The Square one returns with his 14th album in 20 years and shows no sign of getting mellower with age. 'Damogen Furies' could be considered the club after-party for the stadium-collapsing antics of 'Ufabulum' (2012), still riding a wave of stage adrenalin into equally, if not more, demented and eccentric funk acrobatics. Peaking from the opening bars of black midi-style melodic intensity with 'Stor Eiglass', he fakes left with the melancholy chimes of 'Baltang Ort' which somehow strobes between tranquil serenity and nosebleed funk.
The EDM kids will be pulling all sorts of Skrillex faces to the fiddly frettage and happy hardcore spurts of 'Kontenjaz', and, if we're not mistaken, 'Exjag Nives' samples an old Aphex Twin break, before 'Baltang Arg' romps like ten raves at once and he saves his best thumbs for the hyper acid jazz funk tweaks of 'Kwang Bass'.
'Since I Left You' is the stunning debut album by The Avalanches, released on 27 November 2000. Packed with over 600 samples of recordings dating from the 1950's to the present (each one credited in the liner notes!) as well as original instrumentation, 'Since I Left You' is a charming, witty pastiche of mashed up samples, beats, bangs, and bobs.... truly a breakthrough in the world of dance music. Their everything-but-the-kitchen-sink approach is exemplified by their debut single, 'Since I Left You', which opens the record with its wistful disco-samba shuffle and a scintillating sliced-and-diced soul vocal.
The album is constructed like a mix tape and calculated to tweak the dance floor. Snatches of familiar rhythms bubble up throughout, giving the record a comfortable lived-in feel, but also betraying the fact that the group haven't dug very far through the crates to source their raw material. Vast chunks of records by Madonna, Art of Noise, Kid Creole And The Coconuts and Parisian hip-hoppers Saian Supa Crew are easily identifiable.
2LP - 180 Gram double Vinyl set. First time on vinyl in years.
James Blake returns with his new album 'Overgrown' featuring Rza and Brian Eno. Following up his 2011 self-titled debut, 'Overgrown' has buckets of James Blake's trademark ethereal vocals, simple beats and cleverly crafted samples, but there's a step up here to something a little more mainstream with some interesting new sounds.
It's tales of fading relationships and clutched love start slowly and gather momentum, growing in stature as each track rolls out. Always confident in his ability, here he conjures sublime moments with 'Retrograde' and 'Digital Lion'. The album is a lonely, beautiful and inventive work.
Garden of Delete is unlike anything that Daniel Lopatin has done, in terms of technique, mood, or scope. It is denser than his previous albums, by several orders of magnitude. It is more varied, and it is funnier—scarier, too. The album carries with it a risk of whiplash that's as potent on the 15th listen as on the first.