Omena Vinyl & CDs

Review: Aleksandir makes a great impression with his debut album, Omena, on the Skin label. It finds him push outside his comfort zone musically and conceptually and results in a truly personal and expressive record of electronic experimentation. It plots a line between uptempo and light tracks, and more doleful and dark material - but is that but just how life's? The always inventive rhythms range from worldly and funky to airy broken beats via immersive ambient. What's more, for the first time on record, Aleksandir uses his own voice on tracks for an extra personal dimension.

Review: ***B-STOCK: Split at top of record sleeve, but otherwise in perfect condition***


Given the hype surrounding HNNY over the last few years - fuelled, primarily, by a string of celebrated singles on Puss, Local Talk, Let's Play House and YUMMY - it's somewhat surprising that Sunday marks his first foray into the album market. Wisely, the Swedish artist embraced the opportunity for eclecticism that the format provides, filling his debut full-length with a mix of tracks variously designed for sofa-bound listening and dancing in clubs. There's a jazz-flecked beauty to the crackly downtempo grooves offered up by the title track, while the dreamy, guitar-laced head-nodder "Sylvia" recalls the best of his Balearic-influenced work. It's these luscious moments, such as the twinkling ambience of closer "My Baby", that really resonate.

Review: Given the hype surrounding HNNY over the last few years - fuelled, primarily, by a string of celebrated singles on Puss, Local Talk, Let's Play House and YUMMY - it's somewhat surprising that Sunday marks his first foray into the album market. Wisely, the Swedish artist embraced the opportunity for eclecticism that the format provides, filling his debut full-length with a mix of tracks variously designed for sofa-bound listening and dancing in clubs. There's a jazz-flecked beauty to the crackly downtempo grooves offered up by the title track, while the dreamy, guitar-laced head-nodder "Sylvia" recalls the best of his Balearic-influenced work. It's these luscious moments, such as the twinkling ambience of closer "My Baby", that really resonate.

Review: Ceramics is the second album by Saine on Omena Records, which reflects the Finnish personal journey as an artist and a human being, and expresses his feelings and thoughts through music. It showcases his versatile and emotive style, blending house, electronica and downtempo influences. Highlights include the title track 'Ceramics' opens the album with a warm and organic sound, featuring lush pads, piano chords and subtle percussion, while 'Etude' is a beatless interlude with a mesmerizing arpeggio motif and ambient textures. Elsewhere, 'Hardships' is a melancholic and introspective number, with a moody piano chord progression, deep bass and vocal samples. and the ethereal deep house groove of 'First Snow' is as understated as you like it.

Review: Hot on the heels of Seb Wildblood's tropical album Wet Summer, Swedish imprint Omena call upon Finland's Saine for his next album. Taking off where Lifelike left us, it's another patchwork of abstract grooves and experiments where you really have no idea what's around the corner. One moment we're shuffling to the lo-fi shuffles and wobbly soul of "Hijack", the next we're snaking and sneaking around the dancefloor in a massive unbreakable conga to "Drums Please", the next we're lounging around with our trousers down to "Higher". Yeah, it's that type of album. But if you know Saine's previous work, you'll already know this.

Review: When assessing the work of any musician or producer, it's important to look for signs of artistic development. Happily, there are plenty on this latest full-length collection of cuts by Church chief (and fast rising producer) Seb Wildblood. Musically, it's far more expansive, considered and varied than some of his previous work, moving from gently sun-kissed, sax-laden deep house warmth (":~^") and Ron Trent style smoothness ("Plants"), to fireside-hot dream house loveliness ("Mmm"), via the languid downtempo headiness of 'Deptford Synths|. Throughout, there's a greater emphasis on organic, live-sounding percussion, pleasingly colourful synths, and the kind of drowsy chord progressions that some would describe as "Balearic" in tone.