Music Reviews

Compilation Review: ‘Balance Presents Guy J’ (Balance)

Kathy Vitkus Leave a Comment

Balance-Presents-Guy-J

★★★★☆

Guy J’s latest endeavor, Balance Presents Guy J, is a collection of appeasing compositions that peacefully ebb and tide their way to a harmonious symphony of contentment. While still maintaining a serene resonance, the lead-in track “No One Gets Left Behind” inflects the undertone eeriness and key plunking of Nine Inch Nails on a calmer day. “Santa Fe” conjures up a vibe of South Beach during Ultra Music Week when day three or four of insomnia is rearing its head: You saunter down to poolside at close to 1pm for breakfast and that first cup of coffee. Your eyes are shaded from the glaring tropical sunlight, your hand over your brow masking the fuming heat of midday. All the while there’s this cool ambiance flowing from the poolside speakers to calm the soul and radiate positive energy and the day is unfolding as it should.

The tracks are minimalistic yet opulent and a few are reminiscent of the pleasing Egbert “Open” from 2010. The jazz and funk infused “Waitin” is hinting at drum n bass similar to that of Brazil’s DJ Marky. “Once Upon A Time” might be a candidate for Above & Beyond’s Anjunadeep meets old school The Shamen “Boss Drum” with a slightly slower tempo. Indecipherable, subtle chanting on tracks like “Migrants” and “Fever” add a distinct, surreal element and the latter track gains a nice pickup funk about two thirds of the way through for a unique flare. Considering its soothing vibe, Guy J’s remix of Way Out West’s “Killa” is a bit of a misnomer.

As a whole what encompasses the essence of this latest effort from Guy J is warming and inspiring. The listener will find after unknowingly letting Balance Presents Guy J flow on repeat, it is both uplifting and therapeutic and leaves the listener with a new sense of rejuvenation like that from a nice hot tub soak or a good massage.

File under: John Digweed, Chaim, Guy Gerber

Album Review: Sons of Kemet / ‘Burn’ (Naim Jazz)

Matt Oliver Leave a Comment

Sons-of-Kemet-Burn

★★★★☆

From the glare of stage spotlights to alone and out in the wild, the Sons are a travelling quartet boarding a Mystery Machine that can brake from 60-0 at the click of a finger. Distinctive UK jazz congregates Bolero-like performance art and the expected aspects of an all hands to the pump ensemble, creating buzz-worthy bursts that clash with deliberations showing respect for classical compositions.

After opener “All Will Surely Burn” builds a wailing wall of squalls and “Inner Babylon” follows with a blitzkrieg of percussion — SoK on some double drummer biz, with a solitary horns-man attempting to play funk pacifist on both — the presence of impish clarinet and reeds take over. Between light-hearted and fending for itself when passages are left threadbare, and part of a tuba-assisted little-and-large combo, you can never imagine its players simply standing still, more likely to be performing ballet steps in a narration needing no vocal adornment.

When the band is sworn to playing quietly, the thin line emerges between going on instinct and pre-rehearsed storyline; either way, it confirms a live presence that will dominate any boards they tread. “Going Home,” “Beware” and “The Itis” see an intersection of frenetic, limb-heavy jazz hustle and the lead character tiptoeing impudently. In sharp contrast, “The Book of Disquiet” leads the record’s pleas for caution, where cymbals and snares vibrate to plant seeds of doubt in darkness, and a pastoral finale creatively reconstructs Boney M.

File under: Quantic, Hidden Orchestra, Ariya Afrobeat Arkestra

Compilation Review: ‘Suolmates: Till von Sein’ (Suol)

Matt Oliver Leave a Comment

Suolmates- Till von Sein

★★★★☆

Making opposites become allies — the art of the eclectic DJ mix in a nutshell, and just the job for Till von Sein’s magic needle and thread. With a start of tumbledown, shivery, emotionally charged electronica — a false album forecast turned wholly logical launchpad — TvS is a maverick, but quick-witted in overseeing a go-slow mix of seeming odds and ends.

Scouting the electronic sphere from a far-off hideaway, common bloodlines are found in a warm inspection of dying embers. Ayala and El_Txef_A eke out post-dubstep as a perfect bridge to Klaves’ plaited future soul riddims, and deep house from Ripperton and a de-misted Toro Y Moi heralds an energy spurt where the mix casually gets up and goes, staying refined while almost politely excusing itself. Viewing from a Balearic observatory — a timeshare TvS divides his time in to act out satisfying post-nap stretches and generally announce that all is well — spies DJ Nature’s slick sax scoring “Sexual Tension Scene 1” and the backlit lounge to Twit One’s “Hornoxn,” both indulging in a vibe wealthy in its humility.

The flow is one of the most seamless going — on another day some inclusions probably wouldn’t work — and the attention to mutual track properties is exceptional. Readily finding extra spark so the set emits rays of light that are smuggled to safety without any coordinates being disturbed, this is a high end back to mine.

File under: Fritz Kalkbrenner, Tigerskin, Sebastien Tellier

Album Review: Deetron / ‘Music Over Matter’ (Music Man)

Matt Oliver Leave a Comment

Deetron-music-over-matter

★★★★☆

A house network providing a little bit of everything, and rarely disappointing whatever mood you’re in. Vocal numbers, funky muscle, regeneration of prototypes, electro-pop gateways and deep house settlements with an additional filtered disco plug, make simple a potentially oversubscribed mix and match.

This is after initially allowing image conscious tracks through the same gate as uptown grooves. The former naturally chafing against the roll of the latter, become easily ignorable as you get to the album’s warm core, Deetron’s sequencing getting them out the way early as simple means of demoing his repertoire. As his ego is reined in at the point of the Hercules & Love Affair feature “Crave,” attempts at edginess pass without incident, both to the detriment and benefit of the LP. The Seth Troxler writhe “Love Song” jostles in the same position, saved by expertly throwing back acid forwards. Either way, both are scolded by the spiritual “Bright City Lights.”

“Sing” will take you to rooftops so you can broadcast its praises, and “Can’t Love You More” will fly when rays are on its back. “Starblazer” deserves upgrading from ‘only’ being the bonus track with a tough bump and hustle; overall, strong songwriting and vocals from dons, divas and crowd pleasers aside, the dance floor isn’t really treated to anything out of the ordinary. Yet with Deetron keeping the basics strong and trad values topped up for sun worshippers and graveyard shifters, treated it most definitely is.

File under: Subb-An, Steven Tang, The Shapeshifters