6tUX7Zh41gsSVkiMuDh48M35p9wdALIDnlfTdH6OajEI8ve4Q4IkQCroRH7lPtYoOfMWonggyhWa3XTjn37jSUZhd91nArZqSBIDlo_J/s320/disco+ball.jpg" width="203" /></a></div>
</div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-70746645993774159072015-09-17T12:07:00.001+01:002015-09-17T12:07:29.095+01:00DJ Richard - Grind<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhf02ByqcTYM9nHQPxdCwjvPk_6Um9gyeVLv0z82diqQJLRxI3H8Wad4NRcMBOSxjsO4h7jotlgcGyslsqCdoDpgtNCtky4nx1s1xGLA__YA4-cAfD7nqKmUvlUCpthNjwtOJvCNOG-8u8/s1600/dj+richard+grind.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhf02ByqcTYM9nHQPxdCwjvPk_6Um9gyeVLv0z82diqQJLRxI3H8Wad4NRcMBOSxjsO4h7jotlgcGyslsqCdoDpgtNCtky4nx1s1xGLA__YA4-cAfD7nqKmUvlUCpthNjwtOJvCNOG-8u8/s400/dj+richard+grind.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-US">Label: </span></b><span lang="EN-US">Dial</span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"><span style="font-family: inherit;">Much great art comes from conflict. Whether it
be a corrosive relationship, sudden loss or psychological crisis, tough times
push us to emotional extremes that seem to result in a striking artistic
clarity and power. The driving force behind DJ Richard’s debut LP seems to be
displacement, a move from the States to Berlin and the loss of a familiar
natural landscape. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"><span style="font-family: inherit;">Far from his native ocean, the White Material
co-founder populates his album with titles evoking the rock formations, fauna
and natural phenomena of his native Rhode Island, yet the dark industrial sonic
traits of his new home in Berlin are never far from the listener’s ear. This
contrast is the power of Grind, a collection of kinetic electronica on the border
between house and techno, its moods and rhythms in constant flux, the product
of a mind that churns like the sea.<o:p></o:p></span></span><br />
<div style="text-align: center;">
<br /></div>
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<iframe allowfullscreen="" frameborder="0" height="150" src="https://www.youtube.com/embed/2Wgs8eSOrkY?rel=0&showinfo=0" width="400"></iframe>
</div>
<div style="text-align: center;">
<span lang="EN-US" style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"><span style="font-family: inherit;"><i>Nighthawk</i></span></span></div>
</div>
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<br /></div>
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<span lang="EN-US" style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"><span style="font-family: inherit;">The level of refinement and cohesion to these
tracks is perhaps not a surprise given its context – this album has been made
twice. A burglary cost Richard a laptop with a near-finished version of his
debut LP, and so he was made to rebuild, using almost no samples in the
process. This perhaps explains why Grind feels so full and engaging, each track
a marvel of mood and detail.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="mso-ansi-language: EN-GB; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;"><span style="font-family: inherit;">The mood across the album is decidedly ominous and
brooding, particularly on the heavy, contemplative ambient interludes <i style="mso-bidi-font-style: normal;">No Balance </i>and <i style="mso-bidi-font-style: normal;">Ejected</i>, yawning abysses poised to swallow the listener whole<i style="mso-bidi-font-style: normal;">.</i> Yet outside of this foundation many
other emotions take hold. On <i style="mso-bidi-font-style: normal;">Nighthawk </i>a
delicate two-note tweet may be subdued but still feels optimistic against a
rhythm that sounds like the cracking of a great insect’s exoskeleton. Following
is <i style="mso-bidi-font-style: normal;">Waiting For The Green Flash</i>, the
first in a pair of references to rare optical phenomena, which glitters
menacingly, its intentions shrouded in mist.</span></span></div>
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<i>Bane</i><br />
<i><br /></i></div>
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otherworldly dance tracks, kicking off with the tumbling arpeggios of <i style="mso-bidi-font-style: normal;">Savage Coast </i>and the soaring harmonies
of <i style="mso-bidi-font-style: normal;">Screes Of Grey Craig</i>. The
brightness that lights the corners of these tracks comes to the fore on surprising highlight <i style="mso-bidi-font-style: normal;">Bane</i>, where a
burbling melody skids joyously over a splintered drum pattern, occasionally
rising to the boil and cascading all around. The album’s deep centrepiece is <i style="mso-bidi-font-style: normal;">I-Mir</i>, as patient as <i style="mso-bidi-font-style: normal;">Bane </i>is effervescent, largely composed
of a raw tunnelling bassline, a stammering kick and a swelling ambient wash
like a ghostly choir roiled by the waves. Four minutes in enter a set of
clattering metallic snares, marching forward with martial precision and threat.<o:p></o:p></span></span><br />
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<span style="color: #141823;"><span style="font-family: inherit;">While DJ Richard’s
previous EPs showed music more sophisticated than typical club music, they were
calibrated for dancing, and Grind is a departure from that. DJs will find some
great club tracks if they choose to skim it for parts, but that would be to
miss the holistic effect of the album. This is narrative techno, and in typical
artistic form, the narrative of conflict draws us inexorably towards
reconciliation. This is heard on <i>Vampire
Dub</i>, a confection of twinkling synth work, gauzy keys that leave behind calming jet-trails, and bubbling mechanical accents. Here the feelings of
displacement are left behind, resolution can be found in a composition which is
nakedly beautiful. This is the deserved conclusion to a great artistic
accomplishment; a dance album with no fat, no misfires, every tune essential,
surprising and rewarding. We hear darkness and conflict resolved through
artistic expression, and we find peace. </span><span style="font-family: Cambria; font-size: 12pt;"><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-GB; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;"><span style="font-size: x-large;">9/10</span><o:p></o:p></span></b><br />
<br />
<span style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-GB; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;"><i>Read the <a href="http://inverted-audio.com/review/dj-richard-grind/">original review at Inverted Audio</a>.</i></span></span></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-811038142084015242015-09-14T20:31:00.000+01:002015-09-14T20:31:08.072+01:00Aurora Halal - Shapeshifter<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBZspwawJDNeptYNAoUqriF7K0L29_LmbxuPWcUtpXPZx-rZlm57ymWAeF8cjvk-UMnWOJzViK2fiHrwvuMuPwHBYRd6OJtszqPX7oo2GCoYW_UrvAOwmwEBNAQjY9dUqJdcAiJp7g9bmY/s1600/aurora+halal+shapeshifter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBZspwawJDNeptYNAoUqriF7K0L29_LmbxuPWcUtpXPZx-rZlm57ymWAeF8cjvk-UMnWOJzViK2fiHrwvuMuPwHBYRd6OJtszqPX7oo2GCoYW_UrvAOwmwEBNAQjY9dUqJdcAiJp7g9bmY/s400/aurora+halal+shapeshifter.jpg" width="400" /></a></div>
<div style="text-align: center;">
<b>Label: </b>Mutual
Dreaming</div>
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<o:p></o:p></div>
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<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/211460138&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
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Aurora Halal has been expertly curating Brooklyn’s Mutual
Dreaming party since 2011, hosting the crème of modern electro, techno and
house DJs, but it was only last year that she began to release her own music.
On her debut Passageway EP was a producer fully formed, offering
gritty rhythms packed with drama, synthesising techno’s new and old schools
into a consuming vision.<o:p></o:p></div>
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Now for her second solo outing Halal has shifted style,
swapping grimy distortion for a polished sheen. Here she sketches svelte
figures that recall Detroit’s star-gazing techno legacy, which accentuates her talent for dreamy, hypnotic melodies. Opener <i style="mso-bidi-font-style: normal;">Shapeshifter
</i>goes down smooth, its twinkling melodies skirting a swift electro pulse,
while <i style="mso-bidi-font-style: normal;">Sunlight </i>stalks over mesmeric
keys and a diving bass hit, oozing Bladerunner drama. <o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Sleep Distortion </i>lives
up to its name, a slackened pace drawing attention to the gently shifting bass
patterns which conjure a delicious broken groove, drawing us into the melancholy
harmonies of highlight <i style="mso-bidi-font-style: normal;">Just Tell Me</i>.
The only misstep is second cut <i style="mso-bidi-font-style: normal;">Death of
Real</i>, whose burbling acid line seems strangely buried, its stripped woodblock rhythm
not given the heft to really hit home. The added <i style="mso-bidi-font-style: normal;">Version </i>of <i style="mso-bidi-font-style: normal;">Death of Real </i>gives
some much needed juice to the drums but somewhat loses the ebb and flow of the
original’s melody. <o:p></o:p></div>
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That Halal would attempt a sharp stylistic change after only one EP is a credit to her production talent, a true shapeshifter. What’s more the decision to downplay the rhythms works wholly to
her advantage, allowing both the percussive subtleties of her arrangements and
the dreamy melodies she weaves to shine bright and clear. <o:p></o:p></div>
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<div style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-large;">7.5/10</span></b></div>
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Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-6452787206187758202015-09-10T11:23:00.000+01:002015-09-10T11:23:13.262+01:00Bell Towers - Hyper - Realised - Self<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH7z9Xv_U6dx3tEE4Qt0n2Z3mtSZ8tY2E8UzylOY4GGs7upApHhW9eW3usuA8I5daz1G_k1fuTiSiwW8PGhhd8dG30GTdKhWc-yuPXcQ6OWYxtJhpSpFBpWUF3vhrUw9YwGWes5rZx-dCl/s1600/bell+towers+hyper+realised+self.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH7z9Xv_U6dx3tEE4Qt0n2Z3mtSZ8tY2E8UzylOY4GGs7upApHhW9eW3usuA8I5daz1G_k1fuTiSiwW8PGhhd8dG30GTdKhWc-yuPXcQ6OWYxtJhpSpFBpWUF3vhrUw9YwGWes5rZx-dCl/s400/bell+towers+hyper+realised+self.jpg" width="400" /></a></div>
<div style="text-align: center;">
<b>Label: </b>Public
Possession</div>
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Melbourne’s Bell Towers is not a producer who would ever be
accused of taking himself too seriously. Across a trio of 2014 releases on
Berlin’s dangerously on-point Public Possession imprint, BT issued icy,
retro-leaning house cuts and Italo edits heavy on the flamboyant synthwork.
Whether his music is focused on the club or soaring with the vocal harmonies of
yesterday’s tomorrow, there’s always a sense of fun front and centre.<o:p></o:p></div>
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<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/204920927&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
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His first 2015 outing, back on Public Possession, is no
different. The A side’s title promises a cheery ride, satirising the language
of the 80’s bionic dreams, and the music more than matches the promise. <i style="mso-bidi-font-style: normal;">Hyper – Realised – Self </i>is one of BT’s
strongest straight house cuts to date, juggling colourful melodies and odd,
playful effects anchored to a sharp, clean exo-rhythm. The track blossoms
gracefully over mutating acid sweeps and dramatic chord swells, leaving us with
a robotic vocal coda which would seem tongue-in-cheek if Bell Towers’ scifi
colours weren’t quite so inviting.<o:p></o:p></div>
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<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/204920926&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
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The grandiosely titled B-side, <i style="mso-bidi-font-style: normal;">Jumpin’ Off Into A Sea Of Your Love</i>, can’t quite match the flip for
energy, but it again show BT on fine melodic form, as twinkling chimes come
centre-stage over a taut electro rhythm, flexing out the big-room sentiment that
vintage scifi seems to capture so well. Everything is offered generously on
Bell Towers’ latest 12”, big grooves and big feels, another stepping stone on
his increasingly assured galactic voyage.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-large;">7/10</span><o:p></o:p></b></div>
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Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-47879798981984967522015-09-06T20:13:00.002+01:002015-09-06T20:13:21.972+01:00PLO Man - Stations Of The Elevated<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjGZvrQkrooOirK-H8V_WIYvtJZRLS3a-9mfMRtQhUTJmhgW7709fxfkXp95-Xm-me_9krk_vcoq9dt5OCKAuY6DdQhGUOFPpGLZKfMBrb39Awfls4Id269DixmMgMEfO4Qp5xPIb1tOiH/s1600/plo+man+stations+of+the+elevated.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjGZvrQkrooOirK-H8V_WIYvtJZRLS3a-9mfMRtQhUTJmhgW7709fxfkXp95-Xm-me_9krk_vcoq9dt5OCKAuY6DdQhGUOFPpGLZKfMBrb39Awfls4Id269DixmMgMEfO4Qp5xPIb1tOiH/s640/plo+man+stations+of+the+elevated.jpg" width="640" /></a></div>
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<b>Label: </b>Acting
Press<br />
<br />
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While it hailed rave reviews and steep discogs prices, the first release on Berlin’s freshly-minted Acting Press label was not to everyone’s tastes. That 12”, courtesy of a collective known as CC Not, toyed with what we expect from dance music yet for us seemed as difficult and cerebral, a demanding proposition from the EP format.<o:p></o:p></div>
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<br /></div>
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One of CC Not’s constituents, PLO Man, has stepped out solo for the label’s second offering, and the music is far more inviting. Stations Of The Elevated doesn’t break any stark new ground: it quite closely references a quasi-spiritual period of early 90s house, dealing in meditative home trips composed of breakbeats and pads that stretch on for days.<br />
<br /></div>
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<o:p></o:p></div>
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<i>Rare Plastic</i></div>
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<br /></div>
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While PLO Man’s core sounds may not be daring in their
nature, here they are elegantly assembled and draw the listener in through
structure as much as texture. First cut <i style="mso-bidi-font-style: normal;">Rare
Plastic </i>throws its danciest shapes early on, as a catchy synth line
entwines with wheeling breaks, but then as the energy dies down we the track’s
only half done, giving onto a hypnotic four minutes trading rough-edged drums
with icy ambience.<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Nearly Invisible </i>takes
root with a soft test-tone, like a gentle alarm that proceeds to bind seven
minutes of whirring ambience and woody rhythms. It’s an appealing slice of
sound design but it’s thirteen-minute closer <i style="mso-bidi-font-style: normal;">Type Damascus </i>that proves the release’s most hypnotic work. Here is
a real sound voyage, aqueous pads sifting like clouds over a gloriously slow
build of dusted breaks, metallic clanks and swandiving sub-bass rattles. It
ends, again, with three minutes of glassy ambience so entrancing that you’ll
wait for it to completely fade away before you flip the record over to start
again.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-large;">7/10</span><o:p></o:p></b></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0tag:blogger.com,1999:blog-6902053077674479719.post-53439371562632653532015-08-17T20:38:00.000+01:002015-08-17T20:38:39.586+01:00Minor Science - Whities 004<div class="separator" style="clear: both; text-align: center;">
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<b>Label: </b>Whities</div>
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<iframe frameborder="no" height="125" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/101294195&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="400"></iframe>
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If you spend your days as a music critic, it can’t be easy
to transition into the role of a producer and DJ. If you spend your life
analysing the music of others, how are you supposed to edit your own? Angus
Finlayson’s first outing as Minor Science, an EP on Trilogy Tapes, didn’t quite
hit the mark except on the mind-melting <a href="https://www.youtube.com/watch?v=X1aN1RLYBL4">Hapless</a>, but for his sophomore
release he’s really struck a solid note.<o:p></o:p></div>
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This slab’s out on Young Turks’ surprisingly good Whities
sub-label, drawing out two confident hardware excursions that toe the line
between house and techno. There’s a meandering, Actress-type quality to these
tracks, but a melodic spontaneity and sure-footed drum work mean that the
experimentation never dissolves the groove. <i style="mso-bidi-font-style: normal;">Closing
Acts </i>is a very strong look, reigned over by a square bassline that struts
rudely up and down the scales, adorned by cascading synthwork and the animal
cries of otherworldly species. <i style="mso-bidi-font-style: normal;">Glamour </i>cuts
the air with a starker machinedrum rhythm and more digitised squeals that sound
like lives long lost in an infernal machine. <o:p></o:p></div>
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Finlayson’s soundfield may be decidedly synthetic but there’s
an organic quality to how these melodies evolve, constantly subject to unexpected
effects and abrupt left-turns. It means you can never get comfortable with
these tunes, but that’s far from the point: this is heady, atmospheric dynamite
just waiting to be wielded by the right hands.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-large;">7/10</span></b> <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></div>
Tom Faberhttp://www.blogger.com/profile/07767260041982740477noreply@blogger.com0