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.
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: Some of you may already know The Album as SUED015 - a double 12" release by the mysterious Stefan Wurst late December 2016 in all its usual anonymous, untitled style. Now picked up by Apollo, R&S's ambient imprint, all eleven tracks are laid out in all their glory. Often broken, always visual, frequently transcendental; while the opening tracks whisk us to high places with their fluttering broken beats and the rampant techno moments take us even higher, it's the sublime downtempo cuts, loaded with infectious levels of dubspace, that keep us there. A stunning album with a lot more narrative than SW's anonymity would suggest.
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: 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.
Review: Aksel Schaufler set out to release his new opus entitled Golden Ravedays throughout the entirety of 2017, two tracks at a time. Now up to its eighth volume, Hippie Dance (the label he runs with good buddy Rebolledo) presents the latest installment in this Superpitcher concept series. On the first side, prepare to tune in and drop out to the Balearic drifter "Tuesday Paris Texas" which like its name may suggest does have a Ry Cooder vibe about it; with its twangy bluesy country guitars over a chugging/skeletal metallic beat. All the the while assisted by Schaufler's nefarious whispers. On the flip there's another 15 minutes of glory in the form of "Mirage". This is a psychedelic epic much in the vein of the album's previous volumes, but with a more funky upbeat groove channelling his love of all things early 70s.
Review: Peculiarly, Fasaan offshoot Chalice has lain dormant since the label's first release appeared in stores back in 2014. Happily its Swedish parent label has decided to pull out all the stops for this comeback 12", gathering together six tracks from artists based across Europe and beyond. At six tracks deep there's not enough space to go into detail about every track, but suffice to say they're all loose, warm, quirky and generally lo-fi in feel. Highlights include the dreamy analogue synth-funk of Ruf Dug's "Cassette Boogie", the poignant, emotion-rich synth-wave warmth of Fahcrur Riaz Hazbullah's "Muriam", the clicking beats and intergalactic synth flourishes of "Heina" by Ruutu Pois and the frankly foreboding loose-house creepiness of "II Y A" by Dublin's Compassion Crew.
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: Swedish travelling minstrel, Rickard Jäverling, returns to lavish upon us further moments of heartfelt, folk-inspired beauty. Spinning Scandinavian wordless folk-songs seems like second nature for Jäverling, and these tracks show quite perfectly his unique skills. Beginning with 'Three Sisters' (which also featured on his recent 'Two Times Five Lullaby' album) we're off to an explosive start; a 21st century hoedown with eyes fixed on frozen Northern European fields rather than rickety Pennsylvanian barns. With banjo, drums and guitar, Jäverling and his band manage to distil a Tortoise-inspired post-rock intelligence and blend it with the traditional folk sounds that seem to have made their way into the mainstream once more. Side A is rounded off with the shimmering and beautiful 'Västbacken', a hazy instrumental piece of folk poetry bringing to mind bubbling streams and the beauty of a childish midsummer adventure. The EP's defining moment however comes on the flipside with the 7 minute epic 'Sultan'. It's hard to imagine a track more life affirming than this, which takes the Chicago post-rock formula and re-contextualises it for 2006, giving us something both reflective and quietly jubilant. Finishing off the disc are fellow Yesternow artists, Shoreline, who have ushered Jäverling into their ever-growing family and contributed a 'remix' which takes the original track and injects it with a sense of fun and playful abandon. 'The Three Sisters EP' adds yet further weight to the growing Yesternow catalogue, and is more proof of the subtle and measured talents of Rickard Jäverling.
Review: Mountaineer started out life as the project of German singer and songwriter Henning Wandhoff but soon after the release of his first album 'Sunny Day' he began to itch for collaborators, especially in taking his epic songs into the live environment. After a few years and a few lineup changes he was eventually left with the crack team of Katja Raine, Fiona Mckenzie, Anna Bertermann and Alexander Rischer and he could begin work on his third album... Wandhoff had a specific goal in mind as he pieced together the initial skeletons of 'When The Air Is Bright They Shine', he was listening to the classic LPs of the late 60s and 70s; 35-40 minutes, 10 tracks, every track perfectly realised and the album holding together without filler. There were none of those modern devices used to trick people into thinking they have got something a little more worthy than it really is... just pure pop music. He wanted to re-create this, but not make something knowingly retro, instead to put together his album with the same sort of high bar of quality control, to put together 10 songs that embodied the philosophies of those classic albums without actually mimicking them. After two years of work Wandhoff finally succeeded and had moulded the tracks into leftfield pop gems, raking in influence from decades of essential music. The album opens with 'A Town Called Ivanhoe' and we're already on the right path - the track has the best elements of Jim O'Rourke, Kings of Convenience or Jose Gonzalez, but manage to inject it's own special Bossa charm which carries across the whole album. Imagine driving along a beach on the West Coast of the USA as the sun is setting and you'll have some idea of the rich moods captured on this ten track disc. When we reach 'Eliza (A Day for Every Hour)' it's clear Wandhoff has a deft skill in pop songwriting - this is a track that wouldn't sound out of place on any self-respecting radio show, but what's more it's actually credible too. As Wandhoff's soft vocals trip and tread over brushed drums and slide guitar it's simply impossible not to fall in love with the music. In cynical times like these it has never been more appropriate to deliver an honest album of great music, music that makes you feel good to be alive. 'When The Air Is Bright They Shine' is exactly that, and it's unforgettable sun-drenched moods will take you all the way to paradise and back again.