Vortexsoundtech – Land Of The Dragon (2014)

vortexsoundtech Land of the dragon_coverMiguel Pereira is the front man for Vortexsoundtech and his just released “Land Of The Dragon”, a beautiful piece of work, where V.S.T. showcase their intricate attention to detail in sound production, fully in control of seamless genre-bending styles, endless effect chains, and most importantly, pure musicality. There are luscious melodies on this four-track ep that will instantly get embedded in your memory. This is a true evolution of direction for Vortexsoundtech. Land of the dragon is an amazing auditory journey, I can’t wait for more! R. Sanders



Trentemøller – Lost (2013)

Trentemøller - Lost cover (2013)Danish producer Anders Trentemøller has hinted at long playing greatness for some time. Previous albums, 2006′s The Last Resort and Into the Great Wide Yonder four years later showed promise, but an over reliance on moodscapes meant they meandered at times, resulting in a lack of cohesion despite containing great standalone tracks.
Lost does not suffer from this problem; it’s a fully functioning collection that shows an impressive breadth. This is the first album where he’s used a band aesthetic to create the songs, many of which contain guest vocalists, which releases him from the limitation he previously faced as the choice of collaborators complement the sounds perfectly. The transition from atmospheric house to Krautrock-tinted electronica sounds like it was an easy move to make; this is a collection filled with highly complex sounds, more theatrical, more organic, less synthetic and at many points, really rather beautiful…thelineofbestfit

anderstrentemoller.com, MySpace, Facebook, Twitter, SoundCloud

Sepiamusic ‎- Trenches (2009)

 Sepiamusic _Trenches_cover 2009
The name of the album as described by the lead singer, Erin Chapman: “To us, the meaning of ‘trenches’ was the idea of the spaces in between – small cracks and refuges from big emotions, but places that one must eventually leave to face battlefields of reality. ”
This reminds me of the recent Sheila Nichols album, bardo. Sort of the same idea.
It’s really pretty, just like I thought it would be. Ambient, lush. But not really sleepy. It’s like Tresspassers William only with more of a rock edge. The songs are quite complex and there’s a lot of layers and a lot of things going on.
Erin Chapamn’s voice The female lead is also wonderful. Dreamy and comfortable sounding.
Also singing on the record is Michael Adler, who is the producer as well. His voice is also lovely and very soothing…collectedsounds


Metamatics ‎– From Death To Passwords Where You’re A Paper Aeroplane (2001)

 Metamatics ‎– From Death To Passwords Where You're A Paper Aeroplane_coverSomewhere is Lee Norris’ closet, a pair of dancing shoes is collecting a shitload of dust. Norris is probably out for a stroll, right around 7:30 in the PM, breathing deeply and keeping the pace relaxed. He’s stocking up on pillows and Swedish furniture, and sleeping in late. Taking it easy.
And rightfully so. Despite scores of brilliant records, from his 12″ releases on Clear to seminal albums like Spook Tinsel Shoal and the flawless diamond that is the Neo Ouija LP, Norris has remained just this side of the spotlight, IDM’s best kept secret or beautiful albino in guarded seclusion. In that time he’s harvested a crop of like-minded knob-twiddlers for his Neo Ouija label roster, and kept his sound evolving. Although he thinks of some of that early Metamatics catalog as dated (Lee, believe me, it ain’t so), a surprising number of elements from previous Norris records still crop up on 2002’s From Death to Passwords Where You’re A Paper Aeroplane, a subdued album that finds the heavy dance DNA of Dope for the Robot and Neo Ouija turned down to a whisper…pitchfork


Murcof and Philippe Petit ‎– First Chapter (2013)

 Murcof and Philippe Petit ‎– First Chapter (2013)_coverMurcof, the performing name of Fernando Corona, is a Mexican composer, born in 1970, who lives today in Barcelona. He has a long career and several albums released in the previous years, whereof I appreciated his refinement, the sound precision, his perfect balance between a minimal rhythm and a classical writing.
Philippe Petit is a “musical travel-agent”, as he likes to define himself on his website. I would have said a sounds explorer, but also a creative animal with an obsession for the novelty, or a phobia for the already heard, if you prefer…First Chapter is the final result of three years collaboration, with performances finalized to develop a common listen, and an expressivity capable to sum up the single personalities in a single form. This could explain the perfect synergy achieved with this last work, a not obvious goal if we consider the previous experiences of Philippe Petit, with two jazz albums released in 2006, a high number of collaborations and the electronic discovery in 2009…musicainformatica

murcof.com, MySpace, Facebook, YouTube

Fuck Buttons – Slow Focus (2013)

Fuck Buttons - Slow Focus (2013) Cover

So let’s put it this way: Slow Focus is the album Fuck Buttons were born to make. It takes all of the impulses displayed across their previous two records – 2008’s Street Horrrsing and 2009’s Tarot Sport – and refines them into something cold, methodical and deadly. (It isn’t called Slow Focus for nothing.) It matches the virtues of Street Horrrsing’s rough, faintly DIY production values with the slick professionalism of Andrew Weatherall’s work on Tarot Sport, generating a larger-than-life sound where gleaming, polished synths nestle hand-in-glove with power electronic riffs as terrifying as a chupacabra sighting. And underpinning the whole package are those drum patterns – big, beefy, room-shaking things that would mark Fuck Buttons as dance music producers to watch out for, if only their music weren’t quite so unfriendly…thequietus



Son Lux – Lanterns (2013)


Son Lux - Lanterns (2013) cover

Somewhere unstuck in time is Son Lux, born Ryan Lott, still trying to navigate his way through relics of the past and curios of the future. At 34, he’s a consummate dilettante, moving seamlessly from, say, inventing instrumental patches used in the score of the time-traveling sci-fi movie Looper to producing beats for Anticon rapper Beans. That’s the heady hip hop label that put out his first official pop album, At War With Walls & Mazes, a collage of organic and electronic samples matted together under Lott’s completely breakable voice. It took Lott almost four years to compile his debut, a process that came together while he was composing music for TV ads, all in the spirit of accidental curiosity. And four years is an eternity compared to his follow-up, the far more dense electro-chamber pop album We Are Rising, which he wrote over just 28 days in 2011 at the behest of NPR.
In effect, Lanterns is the first Son Lux album made with an organic timeline and intention. It also happens to be a record of experimental music that strives to be something beyond just an experiment. Can flute trills actually live with an instrument built from Pro Tools? Can an arrhythmic baritone saxophone actually coexist with an 808 bass thump? For Son Lux, these aren’t hypotheticals or theories scribbled into a notebook, these are the sounds of his native tongue and he wants to blend them all into a new language. Lanterns isn’t piecemeal beats or hastily assembled clutter, rather it begs to be heard as the lingua franca of the past and the future, something spoken on a pseudo-spiritual plane that connects the analog and digital realms. And sometimes it totally gets close…pitchfork