CD Album Recommendations Best Of 2015

Review: Given the deep, dreamy and luscious sound of his productions, it's perhaps unsurprising that Brawther has been a regular contributor to Chez Damier and Ron Trent's Balance imprint. As Endless neatly proves, the Parisian producer has provided the label with some tremendous music since 2009, much of which could pass as authentic Damier material. The latter makes an appearance on the wonderful title track, but his trademark sound - fluid, quietly soulful, bumpin', hazy and dancefloor friendly - can be heard throughout this essential retrospective. Naturally, there's more than a little Trent flavour to some of the cuts, too - in particular the enveloping pads and twinkling pianos of "VXVXVX" - making this a sublime collection of sumptuous, ultra-deep house.

Review: Given Leftfield's well-earned legendary status, it's fair to say that there's much excitement surrounding the release of Alternative Light Source, their first album in 16 years. Produced by founder member Neil Barnes, and with an impressive range of guests - Sleaford Mods, Polica's Channy Leaneagh and TV on the Radio's Tunde Adebimpe all feature - it's as woozy, robust and heavily electronic as you'd expect. There are clear influences from vintage new wave synth-pop throughout, as well as nods to sub-heavy bass music, dubstep, vintage progressive house (in sensibility, rather than execution), bubbling electronica (see the excellent "Dark Matters"), and the kind of fearlessly tough dancefloor fare for which they were once renowned ("Little Fish", "Shaker Obsession").

Review: On the cover of his first album for a decade, saxophonist Kamasi Washington stares intently out, the universe stretching out to infinity behind him. You see, Washington is something of a Sun Ra acolyte, and there's something of the great man's spiritual, psychedelic and far-sighted feel about The Epic. Rooted in a loose, soulful and occasionally riotous blend of spiritual jazz, it more than lives up to its' name, stretching across three themed CDs. While Washington's tenor sax offers a focal point throughout, it's merely part of a greater ensemble effort - Sun Ra Arkestra style - that helps The Epic fly by in a flurry of loose-limbed drums, rubbery double bass, hammered-out pianos and intoxicating vocals.

Review: While Larry Heard only ever produced two 12" singles under the Gherkin Jerks alias, the ragged acid tracks featured in those EPs have been hugely influential. Certainly, they made a lasting impression on Jamal Moss, who earlier this year decided to record a bunch of tracks inspired by Heard's infamous blend of rugged drum machine rhythms, twisted acid lines, and heart-aching deep house touches. 4 This Is My Gherkin Life Volume 3 continues where installments one and two left off, delivering eight more killer machine jams which temper Moss's usual balls-out approach to Chicagoan acid with a few melancholic, melodious touches. The result is another impressive set of analogue box jams, from the bass-heavy bounce of the intoxicating "Track 8", to the spacey electronics and Detroit drums of "Track 5".

Review: Few British techno acts are quite as lauded as British Murder Boys, the industrial strength collaboration between Regis and Surgeon. Throughout the early-to-mid 2000s, their distinctive EPs provided the soundtrack to many great moments in dusty basements, dark rooms and sweat-soaked raves. Whether you missed out first time around or simply want a trip down memory lane, this career retrospective should be an essential purchase. Alongside 12 hand picked tracks from the catalogue - the vast majority in their rolling, pounding, industrial strength style - the package also includes in-depth sleeve notes from Blackest Ever Black boss Kiran Sande, and a DVD of the duo's dystopian 2013 live show at Club Unit, Tokyo (excerpts from which were released on 12" last year).

Review: With Wormhole, their 1998 debut album, Ed Rush & Optical did more than almost anyone else to define the dark, broody sound of tech-tinged drum and bass. Some 17 years on, they're onto album number six, but their commitment to intense breaks, brooding funk, twisted basslines and dark textures remains. They have mellowed a little with age - there are some slightly deeper and musically rich riffs hidden beneath the breakneck beats and thunderous sub-bass - but the veteran duo is still committed to igniting the dance with punishing, dark-side grooves. Nobody does it better, making No Cure a real treat for D&B heads.

Review: In 1997, fresh from the success of his brilliant debut album Communications, Anthony Child took his Surgeon project to Tresor. It was the beginning of a productive partnership between the Midlands techno titan and the similarly weighty German imprint. Tresor 97-99 gathers together Child's three albums for the Berlin-based label, offering them in freshly re-mastered form. Disc one boasts the frenzied intensity and intergalactic freakiness of 1997's Basictonalvocabulary, while disc two hosts the jazzier loops, funkier samples and weirder ambient interludes of 98's Balance. As for disc three, that's 99's Force + Form, one of Child's most inspired outings. It consists of four long crackly, hypnotic, full-throttle workouts, including the uplifting, samba-tinged brilliance of "All The Heart of it All".

Review: Given his prolific nature, fresh material from Rod Modell under the Deepchord guise is not news. There is, though, something rather special and extra-ordinary about Ultraviolet Music, an expansive, double-disc full length for Soma, which the Detroit-based producer has described as "hallucinogenic". Taking dub techno as his blueprint, Modell delivers an impressive collection of hypnotic, out-there moments that also take influence from ambient, Detroit techno, deep house, and the kind of fuzzy, beguiling sonic textures guaranteed to flip your lid. While many of Modell's albums feature epic, 20-minute plus workouts, here he quickly shuffles between shorter moments whilst retaining a deliciously dubby dancefloor pulse.

Review: Mancunian MC DRS has long been one of the most respected mic men in drum & bass, as the impressive production credits on his first two solo albums, 2010's Grown Man Biznizz and 2012's I Don't Usually Like MCs, But..., neatly proves. For this third album he's called in more favours, asking an all-star cast of studio dons - the likes of Calibre, Marcus Intalex, Skeptical, DJ Die, Addison Groove and Drumsound and Bassline Smith - to deliver killed rhythms to host his on-point lyrical flows. Mid Mic Crisis, then, sounds like a killer showcase of his talents, with the material flitting between skittering post-jungle, tech-step, soulful D&B, dubstep and, on the Toddla T produced title track (also featuring soul chanteuse Terri Walker), deliciously deep R&B.

Review: The master returns! Digital Solutions sees Juan Atkins toast some 35 years as a Detroit techno visionary with the release of a new Model 500 album after some 16 years! The notion of a new Model 500 long player was first mooted by Atkins last summer and now arrives as the most high profile release from his own Metroplex label in some time. Whereas recent years have seen Atkins open up Model 500, working with Mike Banks, DJ Skurge and Mark Taylor both live and on the smattering of 12"s issued through R&S, Digital Solutions is largely the work of Juan alone. Nine tracks deep, Digital Solutions features a crisp array of electro and techno productions from Atkins with "Standing In Tomorrow" and "Storm" standing out upon first listen.

Review: Here's something guaranteed to ensure a rush of excitement in deep house heads everywhere: a brand new album from much-loved U.S producer Fred P. It's the first under the previously unused F.P-Oner alias, and his first studio outing since 2013's Black Jazz Chronicles set, Codes & Metaphors. Unsurprisingly, the simply titled 5 is as inspired, sumptuous and melodious as you'd expect, with gentle dub house, jazz and - in the case of the wonderful "Infinite Love" - Detroit techno influences. While much of the album is slinky, sensual and ultra-deep (see the fabulous "Visions of You" and "Sleepless in Shibuku"), there are a couple of thrillingly percussive moments to get the pulse racing, including the African-influenced tribal workout "The Realm of Possibility".

Review: To say this second album from Linkwood has been a long time coming is to present yourself as a candidate for Understatement of the Year. A follow up to Nick Moore's fine 2009 debut System has been regularly alluded to by Firecracker boss Lindsay Todd within the context of the label's other releases. It wasn't until an unreleased Linkwood track appeared in Prosumer's fine fabric mix last year that the notion of a new Linkwood album began to take on a semblance of reality. We still can't quite believe it's happened, despite the rather dashing copies of Expression sitting pretty in the Juno warehouse. There's a 12 cuts from Linkwood to work through on Expressions and it's a real sumptuous listen, taking in new age ambient vignettes, bass heavy beat down, deep house workouts and plenty more.

Review: Martyn's 3024 label presents last years double pack of productions from UK house man Leon Vynehall on CD. Having debuted on 3024 with last year's Open platter, Vynehall is back with Music For The Uninvited, a seven-track collection of tracks supposedly inspired by rides to school in his mother's car as a child in which he would listen to "mixed hip-hop, funk & electro tapes, Janet Jackson albums, Style Council and Stiff Little Fingers". Whilst there is plenty of the individual house sound Vynehall has developed on offer here ("It's Just (House Of Dupree)" is a certified jam) there are also more tranquil moments to bask in such as "Inside The Deku Tree" and "St Sinclair" which bookend this excellent release.

Review: Ricardo Villalobos has clearly found a kindred spirit in former Sun Electric and Moritz Von Oswald trio man Max Loderbauer. The duo has been remixing together for some time, delivering some notable reworks, including a stunning minimal jazz re-imagining of Nightmares on Wax's "Aftermath". Safe in Harbour marks the Berlin-based pair's first original work together under the Vilod alias, and continues their theme of melding elements of fizzing jazz, minimal, and dub techno. It's an impressive set, all told, full of wonky, off-kilter fusions of live instrumentation - most notably some brilliant drumming - glitchy electronics and a Berghain-friendly attitude. In fact, it may be Villalobos' most impressive studio work to date.

Review: Spanish techno stalwart Oscar Mulero trailed this fourth album in as many years with Dualistic Concept, a set of typically dark, hypnotic and ghostly remixes. That can be found on the second disc, and ties in neatly with the robust, forthright and atmospheric sound of the album itself. Muscle & Mind has moments of beauty, of course - see the blissful ambience of "Mental Causation" and enveloping chords and found sounds of "Unconscious" - but for the most part it's concerned with the power of rhythm. Few are better at wringing maximum intensity from loop-heavy jams, and Mulero's love of dusty white noise, trippy melodies and skittering percussion guarantees variety in the grooves throughout.

Review: German label Dial was probably not the most obvious choice for DJ Richard to release his debut album on, but it turns out that Grind is a perfect fit. Tracks like "No Balance" and "Waiting for the Green Flash" are eerie, atmospheric compositions and capture the often times sangfroid sound (and design) of the Hamburg imprint. Elsewhere, there are nods to the classic deep house and techno, especially on the winding, stop-start bleep groove of "Savage Coast" and the fragile, sublime melodies of closing track "Vampire (dub)". However, if there is one track that really consolidates the Dial-DJ Richard relationship, it's the staccato beats and sonorous bass of "I-Mir", an arrangement that perfectly captures the label's wintry escape from the daily grind.

Review: When it comes to production, the Idjut Boys are at their best when they let their dub influences run free. It's why their early, spaced-out deep house releases remain and high demand, and why Versions - a thoroughly dubbed-out re-imagining of their so-so 2012 set, Cellar Door - is arguably their most enjoyable album to date. Presumably put together while exceedingly high, the album's seven re-titled alternate takes flit between glistening Balearic dub (the 11-minute, gently evolving journey that is "Another Bird"), thrillingly percussive, Afro-and-rock tinged dub disco ("Lovehunter Dub", "Le Wasuk"), undulating dancefloor epics (the echo-laden piano and chugging rhythms of "Kenny Dub Headband") and the kind of drowsy ambient fare that recalls the finest Fila Brazilia productions ("Ambient Rab").

Review: Man of the moment Lorenz Brunner is back, this time partaking in some wild experiments with acid, on behalf of California's Acid Test imprint, no less. We all know of his signature sound by now; dark and melodic journey tracks. His interpretation of said style, focusing mainly around the little silver Roland box yields some tremendous results here, adhering to the label M.O. in fine form after some serious efforts by Donato Dozzy and Tin Man. Beginning with the ultra-deep and reductionist "Compel" which is reminiscent of early Plastikman, he then launches into the funky R&B tempo of "Pass Up" and the sombre and emotional tones of "Undulate" which gets the first four to the floor beat going. Life & Death label mates Tale Of Us join Brunner on the stunningly soulful "Sequenze" while "Subdue" presents his darkest side on the album. Later on "Ley" gets a peak time level stomp on, in fine acidic style. While Brunner has most definitely found his stride, leading to current mass appeal, he certainly proves he still has underground credentials on this fine effort.

Review: Laurent Garnier's rebirth as a producer during 2014 - a year when he released five 12" singles on as many labels - is arguably one of the most heartening dance music stories of recent times. La Home Box, released on his revived F Communications imprint, charts that rebirth, gathering together tracks from those releases with a smattering of previously unheard cuts. It offers a snapshot of Garnier's long-displayed eclecticism, featuring not only throbbing techno stompers and woozy, darkwave-influenced house, but also experimental hip-hop, synth-wave and, in the case of "Bang (The Underground Doesn't Stop)", a dash of Head High style, piano-laden jack.

Review: Five years on from his last studio full-length excursion on Tokyo Dawn - the future jazz epic Voltage Controlled Feelings - Opolopo pops up on Z Records with the similarly impressive Superconductor. This time round, the Swedish producer is mining his boogie and electrofunk influences, combining them with deep and soulful house rhythms to produce a swathe of killer cuts. He's joined by an impressive cast list of guest singers - Taka Boom, Colonel Red, Pete Simpson and Diane Charlamagne among them - who invariably add super-slick vocals to his colourful, synth-heavy jams. It's a formula that guarantees a string of potential underground dancefloor hits, from the soft-touch boogie revivalism of "Feels Good 2 Me", to the bass-heavy, garage-influenced bounce of "Just Feel The Music".

Review: There was much gnashing of teeth from committed enthusiasts of the physical format when Maurice Fulton decided to release his latest Boof full-length - the follow-up to 2011's inspired Sshh, Dandelions at Play - solely as a digital download. Having rescued that album from obscurity via a physical release, Gerd Janson has decided to do the same with The Hydrangeas Whisper, here delivering a CD edition to complement the double LP version. Given the album's undoubted quality, it's something of a result for wax-maniacs everywhere. While Fulton takes a few odd turns - see the dubbed-out, trippy title track and after-party techno throb of "Backlash" - for the most part it's as expected, with the Chicagoan-in-London delivering a typically jazzy, disco-flecked range of sweet, life-affirming dancefloor cuts.

Review: If the first half of Jori Hulkkonen's two-decade career focused on purist techno and beguiling ambience, the second half has been all about his synth-pop and Italo-disco influences. Oh But I Am, his first solo album since 2009's Man From Earth outing on Turbo, further explores this side of his work, whilst throwing in some lesser-explored deep, classic and tech-house sounds. Predictably, it's a fine set, with the veteran Finn showcasing his innate ability to write both catchy songs and superb instrumentals. The sound palette is spot-on, too, leading to a spate of memorable highlights. These include the heartfelt, yearning house of "Waiting Is All We Have", the slo-mo electro dreamscape "Black Books", and the throbbing, synthesizer-heavy electronic disco of "Italian Love Affair".

Review: Yes! Pretty soon after Vancouver label 1080p issued Much Less Normal by local artist Lnrdcroy, there were rumours surfacing regarding label interest in licensing the album for a wider release. In the end it was Edinburgh's Firecracker Recordings that secured dibs on Lnrdcroy's fine collection of whimsical electronic odes to British Columbia and they've done a typically superb job of bringing it to the vinyl and CD format. Like the remastered vinyl version, this CD edition features a slightly amended track listing to that original 1080p tape with two productions not making the transition. However in their place is new Lnrdcroy track "Kendal in Kalusia", an epic 13 minute finale that will have you enraptured.

Review: It's been over ten years since Thomas Melchior made his bow on Perlon, and the house and techno fusionist has released most of his best work on the imprint since. Here he returns to the acclaimed German label with a series of six "meditations" - long, drawn out compositions that variously doff a cap to hypnotic tech-house (see the excellent, jazz-flecked "Meditation 5"), tribal-influenced, spaced-out grooves ("Meditation 6") and woozy, evocative deep house ("Meditation 3"). Best of all, though, are the album's more melodious moments, with opener "Meditation 1" - a loopy, picturesque concoction that sounds like an unlikely collaboration between Terry Riley, Steve Reich and Ricardo Villalobos.

Review: In the three years since his last full-length outing, Personality, Scuba's stock has continued to rise, nudging him further towards to higher echelons of DJ culture. The fact that he now plays colossal rooms and festival headline slots can be heard in the more dancefloor-minded material on Claustrophobia. While some of the best material is more downtenpo and circumspect - see the heady ambience of "Transcience", the spinetingling wooziness of "All I Think About Is Death" and the immersive dubstep of "Needle Phobia" - it's the stripped-back techno throb of "PCP", hissing rhythms of "Television" and the progressive house inspired hedonism of "Why You Feel So Low" that will get most attention.