Alex Simon - "Runnin' Out Of Time" (instrumental) (5:27)
Mark Goddard - "Tiny's First Journey" (4:26)
Foe - "Blow Up Girl" (Beautiful Swimmers Big Head Self mix) (4:26)
Nature Love - "You Turn Me Around" (Karu mix) (6:11)
KW Griff - "Be Ya Girl" (4:15)
The Horn - "Whiddon On Down" (4:29)
Hieroglyphic Being Presents Analogous Doom - "Living In A Zome" (4:35)
Spirit Garden - "Electra City" (6:44)
Review: Gatto Fritto set the bar high with his selections for last year's first "The Sound Of Love International" compilation, so it's a thrilling surprise to find that this follow-up - featuring cuts selected by Max D (Andrew Field-Pickering) and Ari Goldman AKA Beautiful Swimmers - boasts an even more inspired track list. The Washington DC-based duo evokes the spirit of the Croatian festival behind the series via the synth-heavy Afro-Balearic bliss of Plunky's "Africa Sunset", the new age dancefloor shuffle of Svend Undseth's "Aquilla Aquela", the vintage deep house dreaminess of Mark Goddard's "Tiny's First Journey", the pitched-up R&B vocals and hot-stepping B-more beats of KW Griff's "Be Ya Girl" and the sparkling piano riffs and smooth New Jersey house grooves of Spirit Garden's "Electra City".
Review: "How To Be" EP is brought by Izhevsk based band, Cetranger. The band's name is a combination of french «c'etrange» and english «stranger». Two deep and emotional songs accompanied by two great remixes. Perfect for understanding yourself and strangers around better, or just some good night drive. The band members themselves call this music "a cinematic electronics", a motion picture about people and their feelings told in sounds.
The opening track sets the scene. Cetranger sound is freezed in the air somewhere over the North Sea, between Britain and Nordic Countries. The unique vocal is travelling by these foggy landscapes build up of the piano harmonies.
The remix by D-pulse turns original version into a laid-back dub version with a bit of a psychedelia, where electrified kraut-rock drumline is mingled with mellow funk elements.
The second track by Cetranger, "Spear-words", shows the true with Cetranger's style and some undeniable potential in slowed-down rhythms. "Spear-words" makes your subwoofer sing along with the track's hypnotic gritty low-end bass sequence.
Alex Neivel's remix gives a track some classy well treated deep house spin. Perfect building block for a late-night set.
Review: Balearic bliss.... Guiddo steps up to Beats In Space for the first time, and he's brought Georges Perin along for the ride, too. The title track is so slow, you'll be checking the RPM; confidently sedate and pensive, it's all about Perin's soft falsetto and soaring chorus as Guiddo's chords breeze gentle beneath. "I Miss You Now" comes with a similar introspective narrative but a much more prominent bassline that punctuates a sweet sultry stomp throughout. Finally we hit "Last Bite". Nodding towards the pastures of Tellier, there's an incredibly dreamy pastoral vibe thanks to the piano hook and far-away vocals. Powerful.
Review: Strangelove Music's latest vinyl-only outing dips into the infrequently explored archives of American multi-instrumentalist Frank Harris and collaborator Maria Marquez, a pairing that previously released a couple of sought after "ethno-wave" singles in the late 1980s. "Echoes" gathers together unreleased music made in 1985, presenting it as an unheard album that oozes off-kilter quality from start to finish. Most of the tracks were made using Harris' custom Synclavier synthesizer station, with his humid and breezy new age melodies and dreamy chords working brilliantly with Marquez's folksy, multi-lingual vocals, a variety of world music inspired rhythms and some seriously atmospheric field recordings. It's a formula that guarantees unusual but inspired results from start to finish.
Review: We never quite know what to expect from leftfield explorer Jon Hopkins, but we know it will be worth a listen. Immunity, his fourth solo album (he's recorded two others, one with Brian Eno and another with King Creosote), doesn't disappoint. Rooted in shuffling, forthright and occasionally off-kilter rhythms, it melds hazy, late night atmospherics and subtle melodies with intense, droning chords, woozy electronics and all manner of inventive noises. It's a blend that repeatedly pays dividends, from the mournful pianos and jumpy rhythms of "Breathe This Air', to the crystalline, soundscape ambience of "Abandon Window", and glitchy wonkiness of "Form By Firelight".
Review: Given the hype that surrounded the release of the first Moderat set back in 2009, we can surely expect more of the same for this second outing from Apparat and Modeselektor. Those familiar with the first album's woozy blend of IDM, Thom Yorke indebted vocal dreaminess, porchlight techno and post-dubstep rhythms will immediately feel right at home. Online reviews have focused largely on II's atmospheric warmth, and the way in which the Berlin-based trio seems to have refined their sound. Both are valid critiques; certainly, there's a maturity and musical complexity to the album that betters much of their previous works. It's not much of a dancefloor set, but that's entirely the point; this is locked-in headphone listening for the wide-eyed generation.
Review: Is It Balearic releases a debut EP from Clandestino's Joe Morris. 4 tracks of lush electronic grooves. The title track Golden Tides is a mid tempo houser with beautiful pads and soft arpeggios. Late afternoon sundowner vibrations. The second track Bayou has touches of Sueno Latino about it., an afterdark evocative tropical house trip. On the flip the first track Light Of The Moon is a more reflective slo mo affair. Warm pads and 808 sounds melting into cicadas. Finally we come to Mpondo Theme. Sounds of nature , Kalimba and loose percussion all sit together and watch the sun dip over the savannah horizon. A proper EP this covering all shades.
Review: REPRESS ALERT: Having worked with the likes of Don Cherry and Laurie Anderson, there's little doubting the credentials of Ramuntcho Matta. Emotional Rescue have tapped him up for some truly outernational jams that sport African percussion, skronky jazz tones and an engaging minimalism that's hard to resist. The fretless bass and exotic animal cries of "Ecoute" are especially appealing, while the squelchy sound design in "O Clapo" may well do funny things to all who hear it. It's a startlingly original record that serves as a perfect introduction to a lesser known figure in leftfield music with a great heritage behind him.
Lets's Float (Leo Mas & Fabrice Balearic Deep Militant remix)
Review: Shining Bird frontman Dane Taylor serves up a beautiful piece of mellow beach pop, drenched in antipodean sunshine. This is made for sipping cold drinks under palm tree shade or swinging hammock dreams. The flip sees Balearic Commander in chief Leo Mas and his ever present colonel Fabrice deliver a truly stunning piece of balearic chug. Deep ambient textures capturing the essence of a smiley sunset. Happy happy. Uber hitting the balearic nail on the head once more.
Review: U.S label Light In The Attic has previously served up compilations exploring various Japanese takes on Western music, most notably folk, rock, ambient and new age. Here they switch tack, curating a brilliant double-album set that showcases the best Japanese synth-pop, AOR and boogie recorded between 1976 and '86. The quality threshold remains impressively high throughout, from the blue-eyed-soul breeze of Taeko Ohnuki's "Kusuri Wo Takusan" and the Chaz Jankel-meets-Thompson Twins style throb of Haruomi Hosono's "Sports Men", to the talkbox-sporting late night AOR-pop flex's Hiroshi Satoh's "Say Goodbye" and the glistening, Latin-influenced jazz-funk brilliance of Masayoshi Takanaka's steel pan-sporting "Bamboo Vender".
Review: There are plenty out there - the team behind Dark Entries Records included - who will happily tell you that that Time Actor is one of the finest and most overlooked albums of the 1970s. It was the debut full-length of Richard Wahnfried, an alter ego of pioneering German ambient don and electronic experimentalist Klaus Schulze preserved for collaborative projects. In the case of Time Actor, that collaborator was Arthur Brown (he of "The Crazy World Of..." fame), whose half spoken, half-sung vocals provide a focal point throughout. Musically, the album is deliciously trippy and other-worldly, with Schulze delivering a swathe of fine electronic grooves and bubbly Berlin School soundscapes. This edition also boasts a brilliant bonus track: a 12-minute, 1983 "Afro-cosmic" revision of the title track by Italian Maurizio Delvecchio.