Tag Archive: Raime

1.       Julia Holter –“Ekstasis” (RVNG INTL)


It was obvious at the time of release that with “Ekstasis” Julia Holter had created something special and the album was made Release of the Month for March and then topped my “Top Ten Albums of the Year… so far” in June. Little has changed since then and while there has been some serious competition nothing has matched Holter in the Alternative category.

The first thing that struck me about “Ekstasis” is the brightness of its sound, gone is the shadowy and foggy atmosphere’s of last year’s excellent “Tragedy” replaced by a sharp and incisive production job to revival today’s most intelligent pop stars. Ok, so Holter’s not going to be the next million selling pop star but this album’s production is almost the opposite of “Tragedy”’s. Then there’s the effortless feel of a lot of the music, despite many of the tracks being over 6 minutes in length. There’s no feeling of over indulgence even when a saxophone rears its head on ‘Four Gardens’ and ‘This Is Ekstasis’ everything here earns its place and makes sense within the context of the songs. It would be tempting to compare Holter to her many contemporaries within the hypnogogic pop genre especially her friend and collaborator Nite Jewel. Though her use of delay and reverb create similar feelings/images the musical content aims instead to transport the listener further back than the 1980s and into the ancient world which Holter is so interested in. With “Ekstasis” Holter has created her own sound world that seems to subtle reference pre-existing sounds/genres and rhythms without ever sounding directly like anything you’ve previously heard. An artist who can switch with ease between different sounds and sections without breaking a sweat or alienating the listener, Holter is an artist with a bright and long future ahead of her.

2.       Matthew Dear – “Beams” (Ghostly International)

Matthew Dear returns with his fifth album under his own name and “Beams” is another great work from an artist who has consistently delivered the good over the years. “Beams” differs from Dear’s previous solo albums as its not produced by him but Van Rivers and the Subliminal Kid, most famous for their work with Fever Ray and Blonde Redhead, of which Dear is a fan. The album combines the dark sounds of Dear’s last album “Black City” and the Talking Heads influenced techno-pop of his masterpiece “Asa Breed”. Due to his superior production and song writing skills Dear makes combining these two different but not unconnected sounds seem like child’s play and the result is an effortless feel throughout the album.  The album begins with the singles ‘Her Fantasy’ and ‘Earthforms’ the former a tropical sounding techno pop track of the highest quality the latter Dear self described “ deepest delve into a straight rock song”. The album swiftly moves on to another tropical sounding track in ‘Headcage’ the groove led title track of Dear’s EP from January this year. Two more upbeat groove based tracks in ‘Fighting is Futile’ and the Talking Heads influenced ‘Up and Out’ whizz by and give up the more electronically inclined second half of the album. This starts with the Surging synth bass line and techno beat ‘Overtime’ that are barely contained by speakers. ‘Get the Rhyme Right’ returns to similar territory to ‘Earthforms’ but with the emphasis on twisted synths and distorted guitars that smother the drums and bass in their electric filth! Things get more sparse and down tempo on ‘Ahead of Myself’ with Dear’s breathy vocals given minimal synth and drum machine backing. Then album enters the home coming straight with ‘Do The Right Thing’ a song that starts with just a bubbling and bouncing groove topped with lo-fi simple melody but steadily and sublty develops into a full and rounded track thanks to Dear’s masterful arranging. He finishes the album with the one-two punch of ‘Shake Me’ a dark torch song that recalls Depeche Mode of their most moody and magnificent and ‘Temptation’ a slow burner that repays the listeners patience tenfold! All in all “Beams” is a great album from an artist well into his career showing that he can still learn and keep the listen guessing  and satisfied even after all this time.

3.       Orcas – “Orcas” (Morr Music)

The debut album from this Seattle duo leaves me lost for words, one of those albums that are difficult to describe without selling it short. However, I will endeavour to paint a picture of this heartbreakingly beautiful music. The dominate sounds are plaintive piano, twanging to ethereal guitars and vocals and various crackles, hums and heavily processed electronic sounds. These simple elements are manipulated to create different textures, atmospheres and emotions across nine tracks. Though the duo have created a sound of their own there are some influences/inspirations suggested by the music including Peter Broderick & Harold Budd and Robin Guthrie’s soundtrack work, the noise abstract pop of Broadcast (who are covered on the album) and indirectly reminds me of the latest Oneohtrix Point Never album “Replica”. All this is held together by the songwriting touches that are subtly weaved throughout the album helping this album raise above more generic ambient and experimental music releases.

4.       Raime – “Quarter Turns on the Living Line” (Blackest Ever Black)

On their debut album “Quarter Turns on the Living Line” Raime have thrown down the gauntlet to all artists currently working on electronic and experimental music, “up your game before it’s too late.” Though it wasn’t the duo’s intention the album sounds like the soundtrack to an unreleased film, subtly referencing John Carpenter’s “Assault on Precinct 13” score or repositioning Ennio Morricone’s work to an industrial post-apocalyptic world. The duo expand on the critically acclaimed 12”s by adding emotional depth and a more organic sound via the use of field recordings, foley samples and acoustic instrumentation such as guitar, violins and cellos. Whereas the 12”s focused strongly on the duo’s jungle and industrial influences they broaden their range here to include post-rock, the doom metal of Sunn O))) and Earth and of course those previously mentioned soundtracks. The duo also manage to maintain a balance between the dark, heavy sounds and lighter, brighter sounds; another progression from the earlier 12”s. Raime have produced one of the debut albums of year, one that leaves many more established acts in the shade. Long may these soundscapes shapers continue to reign supreme.

5.       King Felix – “Spring EP” (Liberation Technologies)

The “Spring EP” picks up where Laurel Halo left off with the “Hour Logic EP” last summer, though she has some tricks up her sleeve and the music is a lot harder to pin down. Here the rhythms wiggle and squirm restless and constantly shifting not settling into a smooth groove, this is one of the things that makes the EP so exciting you’re never quite sure what’s coming next. The first three tracks are all a variation on the same theme, Halo is so inventive within this limitation that the listener is never bored by the central theme. Halo carves out her own style while referencing the glory years of early Nineties Detroit techno. The other crucial difference between this EP and “Hour Logic” is that whereas many of the tracks on the previous EP sound submerged beneath water this is Halo least veiled work to date; she lets the tracks reveal themselves and breathe all the elements able to exhibit themselves equally. The “Spring EP” is a fantastic addition to Halo’s discography.

6.       Ekoplekz – “Westerleigh Works EP’ (Perc Trax)

Back in January this EP was marketed as Ekoplekz’s first venture into dance floor territory and listening to it you can hear why. However, Ekoplekz still keeps his trademark sounds front and centre but he uses space more effectively and percussive sounds and deep bass provide the forward motion needed in techno music. Of the three originals ‘Ekoplatz’ sounds most like his previous material while being underpinned by techno bass and percussion, the other two ‘Narco Samba’ and ‘Xylem Teardrops’ are more stripped and danceable, while Richard H. Kirk (Cabaret Voltaire) remix of ‘Ekoplatz’ follows a similar template but adds electronic woodblocks, more structural dynamics and some of Kirk’s own idiosyncratic dub sounds. A highly recommended release for those into the darker side of dance music.

7.       Blondes – “Blondes” (RVNG INTL)

Blondes self titled debut album is one that hard to do justice to without its sounding like a repetitive bore-fest, which it is far from. The duo fit into both the modern dance music camp alongside the likes of The Field, Gui Boratto and other Kompakt techno alumni and alongside current ambient and hynagogic pop acts such as Laurel Halo, Teengirl Fantasy and Rene Hell amongst others. Blondes manage to fuse these two opposites together in way that plays to the strengths of both, you never feel the dance elements are getting bogged down by the atmospherics or that the atmospherics are dominated by the dance elements. The duo encompass a range of emotions across the album from the brighter tracks like ‘Gold’ and ‘Amber’ to the dark and subdued ‘Pleasure via drowned Kraftwerkian synth work on ‘Business’ and foggy tension of ‘Water’. One of the album’s strength is that despite the amount of recycling there is (every second track is a re-versioning of the previous track) the variety on show is impressive as is the duo’s ability to keep the listener engaged and excited by these same/similar elements. At the time of release I said the following of “Blondes” “Blondes have not only created a contender for Debut Album of the Year but an early contender for the Album of the Year itself”, as you can see the album has stood the test of time.

8.       Neneh Cherry and The Thing – “The Cherry Thing” (Smalltown Supersound)

When it was originally announced that Neneh Cherry and Swedish jazz trio The Thing would be releasing an album full of reinterpreted versions of songs in a range of genres from post-punk to hip-hop via jazz itself, the collaboration didn’t make sense to me. However, after a little internet research and hearing two tracks from the album my mind was changed and I got quite excited about the prospect of this album. It didn’t let me down either with The Thing more restrained than they usually are and Cherry on dazzling form on vocals. The album opens with a version of Cherry’s ‘Cashback’ (one of two originals on the album) featuring fantastic twangy double bass, a drum break and counterpoint sax playing off her melodious lead vocal. Things get striped back on a twinkling vibraphone heavy version of Suicide’s ‘Dream Baby Dream’ before a return to a more aggressive tone with the drum and double bass assault of ‘Too Tough To Die’ (Martina Topley Bird). ‘Sudden Movement’ is the other original this time written by Mats Gustafsson of The Thing, a dark and dusty yet up beat jazz number. The tempo slows again for Madvillain’s ‘Accordion’ with Cherry trying a half sung half rapped vocal over twangy double bass and subtle arching sax. There are also two nods to Cherry’s father Don (a famous jazz musician, The Thing take their name from one of his songs) the first is by Don himself the ghostly and experimental ‘Golden Heart’ the other is a track original by jazz innovator Ornette Coleman whom Don Cherry complete his jazz apprenticeship with, this track is a sparse finish to a busy and fiery album full of passion and heat. Recommended to fans of the unexpectedly enjoyable!!!

9.       Drokk – “Music Inspired by Mega City One” (Invada)

It’s hard to describe this album without overusing the words analogue synth(s) but here goes. The album uses just one synth as its primary mode of composition but Geoff Barrow (Portishead) and BBC composer Ben Salisbury manage to make limitation the mother of invention creating everything from intense drone heavy soundscapes to arpeggio led tracks via more delicate and reflective moments. In many ways the album bears comparison with this year’s other imaginary soundtrack album “Themes for an Imaginary Film” by Symmetry and though it’s not as ambitious as Symmetry’s album its equal as satisfying a listen. Drawing on many classic synth soundtrack staples such as John Carpenter, Vangelis, Walter/Wendy Carlos and with hints of the BBC Radiophonic Workshop and other T.V. music from the 70’s and 80’s. However, repeat plays reveal this isn’t an album that merely imitates and pays homage but is an equal to those great synth soundtrack composers, the album throbs with the tension of a Carpenter score, while Vangelis arpeggios abound and experimental sounds that the Radiophonic Workshop and Walter/Wendy Carlos are thrown in at the appropriate moment and to keep the listener guessing. If Symmetry’s album is the Hollywood blockbuster then “Drokk…” is a homemade marvel and all the better for it.

10.     Peaking Lights – “Lucifer” (Weird World)

“Lucifer” showcases a more immediate version of their sound from previous foggy lo-fi releases. In fact along with Julia Holter’s “Ekstatis” this album proves that lo-fi home recordings can have a clarity and immediacy without sacrificing the grit that made them attractive in the first place. “Lucifer” acts a cooling balm or cool stream water leaping at your feet instead of the more humid and clammy sound of 2011 brilliant “936”, though it’s a little unfair to directly compare those two albums “Lucifer” demonstrates the duo ability to subtle evolve their sound while still using the same basic sound set. Maybe the biggest difference musical is that Peaking Lights have chosen to create more up tempo track this time round compared with leisurely to sluggish pace of previous work, this seems to run in tandem with their new clearer and more immediate sound. The best examples of this are the funk strut of ‘Dream Beat’, the pumping bass and purposeful drum beat of ‘Live Love’ and its darker musical twin ‘Midnight (in the Valley of the Shadows)’. Peaking Lights also add some new elements to the album such as marimba on ‘Moonrise’, piano on ‘Beautiful Son’ and an Oriental melody on ‘Live Love’, that it would e great to hear more of future releases. All in all I’d through recommend “Lucifer” to Peaking Lights fans, those who are curious about the duo or those whose interest is piqued by this write up, it’s well worth investigating.

Kirsty’s reviews

Disappointment of the month

Monoloc – Drift (CLR)

“Drift”’s arrangement recalls late ‘90s crossover dance/rock acts like The Chemical Brothers, The Prodigy or Death In Vegas whose rock audience-friendly albums were divided into ‘we’re trying hard to be deep and meaningful’ tracks filled with soulful vocals or film dialogue, minor key mid-tempo ‘emotional’ pieces and tacky wave-your-hands-in-the-air bangers; all amounting to the aural equivalent of weak tea. Similarly “Drift” suffers from pathetic tameness too when it should be injecting listeners with Red Bull and vodka, the choice of drink for anyone who wants to dance for 60 hours while being pummelled by techno. Its alternation between minor and major keys, use of monotone vocals and pacing does nothing to shake off these unflattering comparisons and very little justifies “Drift”’s 52 minute length. Techno tracks like ‘Try’ and ‘About’ should thump and grind but the production on “Drift” has oddly sucked the air out; bass drums are squashed, synths sound meek and the compression has flattened all tone and colour. ‘It’s Mine’ featuring Daniel Wilde and the two other vocal tracks take their cue from “Violator” era Depeche Mode. It’s pretty convincing despite being flat and one-dimensional. Their classic singles, like ‘Personal Jesus’ or ‘Enjoy The Silence’, sit in a rock-pop-industrial techno triangle, which ‘It’s Mine’ tries to emulate but unlike ‘Personal Jesus’ it simply isn’t a good, catchy song that people will be able to sing 20 years from now. Elsewhere ‘Try’ screams of unadventurous filler for a DJ set and someone who uses gospel vocals in a dance track has to come up with a fresh take; ‘Pblc’ isn’t this song. Listeners who want exciting, vibrant techno ought to drop “Drift” and spin Shed’s “The Killer” or anything on the Prologue and Ostgut Ton labels.

Marcel Dettmann – Range (Ostgut Ton)

In this last year Marcel Dettmann has received criticism for a lack of musical range but the ‘Range’ EP shows that though the scale of his material is narrow his resolute, glorious techno still contains many shades within their concrete canvas; 50 shades of grey so to speak. Swirling atmospherics introduce the EP’s title track as an unsettling drum pattern ploughs through sullen, foreboding terrain. The pulsing bass drum on ‘Iso’ only just holds the track together as a dense assortment of spiky and hissing sounds ring out and dissipate above cavernous and unsettling held chords. It feels like it’s on the brink of collapse and reaching out from the depths of this instability comes ‘Push’’s barely discernible pitched down voice intoning variations on the track’s title above a rhythmic dry-hump made up of deep bass thuds, whooshing hats and skittering percussion; a standout. Final track ‘Allies’, which was an important inclusion in Ben Klock’s recent, wonderful “Fabric 66”, is an excellent example of Dettmann’s skill. Essentially a single harmonically-rich chord repeats infinitely while razorblade hi-hats and jacking snares alter every single bar. As with most of his unforgiving slabs of techno, he builds and builds the pressure to almost uncomfortable levels without gifting the listener with any real sense of climax or release. Like Dettmann’s previous EPs “Translation” and “Landscape”, “Range” will still be a favourite on dancefloors twelve months from now.

Release of the month

Sigha – Living With Ghosts (Hotflush)

After a bundle of 12”s for Scuba’s Hotflush label Berlin-based, UK-born DJ and producer Sigha (James Shaw) delivers his debut album “Living With Ghosts”. The album’s twelve perfectly balanced techno and ambient productions fuse his love of classic techno with the genre’s contemporary sound that is owned by Germany’s capital and over the course of “Living With Ghosts” Sigha shifts between brooding subterranean techno soundscapes and fluid emotive strokes. Album opener ‘Mirror’ slowly introduces the listener to the show with an unhurried sketch of quietly grinding austere noise until the second track ‘Ascension’ kicks in with a throbbing techno beat that almost suffocates its undulating synth. The addition of subtle changes to the rhythm and percussion in the final third takes the track close to breakbeat territory. For the last 30 seconds the drums suddenly drop out to a soft drone that acts as a palette cleanser; refreshing the listener for ‘Puritan’’s 6:40 minutes of a wonderfully unrelenting, thudding 4/4 groove and gossamer synths. A highlight is ‘Scene Couple’, its wet licks of acid rise and swells with force yet feel restrained and intricately textured; a track that will be killer on dancefloors for months to come. Sigha cleverly uses two tracks, ‘Suspension’ and ‘Delicate’, to allow the listener to come up for air, making it even more potent when they are thrown into the techno waves again. Their carefully weaved layers envelop in silky ambience; adding an extra stunning dimension to the release. Hypnotic beats punctuate an enthralling windswept soundscape in the nine minute ʻTranslateʼ. The elegant ‘Aokigahara’ rounds off  the album in a ten minute beatless wall of foggy ambience that swathes and soothes the listener. Like this summer’s “The Killer” by Shed, “Living With Ghosts” is a techno record that contains countless moments of experimentation, depth, subtlety and exhilaration across a format that can be the downfall for many producers who are used to delivering 12”s.“Living With Ghosts”, with its commitment to the motifs of UK and Berlin techno, is a skilfully paced, cohesive, complex and compelling album.

Liam’s reviews

Offshore – “Bakehaus” (Big Dada)

The debut mini album from Glaswegian beat maker Offshore starts as it means to go on with ‘Breeze’s ascending synth melody and twitching hi-hat pattern taking centre stage before the main beat drops it’s the simple musicality of this intro track that marks this release and Offshore himself out from the current electronic music crowd.  The trend continues with the surging synth bass of the house-like ‘Fraser’ though again there’s Offshore’s unique twist as he’s add his own synthetic guitar parts and plinking piano to stunning effect.  The next two tracks ‘Life’s Too’ and ‘Venom’ ratchet up the melodic elements and we hear for the first time the child-like playfulness that runs through Offshore’s music. Melody continues to dominate on the excellent ‘Downer’ with its Peter and the Wolf-like string melody and on ‘Black Bun’ with its pedal steel melody and suitable woody sounding beats. Melody isn’t the only thing that Offshore excels at as he keeps the listener on their toes with a selection of beats that runs from the classic (‘Back Wynd’s electro hip-hop beat) to modern dance beats (‘Venom’). On ‘Long Now’ and album closer ‘Downer 2’ Offshore shows his gentler side and adds yet more diversity to this impressive release. The future looks bright for Offshore who already looks like he could overtake his more famous contemporaries Rustie and Hudson Mohawke.

Container – “LP” (2) (Spectrum Spools)

Container’s second album is more a refinement of the sound of his first album than a greater department from his debut. Both albums overall sounds subscribed to the model of analogue driven noise-techno that Container was pioneering just a year ago. The difference between the materials on the two releases is subtle. While the new album isn’t a ferocious as his debut it shows that Container is far from a one trick pony with the broken and busted up breakbeat of ‘Paralyzed’ being one of the highlights of album. In fact, it’s only brilliant closer ‘Refract’ that sticks rigidly to the techno grid, the others allowed to be more rhythmical free. The creepy and twisted vocal samples that were used on the first album’s ‘Protrusion’ and ‘Rattler’ are a dominant and expertly utilised across the whole of “LP 2”. Though “LP 2” maybe slighter than its predecessor but from the opening bippty-boppity drums of ‘Dripping’ via Acid arpeggio and four to the floor bass drum of ‘Perforate’ right through to the blur of electronic drums and descending synth effects of ‘Refract’  it has enough noisy energy to satisfy fans of both noise music and techno.

Zombie Zombie – “Rituels D’Un Nouveau Monde” (Versatile)

“Rituels D’Un Nouveau Monde” is the second full length album by French electro duo Zombie Zombie, the album sees the duo consolidating and refining the sound established on their debut album “Land of Renegades” (2009) and their mini album of John Carpenter reinterpretations “Zombie Zombie plays…” (2010). The album is bookended by the cinematic electro of ‘The Wisdom Of Stones (Do You Believe In..?)’ and ‘Black Paradise’ which offset clanky electronic drums with acoustic drums and percussion and atmospherics and synth sounds that could only be influenced by the aforementioned Carpenter. ‘Illuminations’ takes on a four to the floor rhythm though this is still offset by percussion and synthesizers that could be included on a classic film score. ‘Rocket #9’ continues to ups the dancefloor ante going up out with catchy vocal refrain and acid inspired synth lines before a saxophone takes the track to its delirious climax. ‘Watch The World From A Plane’ begins with a lone synth melody growing in complexity until it reaches analogue synth nirvana part way through and stays there until its conclusion. “Rituels D’Un Nouveau Monde” demonstrates that Zombie Zombie continue to develop with each new release refining and improving their potent formula and even throwing in the odd surprise e.g. the saxophone on ‘Illuminations’ and ‘ Rocket #9’. All lovers of electro and synth based soundtrack music should definitely check this out.

Nils Frahm – “Screws” (Erased Tapes)

On his new album “Screws” Nils Frahm has turned an accident that resulted in a damaged thumb for the experimental pianist into a triumph. He ended up with four screws inside his thumb and dealt with it the only way he knew how to, by playing his piano. The result is nine intimate piano pieces, so intimate in fact that you can hear Frahms shifting position on his stool and the bits of metal that rattle around in his prepared piano. It’s as if you’re in the room with him while he plays these minimal and yet emotional varied pieces. The album opens with ‘You’ which manages to somehow to sound both bright and poignant at the same time, like the sound of cautious optimism. ‘Do’ changes things up with a sparser arrangement and more bass notes before ‘Re’ turns things on their head with its lilting melody floats through the air as if barely touched by human hands and recalls Tchaikovsky. ‘Mi’ is a harder and dissonant piece that features long overtones and mismatched notes. ‘Fa’ is sad and pensive, while ‘Sol’ takes things a step further feeling both dark and desolate. The lightness returns with ‘La’ which gentle bass undertow gives the track gravity and purpose at the same time. ‘Si’ contrasts heavy chords with a light and air melody complimented by a stately feel. Finally the albums concludes with ‘Me’ with its steady stream of notes regular interrupted by extended pauses, the silence is almost deafening even in these minimalist music surroundings. With “Screws” Frahms adds another stunning album to an already impressive and expressive back catalogue. For emotive music of the highest order look no further.

Holly Herndon – “Movement” (RVNG INTL)

“Movement” is the excellent debut album from Holly Herndon an artist whose been compared to Laurel Halo. While there are similarities between the two (they both produce experimental and techno music based around heavily processed vocals) Herndon is no copyist as this album proves. While Halo usually coats her vocals in luxurious reverb and reaches for a warm sound, Herndon prefers to create mostly abstract layers of vocals. Abstract to the point where it’s hard to tell what’s Herndon’s vocal and what’s a synth sound, Herndon also focus on harder and colder more digitalized sounds. Opener ‘Terminal’ is a case in point it’s hissing and snorting slivers of sound send a shiver down the spine while as drawing the listener in. With ‘Fade’ the album switches into its twitchy techno mode, its unpredictable drum machine pattern, slippery synth bass and warped arpeggio help it stand out from the crowd. ‘Breathe’ returns us to the experimental sound of ‘Terminal’ centring on Herndon’s nervous inhaling and exhaling, shaky effects and an occasional synth chord, it’s highly effective and “exquisitely horrifying”. ‘Movement’ is another twitchy techno number with reverse vocals and a shifting rhythm pattern that’s simultaneously exciting and disorienting for the listener. The album’s sparse finale ‘Dilato’ uses a slow synth pad (or is it heavily processed vocals) and Herndon’s lead vocal to create an effect that recalls a Muslim prayer, though there’s a subtle digital feel to the track.

Hello Skinny – “Hello Skinny” (Slowfoot)

The eponymous debut album from Hello Skinny aka Tom Skinner is one of this year best debut albums and effortlessly blends genres and acoustic and electronic sounds. The album explores a very modern form of psychedelic music folding into its mix dub bass and FX, jazz saxophone, clarinet and drums, splash of colourful synth and electronic beats that owe a debt to both hip-hop and the more organic end of electronica. This blend is presented from the off with opener ‘Aquarius’ which is based around an electronic rhythm track, bubbling synth bass and a sonar synth effects before later in the track there joined by acoustic jazz drums and dub delay. The title track takes things down a notch with a downtempo feel complimented by a submerged dub bass and a clarinet melody that recalls Prokofiev’s Peter and the Wolf and in the second half of the track there’s a great twisted saxophone solo the first of a few spread across the album. The album continues in a similar vein throughout switching between more upbeat material similar to ‘Aquarius’ and more downtempo and reflective tracks similar to the title track. ‘Me and My Lady’ is the one exception to this rule playing out like a classic cowboy film theme or a dub version of one of Lee “Scratch” Perry’s Upsetter’s cowboy themed reggae tracks. “Hello Skinny” is an understated but engaging and enthralling listen, can’t wait to hear what Skinner comes up with next.

Peaking Lights – “Lucifer In Dub” (Weird World)

“Lucifer In Dub” does exactly what it says on the tin, it’s a dub album of Peaking Lights “Lucifer” album which has been a Sonic Fiction favourite this year. “Lucifer In Dub” acts very much as a flip side to “Lucifer” whereas the parent album reduced the amount of dub effects to a zero and pushed the dub bass lines right back in the mix, this album pushes all that to the fore and adds a healthy amount of dirt to the previous clean pop production. The album opens with ‘Cosmick Dub’ which revolves around a rolling bass guitar riff, heavy electronic drums and organ covered in lashings of dub delay. Then there’s the tropical sounding melody of the delightful ‘My Heart Dubs 4 U’ and album highlight ‘Beautiful Dub’ where a guitar riff, organ chords and female vocals float high above tough dub bass and electronic drums to stunning effect. The band changes tack on ‘Live Dub’ with its pounding synth bass line, swan diving guitar that sounds like a police car siren and double time beats. The use of double time beats is repeated on closer ‘Midnight Dub’ and I’m not totally convinced it, though it does show a potential new direction which Peaking Lights can experiment with and refine. Overall, “Lucifer In Dub” is a superb addition to the Peaking Lights back catalogue and in time could prove to be their best album yet.

Big Boi – “Vicious Lies and Dangerous Rumours” (Mercury)

“Vicious Lies and Dangerous Rumours” is an ambitious and highly emotive album, one that fuses together 80’s funk, new wave and ambient synth textures with Big Boi’s trademark Dirty South hip-hop style. It is in short Big Boi’s pop album and rivals fellow OutKast member Andre 3000’s “The Love Below” as the finest pop entry in their respective back catalogues. This is the album that I thought I’d be hearing from Andre 3000 when he got around to making his debut solo album but Big Boi has beaten him to the punch. I’d go as far that is the most emotional raw and broad hip-hop since Kanye West released “808s and Heartbreak” (2008). It’s difficult to single out highlights on an album where quality level never drops from start to finish, this could be an overcooked and busy affair with seventeen tracks and many more collaborators but Big Boi and his opulent backing tracks gel with everything single contributor. Whether it’s the swarming strings of ‘The Thickets’, the 100% electro fest that is ‘Thom Pettie’ or the lush 80’s funk come-on’s of closer ‘She Said Ok’ it all just works even when it shouldn’t. Big Boi recently proclaimed his love of Kate Bush’s music and this influence runs through the whole album informing its lush synthetic and acoustic textures and arrangements. Prince is another 80’s pop star whose influence is a regular feature on the album and it’s no bad thing even on the out-and-out cheese fests of ‘Raspberries’, ‘Descending’ and ‘She Said Ok’, the influence is always present on 80’s funk numbers ‘Apple of my Eye’ and ‘Higher Res’. I didn’t think I’d be writing this but with “Vicious Lies and Dangerous Rumours” Big Boi might have just trumped his debut solo album“Sir Lucious Left Foot: Son of Chico Dusty” (2010).

Top Release of the Month

Raime – “Quarter Turns on the Living Line” (Blackest Ever Black)


On their debut album “Quarter Turns on the Living Line” Raime have thrown down the gauntlet to all artists currently working on electronic and experimental music, “up your game before it’s too late.” Though it wasn’t the duo’s intention the album sounds like the soundtrack to an unreleased film, subtly referencing John Carpenter’s “Assault on Precinct 13” score or repositioning Ennio Morricone’s work to an industrial post-apocalyptic world. The duo expand on the critically acclaimed 12”s by adding emotional depth and a more organic sound via the use of field recordings, foley samples and acoustic instrumentation such as guitar, violins and cellos. Whereas the 12”s focused strongly on the duo’s jungle and industrial influences they broaden their range here to include post-rock, the doom metal of Sunn O))) and Earth and of course those previously mentioned soundtracks. The duo also manage to maintain a balance between the dark, heavy sounds and lighter, brighter sounds; another progression from the earlier 12”s. Raime have produced one of the debut albums of year, one that leaves many more established acts in the shade. Long may these soundscapes shapers continue to reign supreme.

Kirsty’s Recommendations

2nd November

Monoloc – Drift (CLR)

Born and raised in Frankfurt, Monoloc started his production career in 2001 and by 2010 he had been snapped up by Chris Liebing’s CLR label. Two years later he is preparing to release his debut album “Drift” in November. According to the press release, the CLR family was instrumental in shaping the sound of the record: Chris Liebing assisted in the mixing process, Brian Sanhaji, a label affiliate, mastered the album and Daniel Wilde, another CLR signee, lends vocals on three of the “Drifts”‘s tracks. Listeners should expect grooving, atmospherically rich pieces of techno with dreamy, retro-inspired touches.

13th November

Ital – Dream On (Planet Mu)

His second album this year, Ital’s “Dream On” will be released on Planet Mu. The Brooklyn-based artist has over the past two years reinvented himself as a house and tech2no producer with a steady stream of EPs on labels like Not Not Fun and its clubbier subsidiary, 100% Silk. As with his five-track debut “Hive Mind” from earlier this year, “Dream On”‘s track list is skimpier than is normally expected from a full-length—seven tracks this time—though it’s reportedly “much more substantial” than “Hive Mind”.

19th November

Sigha – Living With Ghosts (Hotflush Recordings)

Sigha is an English techno artist with a soft spot for swathes of ambient textures. Inspired, in part, by his recent relocation to Berlin his debut album “Living With Ghosts” will be out on Scuba’s Hotflush Recordings, the same label that released his debut EP in 2009 and most of his records since then. “Living With Ghosts” shows his understated approach to techno continuing to develop while mixed in with swathes of enveloping ambience. Stream Sigha’s track ‘Self Improvement’ to get a taste of what to expect:

Liam’s Recommendations

5th November 2012

Offshore – “Bakehaus” (Big Dada)

The debut album from Offshore aka Ewan Robertson comes with much expectation after the producer has built a reputation as the successor to fellow Scottish electronic music producer Rustie and Hudson Mohawke. Robertson stands apart from his contemporaries by both uses a wider range of emotional triggers and taking from genres outside of electronic music such as post-punk and hip-hop. This mini album is well worth through investigation.

12th November 2012

Hello Skinny – “Hello Skinny” (Slow Foot)

Hello Skinny is a new project from Matthew Herbert and Mulatu Astatke drummer Tom Skinner. His debut album is bring released this October on Slowfoot Records and he has track on the new Brownswood compilation from Giles Peterson’s label of the same name. Hello Skinny mixes up live instrumentation with samples and genres such as jazz, dub and hip-hop into a heady brew. Check out Hello Skinny’s “Smash & Grab” mixtape here for a taste of what’s to come.

Holly Herndon – “Movement” (RVNG INTL)

The debut album from Herndon sits somewhere between the world of Berlin techno (she was a DJ in the German capital for five years) and experimental music Mills College (a liberal arts college in California). Herndon separates herself from other artists in these respective fields with her extensive use of her own heavily processed vocals, these often become so abstract its hard to tell what’s a synth sound and what’s Herndon’s voice. Herndon is a perfectly fit for RVNG INTL who also straddle the experimental music and dance music worlds.

19th November

Adrian Younge and Ghostface Killah – “Twelve Reasons to Die” (Soul Temple)

“Twelve Reasons to Die” is the result of an unlikely collaboration between producer and film score composer Adrian Younge (most famous for his work on the brilliant blaxploitation homage “Black Dynamite) and Wu Tang Clan MC Ghostface Killah. The album is executive produced by RZA (Wu Tang Clan) and comes with a comic book written by Matthew Rosenberg and Patrick Kindlon of Ashcan Press.

19th November 2012

Raime – “Quarter Turns Over A Living Line” (Blackest Ever Black)

After the release of critically acclaimed 12″s and an EP Raime are preparing to release their debut album featuring seven brand new tracks, the sees the band moving away from sampled based music to an approach dominated by live instrumentation and heavy processing. Their dark sound combines elements from jungle, industrial and gothic post-punk music and this album promises to be truly bewitching.

26th November 2012

Container – “LP” (Spectrum Spools)

Container follows up last year’s impressive noise-techno album “LP” with another album also entitled “LP”. Spectrum Spools press release says the album keeps “… the classic Container sound..in tact” but “this album offers a look into a previously closed door in the Container sound world. LP, like its predecessor LP, is recorded in mono and its cuts right down the middle of your skull, and doesn’t float around in imaginary room, these new tracks are immediate and heavy.” Sounds like a release we’ll be enjoying on Sonic Fiction.

Zombie Zombie – “Rituels D’un Nouveau Monde” (Versatile)

French horror film music obsessives Zombie Zombie return with their second album of original material. First single “Rocket Number Nine” is electro par excellence  and promises great things for the album. 

3rd December

Nils Frahm – “Screws” (Erased Tapes)

The new album from experimental pianist Nils Frahm came about through an unfortunate accident that saw him fall from a bunk bed and break his thumb. Four screws were surgically placed inside his thumb leaving him with 9 playing fingers. Frahm decided to deal with this injury the only way he knew how by playing his piano and this resulted in the 9 intimate piano tracks that make up “Screws”.

10th December 2012

Big Boi – “Vicious Lies and Dangerous Rumours”

Big Boi is excitedly tweeting about progress on this new album and its seems that the follow up his great 2010 album “Sir Luscious Left Foot: The Son of Chico Dusty” isn’t far away. He recently said it features collaborations with UKG, Kid Cudi and man of the moment Big K.R.I.T. Check out first single “Gossip” here and view the artwork here.

17th December 2012

Missy Elliott – ‘The Block Party’

After overcoming her health problems Timbaland now claims that this album could finally be released in 2012. In meantime Missy Elliott has announced the release of two new singles ‘9th Inning’ and ‘Triple Threat’ this coming weekend (Saturday 1st September & Sunday 2nd September), this is the surest sign yet that “The Block Party” is finally on its way!!!

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