Review: Given that Mildlife's 2018 debut album Phase was both rather brilliant and a rip-roaring commercial success, this hotly anticipated follow-up will get plenty of attention. And rightly so, because Automatic may well be even better than its illustrious predecessor. Musically, it features the same unique mix of vintage krautrock synths, jazz-funk instrumentation and enjoyably organic grooves, just this time round they've stepped it up another notch or two. The Aussie combo is in fine form throughout, dotting between the Steely Dan style warmth of 'Rare Air', the Brit Funk style weightiness of 'Vapour', the cosmic, art-rock influenced haziness of 'Downstream', the almost horizontal bliss of nine-minute epic 'Citations', the colourful live nu-disco goodness of 'Memory Palace' and the seductive sweetness of 'Automatic'.
Review: Just a few weeks after Abel Tesfaye's seventh album, After Hours, hit stores, he decided to put out a 'Deluxe Editon' of the album that replaced some of the original mixes with brand-new alternative takes. Initially, this tweaked edition was only available on digital formats, but finally his label has relented to pressure and released it on wax. By now, we should all know what to expect, namely chart-bothering fusions of R&B, hip-hop and synth-pop topped off by his own slick, soulful vocals and plenty of nods towards other artists work (think Elton John and Daniel Lapotin for starters). It's a slick, radio-friendly mixture of songs, some of which gleefully doff a cap towards dancefloor-friendly styles old and new (think electrofunk, dubstep and, most surprisingly, drum & bass).
Grounds (feat Colin Webster & Warren Ellis) (2:57)
Mr Motivator (feat Colin Webster) (3:24)
Anxiety (feat David Yow) (2:58)
Kill Them With Kindness (feat David Yow & Jamie Cullum) (3:39)
Model Village (4:03)
Ne Touche Pas Moi (feat Jehnny Beth) (2:34)
Reigns (feat Colin Webster) (4:23)
The Lover (feat Colin Webster & David Yow) (3:18)
A Hymn (5:14)
Review: This is not the first time we've asked if IDLES are the most important rock band of this century, and even if it was we wouldn't be the first to ask that question. The Bristol punk juggernauts refuse to be forgiving or compromising when it comes to tackling the issues they focus on - from racial prejudice and immigration to income inequality - and never fail to make a massive impact in the studio (and even more so on stage).
Ultra Mono is album number three, and it packs something serious. Well, actually an arsenal of serious things. Much like its predecessor, this is straight up sonic warfare being declared on the right wing patriarchy, weapons brandished from all directions. Staccato stomper 'Grounds' does more than reference thunderstorms, it sounds like the uprising has begun, with other highlights including 'War' and the electronic chaos of 'Squalls'. Exceptional, as ever.
Review: The inimitable Theo Parrish is in a class of one. His brand of music is impossible to categorise as it draws on so many unique sounds in so many unique ways. This new album is another spellbinding affair that takes scuffed up house rhythms and intertwines them with freeform percussive patterns and off-grid synths that get pulled apart then rebuilt before your very ears. It is experimental music with an improvised jazz mindset that can range from complex and dense tapestries like 'Radar Detector' to the more upbeat and playful 'Hennyweed Buckdance' via fucked up drum sketches like 'All Your Boys Are Biters.'
Review: Four years have passed since the Deftones released their previous studio album, Gore. That Ohms, their long-awaited ninth studio set, is such a strong proposition, may owe much to that extended hiatus. We could be speculating of course, but the fact that the album sounds like a distillation of all that is good about the band - think melancholic lyrics, fuzzy alt-metal guitars, energetic and loose-limbed drumming, and a freewheeling sense of punk-rock authenticity - suggests that they used the time to take stock. The fact that they also recorded it with Terry Date, the producer of their earliest and most acclaimed records, supports this theory. Either way, Ohms is a furious, forthright and emotive return to form.
Review: Long-serving Swedish producer Joel Mull, previously best-known for his club-focused techno sets, first started work on Nautical Dawn, his first album under his occasional Damm alias, over a decade ago. Inspired by the natural phenomenon of 'nautical dawn' - that point when the sun is not yet above the horizon, but bathes the sky in vivid colours - he wanted to make music for the break of dawn that combined home-made field recordings with suitably drowsy, opaque electronic motifs, slow-burn ambient chords, tactile aural textures and, when the mood took him, horizontal and hypnotic beats. It may have taken him a while, but the resultant set is little less than inspired: an evocative set of enveloping compositions that tease and tingle the senses.
Review: Having kept his silence for much of the past four years, Nicolas Jaar has finally broken cover to release not one but two new albums under his given name. Telas, which follows the highly personal and critically acclaimed Cenizas, was recorded largely in isolation and consists of four lengthy aural tracts strewn across four sides of wax. Almost entirely beat-free and ambient, it sees Jaar make use of all manner of custom-made instruments, squally jazz horns, unusual instrumentation (a bass clarinet features heavily on one cut) and his usual evocative electronics to create slowly-shifting epics that variously doff a cap to Reich/Riley/Glass style minimalism, Stockhausen-esque sound collage, the ambient works of Brian Eno and, most impressively, the 'Fourth World' sounds of Jon Hassell.
Review: Vancouver has long been a hotbed for electronic talent, a city with a score that's as sharp as it is deep, noises that feel submerged in the post-rave, post-techno, post-ambient and post-whatever else underground we've now grown accustomed to as the melting pot of modern dance culture. Khotin isn't letting his hometown down here, nor Ghostly International, the label carrying this release.
The downtempo, space-y 'Heavyball' comes with a particularly pleasing sort of crunch to the beat. Its running mate, 'Groove 32', follows up with a low-stepping groove. 'Ivory Tower' briefly resurfaces into jazz-inflected, dusty house-influenced downbeat. 'Outside Light' takes us into complex, melodic ambient places perhaps most definitive of what this record sounds like overall, and certainly in keeping with its predecessor, Beautiful You.
Review: American hard rock band Guns N Roses are one of the most iconic to ever do it. Their Greatest Hits album is jam packed with smash hit after smash hit. Released by Geffen Records in part because of the delay in the making of Chinese Democracy, it came in 2004 amidst some infamous legal challenges from Axl Rose and former band members who weren't too pleased with its tracklisting. It got no promotion as a result but still topped the UK Albums Chart and no wonder with 'Sweet Child O Mine', 'Welcome to the Jungle' and 'Paradise City' all featuring amongst plenty more.
Review: Nicolas Jaar has been one of electronic music's most consistently hard to predict and innovative artists for a decade. The Chilean-American now offers up a full length on his own Other People label that he says is for inner battles. It is a work of masterful atmosphere that can be at times dense and gloomy, at others ethereal, and was written in isolation away from any form of stimulation-inducing drink and drugs. A constantly shifting sound means listeners are slipped in and out of reality as it plays out, making it tense, sombre and at times furious. This is yet another audacious record from the unrestrained mind of Nicolas Jaar.
Review: This majestic jazz love letter was written in 2015. It was Hokkaido pianist Ryo Fukui's last album and now gets an official reissue allowing us all to once again sink into his personal contemporary jazz offering. Fukui is celebrated for his delicate styles and miraculous albums such as 1976's Scenery and a year later, Mellow Dream. He was not only a player, but also a club owner having linked up with his wife Yasuko to open his very own jazz space, Slowboat, in Sapporo in 1995. In the years after he honed and perfected his craft, taking it to new labels as heard here.
Review: Originally unveiled in 1992, Blue Day represents one of the most exciting periods in the evolution of British shoegaze heroes Slowdive - their formative years. Comprising the first three EPs, or at least a good chunk of each and the entirety of the seminal Morningrise, it's less of a history lesson and more a reminder of just how well the seven-piece's music has stood the test of time.
There are some notable omissions, it's true. So the Slowdive songs here are missing 'Avalyn II'. And there's no 'Catch The Breeze' or cover of Syd Barrett's 'Golden Hair' included from Holding Our Breath. Still, with the ethereal yet jangly rock of 'She Calls', 'Losing Today''s dark, almost choral atmospherics, and the white noise and discordance of 'Albatross', ain't nobody complaining here.
Review: Indica Dubs and Music Mania link up once more for their 18th release, which comes from two of the UK dub top legends and pioneers in Alpha & Omega and The Disciples. This album was first put out in 1998, but only in CD format. Now two deuces later it makes its first ever appearance on vinyl and is as crucial as ever, with its crisp and fresh, steel plated dub sounds and warrior leads. The iconic 'Roaring Lion' is a well known anthem in the dub scene, loved and admired by all, so gets a welcome inclusion and is sure to once again be heard everywhere as soon as we can enjoy some real life sound system action .
Review: First released on CD way back in 1998 and now getting a deserved reissue on wax, "Sacred Art of Dub Volume 1" sees two of Britain's longest-serving dub outfits - Alpha & Omega and Jah Shaka affiliate Russell Bell-Brown AKA The Disciples - put a new spaced-out spin on each other's weighty, bassbin-bothering riddims. It offers a great snapshot of late '90s UK dub, with highlights including the hot-stepping, Melodica-sporting dancefloor goodness of "Philosophers Stone", the weighty bass and soulful vocals of "Dancing On A Rainbow", the rolling, snare-heavy roll of "Elixir" and the cheery digi-dub business of jaunty bonus cut "Eternal Dub".
Review: Japanese jazz pianist Ryo Fukui is one of the most delicate and skilled payers of his generation. The Hokkaido pianist also owned his own jazz club, Slowboat, with his wife Yasuko, and this month two of his bets loved albums are being reissued with a special half speed remastering job. This one is a recording of him playing in New York with Lisle Atkinson on bass and Leroy Williams on drums. It was laid down in 1999 and inspired by Ryo's mentor Barry Harris. There are plenty of poetic reworks of classics and glowing piano pieces that easily wander their way into your heart.
Review: Those with extensive knowledge of Nurse With Wound's gargantuan back catalogue will happily tell you that Merzbild Schwet is one of the industrial outfit's greatest albums of all time. It was recorded in 1980, when Stephen Singleton dispatched with his then bandmates to make Nurse With Wound a solo project - as it has been ever since. It remains an alluring and intoxicating affair: a kind of 50-minute sound collage in two parts crafted from a mixture of tape loops, borrowed spoken word snippets, discordant jazz horns, dystopian post-industrial field recordings, outer-space electronics and tons of special effects. If you're interested in experimental music, then you need it in your life.
Gbagada, Gbagada, Gbogodo, Gbogodo (feat Francis Mbappe) (8:58)
G-Force (feat EOL Soul Brothers) (4:52)
Aquilas Coisas Todas (8:35)
Play For Me (feat EOL Soul Brothers) (5:03)
Review: For his next album project, the Master at Work that is Louie Vega links with Luisito Quintero, a veteran percussionist who has played with La India and others in the New York scene. He is as creative and original as they come and fuses afro-Latin rhythms and bossa nova sounds into fresh new forms and now serves up Part One of his Percussion Madness album. It ranges from seductive deep house to swaggering Stevie Wonder style funk via irresistible afro beats. Luisito has shared the stage with Robert Plant, Lauryn Hill, Alicia Keys and more, but deserves just as many plaudits for his own solo work.
Kolsch is one of the artists who has been at the forefront of the melodic techno and progressive house resurgence of recent years. He is one of the bigger weapons in the Kompkat arsenal and here they unleash him across a double album that really shows off a full and widescreen spectrum of synth heavy sounds. There are darker, more retro tinged stompers like 'Great Escape' next to city, electro styled cuts with epic synth lines soaring the heavens, and deeper, more slow burning mounters designed to get large crowds in a trance. It's an openly emotional sound from Kolsch that is sure to connect with fans old and new.
Review: It seems like almost every single new week brings with it a new album from dub icon Lee "Scratch" Perry. And who are we to complain, because rarely does the quality drop when it comes to this weed loving, purple-bearded and mystic musical maestro. This time out we are treated to a special, heavyweight Record Store Day pressing of his To Drive The Dub Starship Through The Horror Zone album made with Daniel Boyle. It's a record with its head in the cosmos, with oodles of reverb making cavernous universes in which you float next to mutterings for the man himself. Made exclusively on 70's and 80's analogue equipment and with Lee's signature Black Ark sound, this is another classic in his cannon.
Review: This special 180g, peach-coloured version of Sign O' The Times is a faithful reproduction of the original, but there is also a super expanded reissue due that unveils a real wealth of unheard songs that are sure to send fans wild. That said, the original from 1987 is already classed as a masterpiece amongst many fans of The Purple One. As well as the well known singles, it serves up cold minimal funk, party jams, musings on the bleak realism of life and all manner of impossible fusion of jazz, soul, rock, pop, synth and gospel that only this most special of artists could have pulled off.
Review: You will no doubt have spotted Marcel Vogel's handiwork steering the good ship Lumberjacks In Hell, or perhaps even his choice edits under the Em Vee banner, but increasingly the Dutch artist is turning to his own name to get some fine records laid down outside the realms of pure edit territory. This second outing on Intimate Friends comes on like a mini-album of sorts, with eight tracks made up of remixes as well as originals. It's a powerful step on for Vogel, touching on a grounded variation on neo-soul with a house kick in the rhythm department. Soulful vocal spots from Mey, Milos Gersi, Gianni Tam, Khadija and Tim Jules all add to the sensation, heading away from the dancefloor as an expansive EP for all time.
Review: Mrs Dolphin by Pale Saints has only previously been available on CD in Japan, but for Record Store Day this year, 4AD finally press it to wax for the first time. It gets a full treatment, too, on limited, marbled green vinyl. The album is a compilation of early singles from both the group's early period 4AD EPs (Barging Into The Presence Of God and Half-Life) as well as a track that was on a Melody Maker compilation, Gigantic! 2, in 1990. As well as that, 'Colours and Shapes' is a track included here that was until now unavailable on vinyl.
Takeo Yamashita - "A Touch Of Japanese Tone" (4:21)
Tadaaki Misago & Tokyo Cuban Boys - "Jongara Reggae" (3:38)
Chikara Ueda & The Power Station - "Cloudy" (6:08)
Chumei Watanabe - "Downtown Blues" (3:38)
Kifu Mitsuhashi - "Hanagasa Ondo" (2:51)
Monica Lassen & The Sounds - "Incitation" (5:29)
Norio Maeda, Jiro Inagaki & The All-Stars - "Go Go A Go Go" (3:19)
Akira Ishikawa & Count Buffalo & The Jazz Rock Band - "The Sidewinder" (2:41)
Masahiko Sato, Jiro Inagaki & Big Soul Media - "Sniper's Snooze" (6:42)
Review: Some compilations manage to both educate, inform and educate in equal measure; this fine collection from Japanese crate diggers DJ Yoshizawa Dynamite and Chintam is one such set. Comprising mostly little-known tracks recorded by Japanese artists between 1968 and '70, it offers up a wealth of cuts inspired by American jazz-funk "rare groove". There's much to admire across the ten tracks, from the mazy Rhodes solos, fizzing big band jazz grooves and traditional Eastern instrumentation of Toshiko Yonekawa's "Soran Bushi", and the languidly-slung brilliance of Tadaki Misago and Tokyo Cuban Boys' multi-faceted musical fusion "Jongara Reggae", to the Jimi Hendrix-goes-funk heaviness of "Incitation" by Monica Lassen & The Sounds, and the drums-driven dancefloor madness of Masahiko Sato Jiro Inagaki & Big Soul Media's "Sniper's Snooze". Recommended.
Review: Planisphere is exactly the kind of cult deep house and techno producer that For Those That Knoe are all over. David Swatten's last release was 20 years ago, and that one now fetches sky-high prices online, but fortunately the good ship Knoe has taken charge of the situation and commissioned this full-length release of sumptuous electronics. As you would expect for the label, the vibe is primarily classic ambient techno with a spread of different energies from heads down club grooves to blissful back room excursions, all expressed through vintage synth tones. Consistently brilliant throughout, this is the kind of album you could happily melt into from start to finish, as well as having plenty for the mix-minded to get busy with.
Review: A new one from Paris' Favorite Recordings. After two acclaimed LP's as Mr President released over the last decade, Bruno Hovart is back. One Night is soul and disco with a modern touch, fitting all the criteria to become an instant club classic. With special guest vocalists like Jennifer Zonou (Hawa), Cindy Pooch, Celia Kameni (Saving Coco) and Sabba MG - who you may recognise from previous releases. The title track is a sexy, loungey and jazzy deep house joint reminiscent of early noughties grooves on Naked Music or Hed Kandi. Plus, there's also a wonderful rendition of Roy Davis Jr and Peven Everett's classic 'Gabriel'.
Review: If you've ever tried to track down Gaston's obscure funk-soul album My Queen, you'll know that second-hand copies of the 978 set regularly change hands online for eye-watering amounts of money. Happily, Soul Brother Records has managed to license it and have pressed 1,500 new copies of a special Record Store Day 2020 edition. Musically, it's one of the more interesting and hard-to-pigeonhole sets to come out of the North Carolina funk and soul scenes during the 1970s, with the obscure band offering up a mix of intoxicating, rock-tinged instrumental workouts (the decidedly cosmic 'Magnificent Choo Choo'), piano-laden Latin jazz-funk numbers ('Fantasy Garden'), sun-kissed songs ('Clock In', the twinkling 'My Dreams'), and hot-to-trot dancefloor cuts ('My Queen', the extra-percussive and alien 'Clap Song').
Review: You can never really understate the impact Polly Jean Harvey had when she landed on the UK music scene, and the radars of tastemakers like John Peel, in the early-1990s. Guitar tracks at the time were usually split into unashamedly lager-soaked upfront Britpop, or nihilistic and self-sabotaging grunge and metal from the US. PJ Harvey was neither, and on 'To Bring You My Love' she perfected a particularly UK take on heavy, darkroom rock.
Pressing play means stepping into a world where the blues can either be a sparse, pitch black tome ('To Bring You My Love') or stomping and sweat-soaked juggernaut ('Meet Ze Monsta'), and that's just referencing the first two songs. Compare either to the trip-hop infused downtempo melancholia of 'The Dancer', and it's pretty clear why this was one of the albums of its decade.
Sare Havlicek - "White Russian (Lazy Summer)" (5:20)
Oliver Cheatham - "Get Down Saturday Night" (7:10)
The Sugarhill Gang - "Rapper´s Delight" (3:34)
Gibson Brothers - "Cuba" (7:45)
Review: For the next installment of Argentinian label Music Broker's tribute series, they have selected some of seminal Parisian duo Daft Punk's finest works and remixes, spanning the last two decades, along with some of the music that inspired them. The Many Faces Of Daft Punk: A Journey Through The Inner World Of Daft Punk features disco royalty such as Niles Rodgers, Giorgio Moroder and Cerrone, while more contemporary producers from the house music spectrum feature also, such as Detroit's Scott Grooves (featuring Parliament/Funkadelic), The Micronauts and Versatile's I:Cube receive de Homem-Christo and Bangalter's midas touch. the latter's 'Disco Cubizm" from '96 being a particular highlight on the remix side of things. Not to mention their roaring rework of indie-pop darlings Franz Ferdinand's classic 'Take Me Out'.
Review: You might have heard about this LP..... After a pre-release campaign that took on Hollywood-esque proportions, French pair Guy-Manuel de Homem-Christo and Thomas Bangalter return as Daft Punk with their fourth studio album Random Access Memories sporting a A-list cast of guests and contributors. Given the input of disco icons Giorgio Moroder and Nile Rogers it's entirely understandable that the overbearing sound on Random Access Memories is one of classic disco with lead single "Get Lucky" a good indicator for what to expect. There's also a smattering of yacht rock within the thirteen track set, whilst the ubiquitous Panda Bear turns up on the midnight stutter funk album highlight "Doin' It Right". Those expecting a return to Daft Punk's Homework heyday will be disappointed but Bangalter and de Homem-Christo are touching forty so the polished, expertly constructed disco direction makes perfect sense.
Review: Billing themselves as an ethno-industrial outfit, French group Vox Populi! have more in common with the German kosmische movement than the sound of their own fair land. They came from serious stock, including Axel Kyrou's mother who was a musique concrete pioneer at GRM, which set them up to make a bold and challenging debut album Myscitismes, originally released on their own Vox Man label in 1985. Combining advanced studio manipulation and liberal FX treatments with a pastoral folk thrum, motorik synth work and a heavy dose of pan-continental mysticism, they created a stunning and forward-thinking work that sounds shockingly relevant in the here and now. Finally reissued after more than 30 years, now is the perfect chance to grab this trailblazing slice of sonic sorcery.
Review: The last ten years have seen no shortage of bands with their delay pedals set to stun intent on capturing an aura of dreamlike radiance. Yet Texas 'pop-noir' troupe Cigarettes After Sex are no ordinary shoegazers, for a variety of reasons - frontman Greg Gonzalez' androgynous and dulcet tones may be part of the appeal, yet moreover it's the quality of the songwriting here, which never falls prey to the style-over-substance traps of their peers. Indeed, this debut is more than enough to justify the considerable hype around this outfit, being a collection of ditties as sultry as they are atmopsheric.
Review: The mysterious Sault troupe is back with a call to action and revolutionary soul soundtrack that really bangs the box. "Ain't nothing gunna keep us silent" the lead singer yelps on 'Stop Der', which is an immediate banger after the soothing ambience and closely mic-ed whispers of the opener, which muse on what it means to be black. The rest of the record is a hard hitting mix of crisp drums and empowering vocals, with elements of classic soul as well as contemporary jazz colouring the grooves. This is powerful music with an even more powerful message.
Review: It's easy to forget this is the first new record we've had from Doves in more than a decade, given the rousing call to action and emotional intensity of aptly-titled album opener 'Carousel'. A huge, nostalgic fairground thumper that sets the adrenaline levels at 11, it could be their most confident album opener to date.
And The Universal Want is far from a tease, too, capturing the essence of what we hoped from this Manchester trio's comeback fanfare. From the science fiction synth beams of Bowie ode 'Cathedrals Of The Mind', to the redemptive and hope-filled stadium indie of 'For Tomorrow', and the title track's melancholic proto-house stomp, it's very much a record of our time but also one that will likely stand the test of time. A very welcome return for, and another schooling from, Jez Williams and his team.
Review: In 1983 a group of Nigerian musicians in London headed into a studio in Hoxton Square and recorded their sole LP: a boogie and disco-infused set called 'Electric Murder'. The album was released the same year on a tiny Nigerian label, meaning that copies of this obscure classic have been sought after ever since. As this beautifully packaged and produced reissue proves, 'Electric Murder' has lost none of its lustre. Highlights come thick and fast throughout, from the slap-bass heavy celebration of opener "Funky Boogie Woogie" and the deep disco brilliance of "Electric Murder", to the low-slung, delay-laden disco-funk gem "Shake" and sugary, synth-laden slow jam "April's Girl", a track that boasts some suitably super electric piano solos.
Review: You can always rely on Razor N Tape to serve up scorched soundtracks heavy on the samples and blended beats. This latest collection carries on from previous Pools releases with more heat-damaged chords, laidback grooves and the sort of jazz-funk instrumentation that has you reaching for the cocktails even on a drizzly afternoon in the North. The MPC beats drip with funk and cool, zoned out pads carry your mind away and the sun kissed vibe is utterly real. If you want to deny the existence of autumn and keep dreaming about lazy afternoons by a pool you don't own, cop this one tout suite.
Review: Smoked-out Texan psych troupe Khruangbin have picked a pretty apt moment to release this recording of their live show at Villain, Brooklyn. For starters, it's summer 2020, and if it weren't for a global pandemic there's a good chance a few of us would be recovering from the night before to a late-afternoon, or better yet early-evening performance from this lot at some festival or other. Secondly, because of said health crisis, we're all starved of the unique qualities that come from a band playing in the flesh. Dinner is definitely served here, then, via generous helpings of Laura Lee's bass-laden grooves and gorgeous, intoxicatingly airy vocal delivery. First laid down in 2018, when Khruangbin were touring in support of their second album, while 'Con Todo El Mundo' provides the majority of musical moments here, really 'Live At Villain' is a self-contained record - an hour or so of the band's typically magical and engrossing stage stuff, captured for keeps.
Review: Since debuting on his own Simulacra Records imprint back in 2014, Todd Gautreau has released some seriously good ambient music as Tapes & Topographies. We attribute much of his success to a trademark style that blends fractured, heavily processed field recordings with opaque, comforting chords and melodies that are capable of winding their way into your subconscious. This trademark style once again comes to the fore on A Pulse of Durations, his first album for Past Inside The Present. Furnishing his usual fuzzy soundscapes with occasional melancholic piano motifs (see the gorgeous 'You Saw Nothing in Hiroshima'), swelling drone tones ('The Seashell & The Clergyman') and plucked strings ('The Modern Equivalent'), Gautreau delivers one of his most meditative and emotion-stirring sets to date.
Review: Over the last three years Dragut Adrian AKA Dragutesku has firmly established himself as one of Romanian minimal techno's leading lights. It's for this reason that Dualism, his first full-length excursion, is so hotly anticipated. So, does it hit the spot? Undoubtedly. Dragut is particularly good at crafting wonky, off-kilter tech-house and minimalistic techno tunes that are sparse and unusual, but also boast tons of percussive funk and swing. These kinds of club-ready tunes form the DJ-friendly backbone of the album, with occasional deeper, darker or even stranger deviations (see the creepy 'Paranormal' and squelchy, electro-fired melodiousness of 'Apus') providing welcome variety. As a result, it's a set you can listen to from start to finish, despite the dancefloor-focused nature of its construction.
Review: For some reason, Alton Miller never seems to quite get the headlines of many of his Chicago peers. Maybe this expressive new album on the Music Institute label will go some way to correct that. It's as lush and musical as house gets, with bumping vocal tunes that are laced with golden chords to percussive workouts like 'Long Time Comin' sure to work floors into a lather. There are even slow jams like the seductive 'Time Is On Your Side' showing off another side to Miller's sound. Whatever he does, there is s sense of spirituality and inescapable emotion that makes every cut here a thing of beauty.