CD Album Recommendations July 2012

Review: Amazingly, this is the ninth album from experimental D&B veteran ASC. Those who've followed his career to date should know what to expect; an atmospheric and all-enveloping sound that uses traditional D&B rhythms and structures sparingly, instead flipping between clandestine electronica, IDM and shuffling ambience (see the crackly opener "Spheres", which recalls his recent work with fellow experimentalist Sam KDC on the Decayed Society LP). It's a fusion that delivers real quality, from the late night '90s vibes of "Glass Wall", and guitar-laden Balearica of "Oneironaut", to the beatless beauty of "A Song For Hope", technological grooves of "Prometheus", and glitchy oddness of "Stay True".

Review: The Detroit veteran and "cousin to Omar-S" known as Leonard "Big Strick" Strickland returns with the follow-up to his well-received 2011 long player, Detroit Heat. Where that largely stuck to deep house, this set casts the net much wider, offering a mixture of sparse, melodic techno, hypnotic tech house and even ambient moods (check the luscious "Days Gone") alongside Strickland's simple-bit-effective deep house. Check, for example, the classic Detroit revivalism of "Reese Cup", the chiming melodies and jackin' beats of "Code 1" and the curious piano jazz of "Slow Ride". There's also a track written with friend Omar-S, the wonderfully deep and fluid "Family Affair".

Review: Labour Division takes inspiration from industrial culture is evident in both its title - surely a contender for a great, missing Swans LP? - and on detached, fuzzy synth tracks like "Ident" and the menacing tones of "TTH", or the eerie textures and understated percussive hiss of the Regis-in-experimental-mode that is "Metal Image". But what is more interesting about this album is not its re-activation and presentation of existing narratives as they were, but its wholesale attempt to redefine their own vision for techno. It's a mightily ambitious objective and whether intentional or not, Walker and Matthews achieve this in places. "Mandate" is a relatively standard broken beat track, but is delivered with a rubbery bass and layers of grungy upbuilds, the sonic equivalent of a sack of soot and grime emptied over a glass table. Of more importance however is the fact that Labour Division proves that Forward Strategy Group don't preach sonic austerity because they have nothing else to say. "Nihil Novi" is a stripped back, crackling metallic groove combining the accessibility of Factory Floor with Ben Klock's rhythmic dexterity, "TTH" fuses the atmospheric textures that were audible on "Metal Image" with lithe back beats and "Cultivar", though set against a darker sonic backdrop, relies on similarly agile rhythms. At a time when all around them are marching to the death paced drums of Gothno, Labour Division sees FSG tease new ghosts and fresh horrors from their machines - as the eerie soundscapes and clinking chains on the supernatural "Fading Centres" so ably demonstrates.

Review: If Google is to be believed, Quantec is either a company specializing in high end sound design and engineering, or an electrical communication system for use in old people's homes. It's also a well-used alias of Echochord regular Sven Schienhammer, who here pops up on Eluc with his latest excursion into dubwise downtempo territory. Like previous releases, 1000 Vacuum Tubes mines the fertile ground between dub techno, downtempo and vintage ambient house, delivering hypnotic compositions dripping with curious vocal samples, locked-in rhythms and deep-but-sprightly melodies. It's a charming and alluring mixture that perfectly suits the album format, ensuring that 1000 Vacuum Tubes is an excellent listen.

Review: Hot Chip jumped ship yet again, releasing their fifth studio album In Our Heads via the esteemed UK imprint Domino Recordings. The eleven track album was self produced by the band members (along with some behind the boards help from respected studio engineer/producer Mark Ralph) and recorded in London, presumably in the spare time between the various band members other musical commitments that include 2 Bears, New Build and About Group. It stands up alongside their previous long players, with certified pop gems littered among a heady mix of synthy electo and downtempo romantic jams such as the irrepressible "Look At Where We Are".

Review: Since dropping his eponymous debut album in 2010, Boris "Netsky" Daenen has been an integral part of the Hospital family. His sound - fun, anthemic and synth-heavy but with more than a dash of high grade musicality - is typical of Hospital's move from backroom liquid label to festival favourites. 2 should appeal to the Hospitality crowd, boasting as it does a mix of funk-flavoured rollers (see "911", "Give & Take" and the Starburst-flavoured "Puppy"), grandiose vocal anthems ("When Darkness Falls"), hip-hop influenced dubstep jams ("Squad Up", "Get Away From Here") and forthright tweakers ("Detonate"). There's the odd slip-up (the cheap-sounding "Jetlag Funk"), but that aside 2 is an impressive set.

Review: Given his long-standing obsession with film soundtracks, it's little surprise to see Cinematic Orchestra chief J Swinscoe delivering another project with strong audio-visual credentials. In Motion No. 1 is the first in a series of "re-imaginings" of soundtracks to short avant garde films from Swinscoe and friends. While there's a danger that such high concept work could be either pretentious or dull, for the most part In Motion succeeds. That's due in no small part to the talents of the producers and composers involved. There's a fragile beauty to the offering of Grey Reverend, while the two collaborations between Dorian Concept and Tom Chant (particularly "Dream Work", which sounds like the Orb with a string quartet) are simply magical.

Review: Since the sad passing of legendary Detroit hip-hop producer J Dilla in 2006, there have been plenty of posthumous releases. Even so, there's something surprisingly exciting about The Rebirth of Detroit. Featuring 21 previously unheard tracks recorded solely with Detroit-based rappers and singers (Danny Brown, Chuck Inglish, Boldy James etc) during the final years of Dilla's life, it's a formidable collection even by his own high standards. Flitting between tough rap cuts, luscious hip-hop instrumentals and glorious hip-hop soul (see the wonderful "Let's Pray Together"), there's little in the way of filler. Dilla was, and remains, a producer ahead of his time.

Review: Brazilian saxophonist Leo Gandelman first made a name for himself in the 1980s with a pair of well-received albums on Discos CVS and Polygram Do Brasil. He's recorded very little since, aside from various session slots. Here, he returns to action with his first album for 24 years. It's a breezy and cheery set, coming on like a modern take on Art Blakey and the Jazz Messengers. As you might expect given his Brazilian roots, there's a sun-flecked feel throughout that enhances Gandelman's excellent horn playing. The Gandelman completists will love the quite brilliant inclusion of a DVD featuring a live performance of Vip Vop and a documentary about Gandelman's career.

Review: If you're looking for an alternative to functional techno or boorish bass music, then you've come to the right place. Over twelve tracks Dntel delivers an album that places great emphasis on melodies and dream-like textures. Although there is a good deal of variety on Aimlessness - compare and contrast the warm, fuzzy ambience of "Never Say Goodbye" and "Waitingfortherest II" - the underlying sound design and approach favours the seductively fragile. There are some echoes of Dntel's glitch past, most notably on "Bright Night" and "Retracer", but the highlights here are the dreamy, wispy arrangements like "Doc" and "Paper Landscape".