Album Review: Franck Roger / ‘Extensions of Yesterday’ (Circus Company)

Franck Roger Extensions of Yesterday

★★★☆☆

The Frenchman teeming with 12s checks out the past but respects it rather than obsesses over it. Weighty house tunes know where they came from and where they sit now, Franck Roger starting with a slate of clean rhythms, sizing up the then and now, and finishing by polishing up the deep. The vocal track “Sands of Time” could come from any house era, and parallel to the title, Roger is creating his own timeline remixing the evolution of man diagram (pertinent also, as his last album was called “We Walk to Dance”).

“Gossando,” in the vein of a Mr. Fingers, and the lovely sun/moon-worshipping carnival “Surrounded,” tell of the effortlessly futuristic from a past perspective, leading to the deep and stylish through a familiar hum of chords rotation and phases. “Feel It” looks for a late-night balcony, leaving “Tension” to rotate and sweat like meat on a spit, as “Friday” stammers up a quiet storm clocking both ends of the thermometer. The two downtempo cuts, while from the same cloth, arrest the album’s flow and seem included on the basis of creative license — Roger having been straightforward in his aims, “Back With Your Love” backtracks as an unhurried electro-R&B worm, and “This World Don’t Go Round” tries a hip-hop slouch. While there are times you may think he should push forward more, the best quality comes from the most tried and tested.

File under: Octave One, Mandel Turner, DJ Roy, Olivier Portal

Album Review: Timo Maas / ‘Lifer’ (Rockets & Ponies)

Timo-Maas-Lifer

★★★★☆

A real mish-mash third time up from Timo Maas, ploughing what could be termed a dance-punk route that finds thrills in hacking into computers on the run, while including 2011’s Brian Molko collaboration “College ‘84,” reasonable hip-hop outing “Grown Up” with Mikill Pane, and crystal-tipped house wandering star “Tantra.” After a ponderous, Asian-pinned opening that doesn’t really set the tone other than being one divergent strand amongst many, it’s the sub-goth quiet storms involving road-trippers Katie Cruel and James Lavelle that may leave you hanging, compounded by the twiddles of “Abundance” aiming for edge of the seat but not giving itself time to finish the job. The rocky roads travelled on “Scope” claw back the balance, providing a past-midnight awakening through long and stirring synth rolls.

At its most energetic, “Kick 1 Kick 2” makes the most of being given the freedom to rupture the earth with an ear-splitting techno boom and pound, but the spark goes missing elsewhere. “Train in my Kitchen,” with pots and pans clattering to beefed up punk-funk bass, doesn’t go anywhere, and “Cash Johnny” shows similar solidity in abrasions wanting the straight and narrow rather than the adventurous. Some good moments, some average moments and some moments that you’ve either heard before or won’t remember again, never has that distinction between the DJ and the artist, and wanting to grasp electronic music’s bigger picture, been truer.

File under: Mutant Clan, Santos, Seelenluft

Album Review: Black Jazz Consortium / ‘Codes and Metaphors’ (Soul People)

Black Jazz Consortium Codes and Metaphors

★★★★☆

At coffee table level it keeps you company during your day-to-day. At tantric level your aura gets a gentle but thorough workout, and at tightly packed/cheek to cheek dance floor level, it’s a show of love occupying its own plain of grooving. Intense out of a conversely subtle framework shaping spirituality — one wispy synth line or string quiver reappearing in the distance makes all the difference — the profound techno elevation of Fred Peterkin lifts you just off the floor, but leaves enough floating room to be felt. See “Even Greater,” doing deep house with shades and tones taking you away before you know it.

Amidst burbling keys, horizontal loosening and jazz flecks played with intuition knowing where and when to fill space and nudge situations along, is machinery keeping strict time. The likes of “Melody Off Key” and “Tokyo Electric” work things out to a tizz of whirring technology, that on balance is less pure than BJC’s chilled agenda, but in its own way completes Peterkin’s picture, providing the transport to faraway oases.

The inevitable Ursula Rucker-ized monologue of “Be An Not Know” is a sound-off you’re not really gonna take onboard, and is an easy timeout for Peterkin to take in an otherwise grand design, guiding with concealed influence. “Love Is” repeats like a subliminal plant, and “Your Love” creates twilight sensuality for when the spotlight frames a dance floor for two.

File under: DJ Qu, Levon Vincent, Jus-Ed

Album Review: Letherette / ‘Letherette’ (Ninja Tune)

Letherette Ninja Tune

★★★★☆

Athletic electro funk pogo-ers Andy Harber and Richard Roberts pull up a neon-coloured legwarmer with utterly groovy avant guardianship high-fiving the right side of plastic. Wondrously-tipped and making deceptive its united variations in tempo, it’s as if Letherette have made their way out the other side of a chillwave fog and sound thrilled at new discoveries seen in sharp focus.

Putting boogie in the beats scene and swapping its dark glasses for oversized star-shaped specs, the cool vibrates from kitsch touches and Gallic nods connecting the boldly retro and forward-thinking. Doing Justice on “D&T” with its shaggy guitar solo, nu-disco jitterbug “Restless” with Letherette hyping their stock drowsy stabs, and glamorous disco-glitch “Cold Clam” treading water to get to the object of its affection, turn the dance floor into one big post-gym, locker room frolic. Just as good a head-nodder, “I Always Wanted You Back” is a soaring hip-hop hug paving streets with gold; given the overriding energy, there’s no harm in taking a reflective breather and wringing out the sweatband now and again.

When the album gets its head down, “Gas Stations and Restaurants” is a big drop-off in vibrancy; a muggy soul comedown that typically slickens and perks up. The detours are maturely landscaped, still keeping the pervading glisten aglow, even if “Hard Martha” and “Say the Sun” sound comparatively down and out of breath on one of the year’s freshest sounding albums.

File under: Justice, Burns, Daft Punk