Karma "Thrillseekers"

Artist: Karma
Album: Thrillseekers
Label: Spectrum Works
Release date: 1999
Genre: Electronic
Style: Downtempo/Nu Jazz/Drum 'N' Bass
RIYL: Kruder & Dorfmeister, Tosca, Peace Orchestra

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Tracklisting:
01. Overture
02. Let's Go Thrillseeking
03. Del Mar
04. Romance
05. Got My Mojo Working
06. Drunken Hero
07. 24 Hours Of Le Mans
08. Comeback
09. The Ballad Of Evil Knievel
10. Five Fourth Of A Whole
11. Fittipaldi
12. Danny's Break
13. Bateria E Baixa
14. Stupid Accident
Total running time: 71' 45"

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[Karma - Let's Go Thrillseeking - Video Clip]

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[Karma - My Resting Place - Video Clip]

"THRILLSEEKING, Karma's second album, is quite the improvement over their first, PAD SOUNDS. For one, the production is much smoother. Secondly, their songwriting is much tighter and more focused. The laidback grooves are still present, from "Let's Go Thrillseeking" (with its revving engine sounds) onwards. "Del Mar" has a strong rhythmic sensibility matched with jazzy undertones, while "Got My Mojo Working" takes the basic 12-bar blues and crafts it into a driving force. Wisely, the Karma boys keep the tracks developing throughout their length, in order to reduce the stagnation that hampered PAD SOUNDS. My favorite track, "The Ballad of Evil Knievel," mixes heavier sounds in with an easygoing rhythm and spacy synths. "Five Fourths of a Whole" goes for pure lounge atmosphere, while "Danny's Break" adds some scratches by the dextrous Danny Breaks. "Bateria E Baixa" increases the rhythmic content but keeps things grounded with a nice plucked bass. "Stupid Accident" ends things on a wandering note, a slow drive through a desert. A wonderful album, through and through." [scoundrel@discogs]

Sonic: I have listened to this album countless times, and I have yet to grow tired of it. It's the perfect soundtrack for when driving around at night in your car with the volume up to eleven: bliss! This one comes highly recommended if you like the nostalgia of Kruder & Dorfmeister's sound.

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Kammerflimmer Kollektief "Cicadidae"

Artist: Kammerflimmer Kollektief
Album: Cicadidae
Label: Staubgold
Release date: 14 April 2003
Genre: Electronic/Jazz
Style: Nu Jazz
RIYL: Triosk, Nils Petter Molvær, Eivind Aarset, Jaga Jazzist

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Tracklisting:
01. Neumond Inselhin
02. Sie Tranken Regen
03. Über Die Wasserscheide
04. Blood
05. ...Denn Nacht Ist Jetzt Schon Bald!
06. Sie Tranken Regen (Version)
07. Mantra
08. Eiderdaunen (Gerupft)
09. Irgendwann: Frühling
10. "There's A Weight On You, But You Can't Feel It"
Total running time: 42' 35"

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[Kammerflimmer Kollektief - Open MySpace page]

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[Kammerflimmer Kollektief - Gras - Unofficial Video Clip]

"This lot have been one of Germany's most interesting musical exports of the last few years. Like a lot of bands from Norway to Chicago to Manchester, they've been exploring the murky hinterlands of electronics and real-time playing that draws from jazz and free improvisation, but the results are very much their own.

Previous Kollektief efforts have hinged around the shimmering, humid soundscapes generated by Thomas Weber's guitar, piano, harmonium and processing. These are prodded and sometimes torn apart by the restless yet simultaneously restrained contributions of the rest of the band, particularly double bassist Johannes Frisch.

On Cicadidae, bass and drums provide restrained slo-mo pulses and fragile, resonant jazz stylings, which are often looped and treated to frame Weber's yearning guitar lines and cloudy atmospherics. Often ("Mantra", "Sie tranken Regen") the music sounds like a 60s Blue Note session beamed in from a parallel universe. Dietrich Foth's saxophone unfurls smoky, hesitant lines and gentle, abstract flutterings, while Frisch provides deep, resonant throb or occasional muttered creaks with the bow. The rhythms are gentle, yet insistent.

An exquisite, all too short reading of Annette Peacock's "Blood" is the album's highlight. Vibraphone and bass sketch the hymnal melody, joined by lush violin figures and soft digital crackle. It's exqusitely lovely. Having said that, there's little here that's not beautiful; there's much that's mysterious and opaque too, which gives the music its power. The same goes for the cover, which is one of the oddest to drop through the BBC letterbox for some time; it might be a still from an early David Lynch film, marked with a kind of surrealist, opulent decadence. Recommended." [BBC]

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The Kilimanjaro Darkjazz Ensemble "The Kilimanjaro Darkjazz Ensemble"

Artist: The Kilimanjaro Darkjazz Ensemble
Album: The Kilimanjaro Darkjazz Ensemble
Label: Planet Mu
Release date: 24 April 2006
Genre: Electronic/Jazz
Style: Nu Jazz
RIYL: The Mount Fuji Doomjazz Corporation, Bohren & Der Club Of Gore, The Cinematic Orchestra, Amon Tobin

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Tracklisting:
01. The Nothing Changes
02. Pearls For Swine
03. Adaptation Of The Koto Song
04. Lobby
05. Parallel Corners
06. Rivers Of Congo
07. Solomon's Curse
08. Amygdhala
09. Guernican Perspectives
10. Vegas
11. March Of The Swine
Total running time: 69' 07"

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[The Kilimanjaro Darkjazz Ensemble - Open MySpace page]

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[The Kilimanjaro Darkjazz Ensemble - The Nothing Changes - Live in Budapest, 2007]

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[The Kilimanjaro Darkjazz Ensemble - Goya - Live in Budapest, 2007]

"Kilimanjaro Darkjazz Ensemble (KDE) might be new to some, so first off a quick introduction. They are a duo consisting of Jason Kohnen (Bong-Ra) and Gideon Kiers (Telcosystems). They formed KDE in and around 2000, and started out by creating soundtracks to moody silent films such as Murnau's Nosferatu and Lang's Metropolis. Mainly being a Kohnen/Kiers project, they’ve also added some new members for this album such as Hilary Jeffrey on trombone, Nina Hitz on Cello and Edwin Loman on guitar. The album is apparently heavily inspired by Philadelphia filmmakers and surrealist animators The Quay Brothers, and it is their second release as KDE after their remix for JMX's ’1.2.AB’ 12” released on Life Enhancing Audio in 2003. And what an album it is. Take a piece of The Cinematic Orchestra’s cinematic jazz, a dash of The Broadway Project’s dark/noir, a hint of Amon Tobin’s twisted mutant jazz and a little Freeform Arkestra orchestral ambience. Throw in a minipinch of Dj Shadow and Major Force West, and a good dose of Planet Mu-ism and you’re pretty much there. As you might have understood by now, it’s a very versatile album.

Take the opening track ’The Nothing Changes’ for example. A simple shuffle/percussive backdrop with a heavy upright bass to kill for, sweet strings, a haunting guitar and horror cinema horns on top. Pure quality! ’Pearls for Swine’ hints towards Dj Shadow, although with a little more sophisticated electronics. Track tree is pure cinematic jazz loveliness, and having a big soft spot for TCO, this is one of my favourites on the album. ’Lobby’ is probably the most progressive track on the CD, starting off smooth with only cellos and muted shufflebeats, adding twisted keys and sound effects as it progresses and builds itself to a horror flick climax of noise at the end. Massive track! Onto even more sweet TCO like cinematic jazziness on ’Parallel Corners’, while ’Rivers of Congo’ takes us deeper and darker into Darkjazz noir landscapes. The imaginary motion picture soundtrack continues along a fine cinematic jazz red line until the next to last track ’Vegas’ stirs tings up again to Squarepusher-esque heights, before the epic grand finale that is ’March of the Swine’ sets in. A 20-minute long journey that makes this album from The Kilimanjaro Darkjazz Ensemble complete. I would love to see the movie... " [Beyondjazz]

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Nuspirit Helsinki "Nuspirit Helsinki"

Artist: Nuspirit Helsinki
Album: Nuspirit Helsinki
Label: Guidance Recordings
Release date: 30 April 2002
Genre: Electronic
Style: Nu Jazz/Downtempo/Breakbeat
RIYL: Jazzanova, Koop, Thievery Corporation

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Tracklisting:
01. Honest [Feat. Nicole Willis]
02. Subzero
03. Trying [Feat. Lisa Shaw]
04. Silent Steps [Feat. Ona Kamu]
05. Circular Motion
06. Hard Like A Rock (Nuspirit Emorph) [Feat. Daddy Ous]
07. String Interlude
08. Orson (Album Mix)
09. I Wonder (2:14 AM) [Feat. Chuck Perkins & Ona Kamu]
10. Montana Roja
11. Seis Por Ocho (Original Jazz Session Mix)
12. Skydive [Feat. Tommy Lindgren]
13. Skydive Outro
Total running time: 65' 42"

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[Nuspirit Helsinki - Honest - Video Clip]

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[Bebel Gilberto - Winter (Nuspirit Helsinki remix) - Video Clip]

"Nuspirit Helsinki is a multi talented Finnish collective of DJ’s, producers, and musicians that has ascended to the forefront of the burgeoning European neo jazz scene on the strength of their peerless productions for Guidance, Jazzanova/Compost and Ubiquity. The group was conceived in 1998 by founding members Tuomas Kallio and Hannu Nieminen (a.k.a. DJ Ender) who enlisted a core group of Helsinki’s finest musicians to develop a dynamic 21st century big band sound informed by a wealth of jazz, funk, soul, afro, and Latin influences. Equally inspired by cutting edge hip hop, nu soul, broken beat, two step and drum and bass sounds, Nuspirit’s musical mission is to fuse live organic instrumentation with warm, dubby electronic textures to produce soulful and sophisticated music that can be enjoyed on or off the dancefloor.

The group’s barrier breaking debut single “Take It Back” was released on Guidance in March 1999 and has since attained cult classic status in both deep house and eclectic DJ circles. Refusing to limit their sound to any specific sub-genre, the band took things to the next level on their red hot and relentlessly funky follow up single “Makoomba Breaks,” combining masterful musicianship with sizzling percussion to create this sultry afro-beat classic. The single includes an extended re-edit of “Afro-Cuban Sunshine” the standout track from Guidance’s acclaimed Mundial Muzique collection which was charted by all of the right DJ’s and embraced by a cross section of electronic and traditional world music fans across the planet. Changing directions once again, Nuspirit dropped their amazing “Montana Roha Jazz” EP on pioneering German label JCR in the winter of 2001 to a rapturous response. A tribute to the band’s vision and versatility, this orchestral jazz dance masterpiece elevated Nuspirit Helsinki to the forefront of the blossoming European nu-jazz movement alongside pioneering artists like Jazzanova, Incognito, Four Hero, and Kruder and Dorfmeister. Enlisting the support of the musicians that performed on their previous singles, Nuspirit took their big band show on the road in the summer of 2001, dazzling crowds at Jazz and Electronic music festivals across the continent with their forward thinking fusion of accomplished musicianship and relentless dancefloor energy.

After completing their tour, the band retreated to its Helsinki studio to record their eagerly anticipated debut album which features contributions from an all star cast of vocalists, including: Naked Music’s resident diva Lisa Shaw, Brooklyn bred nu-soul chanteuse Nicole Willis, acclaimed Chicago spoken word artist Chuck Perkins, and Nuspirit’s resident blue eyed soulstress Ona Kamu. The end result is an exquisite long player fusing smokey live jazz funk arrangements and melodic nu-soul grooves with dark undulating broken beat rhythms to propel the Blue Note jazz sound safely into the future. Released in May 2002, Nuspirit’s eponymously titled debut album is already in regular rotation on Gilles Peterson’s seminal World Wide Radio Program and is receiving maximum support from a host of taste making DJs, including: LTJ Bukem, Jazzanova, Thievery Corporation, Norman Jay, Patrick Forge, Kyoto Jazz Massive, Dr. Bob Jones, U.F.O. and many more." [source]

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310 "Sixes And Sevens"

Artist: 310
Album: Sixes And Sevens
Label: Conduit Records
Release date: 13 November 2007
Genre: Electronic
Style: Downtempo/Nu Jazz/Funk

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Tracklisting:
01. Fortuitous Bounce
02. High And Tight
03. U Bastard
04. Black Acres
05. Dear Resistance
06. Radiator
07. Kind Summer
08. Track 8
09. Freedom Connection
10. No Reason To Go There
Total running time: 46' 56"

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"310, the band formed by New Yorker Tim Donovan and Seattle-based Joseph Dierker, are quietly celebrating ten years at the helm of their good ship with their latest album, Sixes And Sevens, released on Conduit Records, the title perhaps a semi-hidden reference to the fact that, their 2001 effort Nothing To See Here being a strictly limited affair, this album, their seventh, is only the sixth to received a high profile release. The pair’s debut album, Aug 56, was released a whole ten years ago on their own imprint, and their sophomore effort, Snorklehouse, followed a year later, firmly establishing their blend of ambient, found sounds, hip-hop-infused beats and melodic electronic music.

Released on Conduit Records, a label based, like the band, partly in New York and partly in Seattle, Sixes And Sevens undeniably bears the 310 stamp, but, unlike its predecessors, The Dirty Rope (1999), After All (2001) and Recessional (2003), Dierker and Donovan have produced an entirely instrumental record. The only vocal instances here are the band’s traditional samples making reference to their names. While long term contributor Andrew Siegler, aka Fire/Fly, is not present here, Dierker and Donovan have once again called upon a handful of collaborators. Ralph Rolle provides live drums on seven of the ten tracks collected here, giving pieces such as High And Tight or U Bastard increased relief, while a more subtle approach also adds to Radiator or King Summer. Turntablist Ali Shaheed Muhammad and trumpeter John Mulkerin provide additional textures on opener Fortuitous Bounce, the former by rooting the piece firmly in hip-hop territory, and the latter by giving the piece a jazzy sheen.

Paul Umbach adds to the menacing overtones of Black Acres by applying somber cello brushes, while the slow funk of Freedom Connection is given a slight Eastern European touch by violinist Mary Gross. Elsewhere, it is down to Dierken and Donovan to shape their environment by developing their familiar brew of acoustic, electric and electronic instrumentation, and refine the many contours of the music with found sounds and samples. The 310 sound has, over the years, become more sophisticated, but behind the melodies and layered orchestrations remain the hazy atmospheric backdrops and stunning ambient formations which have been integrant part of their work. Although not quite as exposed here as they were on Recessional, the moody meanders that build in the distance on Black Acres, Radiator or Track 8 convey much of the emotional turmoil of this record.

310 pack so much in their records that each listen invariably reveals new elements. Sixes And Sevens is no different. Brimming with sumptuous textures, gorgeous melodies and haunting atmospherics, this album is once again an impressive effort. In the ten years since they first appeared, 310 have forged a truly unique sound, with each new record adding to the band’s sonic riches. Impeccably deployed across Sixes And Sevens, these appear as bright and appealing as ever." [source]

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Peace Orchestra "Peace Orchestra"

Artist: Peace Orchestra
Album: Peace Orchestra
Label: G-Stone
Release date: 1 September 1999
Genre: Electronic
Style: Downtempo/Nu Jazz/Trip Hop/Dub
RIYL: Kruder & Dorfmeister, Tosca, Sofa Surfers

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Tracklisting:
01. The Man Part One
02. Meister Petz
03. Double Drums
04. Domination
05. Marakesh
06. Henry
07. Who Am I
08. Shining [Feat. Chilli Bukasa]
09. The Man Part Two
Total running time: 56' 52"

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[Peace Orchestra - Open MySpace Standalone Music Player]

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[Peace Orchestra - Shining - Video Clip]

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[Peace Orchestra - Who Am I - Multi-touch interaction demo]

"As one half of Kruder and Dorfmeister, Peter Kruder helped to unleash the amazing 2CD laid-back beatfest of K & D Sessions. The double disc of remix work (and a couple short originals) was one of the most solid releases of the year and a testament to the duo being able to reconstruct tunes with their own deft touch into something that was often times more interesting than the original. Those wondering what the duo could do without the starting points of other music need wait no longer, as the Peace Orchestra is a fully-realized effort and a great one at that.

Sounding something like you might expect from one half of the above mentioned duo, Peace Orchestra is nine tracks and just over an hours worth of laid back beats, jazzy little keyboard lines and lots of other little bits thrown in for good measure. The disc starts off in familiar K&D territory with "The Man Part One." After some odd blips and washes of sound that give the track an almost underwater feel, in comes a little thicker keyboard melody and some live drumming sounds. It all folds over itself and slowly winds together, and rub a dubs you along in a warm groove. The same sort of feel continues with some nice use of horns on "Meister Petz," before stepping things up just a slight notch on "Double Drums Domination."

After the slightly overlong (but ultra tripped-out) "Domination," the disc changes up ever so slightly for the second half beginning with the darker sound (and awesome chang-up rhythms) of "Marakesh." The disc closes out absolutely beautifully with an awesome 1-2-3 punch of tracks. While "Who Am I" throws down a thick beat over some trancey slow progressions before it picks up and layers on some even chunkier riffs. "Shining" goes the trippier route again with nicely layered chime sounds, big timpani drum hits and vocals by Chilli Bukasa before "The Man Part Two" drops and sounds almost like a Portishead outtake with muted horns, an old gospel singer sample, and completely wah-ed out guitars.

As could be expected, production on the disc is outstanding and although none of the tracks move much beyond a downtempo pace, the music still has plenty of life and interesting things going on within. Fans of Kruder And Dorfmeister would probably definitely want to check this out, as well as anyone who just enjoys good downtempo music that doesn't drag." [source]

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Four Tet "Remixes"

Artist: Four Tet
Album: Remixes [2CDs]
Label: Domino
Release date: 25 September 2006
Genre: Electronic
Style: Breakbeat/Hip Hop/Downtempo/Nu Jazz
RIYL: Prefuse 73, Pedro

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Tracklisting:

Remixes
01. Lars Horntveth "Tics" [Four Tet Remix]
02. Radiohead "Skttrbrain" [Four Tet Remix]
03. Madvillain "Money Folder" [Four Tet Remix]
04. His Name Is Alive "One Year" [Four Tet Remix]
05. Sia "Breathe Me" [Four Tet Remix]
06. Aphex Twin "Untitled (SAW2 CD1 Track1)" [Four Tet Remix]
07. Madvillain "Great Day" [Four Tet Remix]
08. Bonobo "Pick Up" [Four Tet Remix]
09. Rothko "Roads Become Rivers" [Rivers Become Oceans - Four Tet Remix]
10. Beth Orton "Carmella" [Four Tet Remix]
11. Bloc Party "So Here We Are" [Four Tet Remix]
12. Pole "Heim" [Four Tet Remix]

Remixed
01. A Joy [Feat. Percee P]
02. As Serious As Your Life [Jay Dee Remix]
03. Hilarious Movie Of The 90's [Manitoba Remix]
04. Hilarious Movie Of The 90's [Koushik's Funny Flic]
05. A Joy [Remix]
06. My Angel Rocks Back And Forth [Icarus Remix]
07. A Joy [Battles Remix]
08. As Serious As Your Life [Remix]
09. A Joy (Feat. Percee P) [Koushik's Quick Mix]
10. Sun Drums And Soil [Sa Ra Creative Partners Remix]
11. No More Mosquitoes [Boom Bip Remix]

Total running time: 122' 52"

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[Four Tet - And Then Patterns - Unofficial Video Clip]

"Four Tet Remixes is split into two discs, one devoted to Kieran Hebden's own remixes and another to remixes of his work done by his friends. It’s a concept that attracts a certain level of curiosity, for it reveals not only what influences Hebden and how he chooses to reconstruct them, but also flips the tables and does the same for his peers.

Hebden has been quite prolific as a remixer, providing new takes for musical acts that have diversified as he has evolved. Beginning with instrumental post-rock in Fridge, his first group, the past few years have also found him incorporating more genres and styles into his work, from hip-hop and jazz to world music and electro. The first disc of remixes succeeds primarily because it demonstrates his listening range and how he cleverly applies various styles of music to his heroes, all while creating soundscapes that are undoubtedly his own.

On the hip-hop front, Four Tet includes two of his five Madvillain remixes, one of which is the outstanding version of "Great Day," where ringing guitar and crashing drums change it from a casual jazz reflection to a cathartic triumph. For the ambient stylings of Aphex Twin's "Untitled," he chooses to redo it as dreamy drum n' bass, while Radiohead's "Scatterbrain" (here titled “Skitbrain”) uses wobbly xylophones, tumbling electronic drums, and clicks and cuts to augment the lulling guitar figure of the original. Even the post-rock and bedroom electronica artists that informed Four Tet's early works receive intriguing second takes. Rothko's "Roads Become Rivers" is fashioned into graceful melancholy, employing plinking acoustic guitars and a somber piano loop.

It’s too bad that the second disc doesn't offer nearly the same cohesion, fascination, or quality of the first. Whereas Four Tet's remix work discloses a multi-dimensional, intricate palette of soul and harmony, his colleagues present lazy, flat, and inferior interpretations of their source. The four remixes of "A Joy," comprising a third of the disc, all cleave too closely to the blueprint, taking three tries before a combination of Percee P's guest appearance and a slightly dissimilar beat by Koushik finally avoid repetition. The two most high-profile associates of Hebden, Jay Dee and Caribou, offer up remixes, but they were both created earlier in their careers, so they lack any of the innovation or attention to detail of their more recent output. Both fail to be especially interesting, with Caribou sticking to the placid-but-pleasant IDM of Start Breaking My Heart and Dilla doing essentially a Common beat for Guilty Simpson. The rest of the remixes fall into similar patterns—most sounding entirely too much like the originals, as if they didn't know how to do it any better.

Throughout his career, Four Tet has come off as one of the nice guys—an artist with a lot of friends. This much is obvious by the amount of remixing work he’s done here—and had done to him by others. That said, Four Tet Remixes would have benefited greatly from Hebden putting his foot down: making it a single disc and proving his relative artistic superiority in the remixing arena. As it is, the album is one disc—and about ten dollars—too much." [source]

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Mike Ladd "Negrophilia"

Artist: Mike Ladd
Album: Negrophilia
Label: Thirsty Ear
Release date: 25 April 2005
Genre: Electronic
Style: Nu Jazz/Hip Hop

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Tracklisting:
01. Field Work (The Ethnographer's Daughter)
02. The French Dig Latinos, Too
03. In Perspective
04. Shake It
05. Worldwide Shrinkwrap (Contact Zones)
06. Back At Ya
07. Appropriated Metro
08. Blonde Negress
09. Sam And Milli Dine Out
10. Nancy And Carl Go Christmas Shopping
11. Sleep Patterns Of Black Expatriots Circa 1960
Total running time: 47' 38"

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"This characteristically conceptual and adventurous album from Mike Ladd isn't exactly Negrophilia -- Petrine Archer-Straw's book that deals with Parisiens' fascination with black culture during the 1920s -- brought off the page and placed onto wax. The book is more of a jump-off point than anything else. Its ideas are referenced, examined, messed with, expanded upon, and dusted off to make natural modern-day parallels. Ladd's lyrics are only sprinkled throughout, often conjuring striking images that tie the themes of Archer-Straw's writings to the present: "Brancusi sculpting Beyoncé in gold lamé/Blonde negress"; "Boxing in Montmartre/Disco with a Hottentot"; "Every day the land we lay looks more and more like L.A./From Dakar to Harare/Bangkok to Taipei." Ladd takes greater liberties with the instrumentation, provided by key collaborator Vijay Iyer (keys), Guillermo E. Brown (drums, electronics), Bruce Grant (tape loops), Andrew Lamb (winds), and his niece Marguerite (winds). The playing is considerably transformed by his chop-ups. Sizeable seams in the interwoven fragments are audible, but not to the point where it all seems disjointed just to be unnervingly difficult. On "Blonde Negress," clipped brass notes are spit out like poison darts, only to be deflected off a rubbery drum loop and juiced-up synth interjections. "In Perspective" is relatively laid-back, the closest the album gets to carrying a standard groove, but it remains ill at ease with faint atmospheric gauze and bracing audio-collage samples from what sounds like news broadcasts and documentaries ("... the police came and beat him half to death and gouged his eyes out"). This is one of Ladd's most accomplished albums to date, proving once again that he's one of the most forward-thinking artists around. He doesn't always come up with genius-level work, but his output is consistently fascinating, worthy of both deep analysis and a deeply felt physical reaction." [source]

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Pedro "You, Me & Everyone"

Artist: Pedro
Album: You, Me & Everyone
Label: Rogue/Mush
Release date: 10 February 2007
Genre: Electronic
Style: Nu Jazz/Breakbeat/Hip Hop

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Tracklisting:
01. Intro (Asleep)
02. I Am Keeping Up
03. Hellalujah
04. There Will Always Be More
05. Spools
06. Lung
07. Green Apples
08. Red Apples
09. Nothing But Pebbles
10. Hope Is A Happiness
11. Vitamins
12. Sound Song
13. You, Me & Everyone
14. Outro (Awake)
15. Slowly
Total running time: 52' 07"

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[Pedro - Open MySpace Standalone Music Player]

"Yet another folktronic artist wishes it to be known that he’s not making that stuff anymore.

James Rutledge inaugurated the Melodic label with a vinyl release as Pedro some years ago, and put out a superlative self-titled album that was one of the pinnacles of the folktronica “genre” (such as it is/was). The new album’s been a long time coming, although we had Early Pedro to tide us over, collecting his post-rock beginnings and the very fine collaboration with Kathryn Williams, reminiscent of Beaumont Hannant’s work with Lida Husik in the ’90s given a glitchy overhaul.

It’s hard not to use the word “reminiscent” with Pedro, and no doubt avoiding the folktronica tag is probably all about not being called “just another Four Tet”. It’s a bit strange (and no doubt coincidental) then that with the energetic hip-hop/breakbeat and freak-folk that adorns most of this album Pedro has managed to take much the same trajectory as Four Tet took out of his own folktronic territory. Rutledge is following his own musical tastes and influences, and it’s a shame that it hasn’t quite saved him from “sounds like”. Bright jazzy samples and bouncy hip-hop beats mean that this album fits the mould of his new home at Mush Records a little more perfectly than one might wish considering his earlier efforts. Presumably “reminiscent of Prefuse 73″ will get quite a look-in now too (mostly better than, to these ears).

That said, this is really lovely stuff. There’s a lot to take in over the album’s length, and it’s got plenty of the detailed production that was required in successful folktronica. The beats are upbeat and compelling, and if the layered saxophones get a bit much for me sometimes, there are also some great touches like the reversed time stretched melodies in the earlier part of “Spool”.

It’s really the horns that make this album something else, and if jazzy freaky saxophones, ’70s jazz flutes and the ubiquitous xylophone are more your thing than they are mine, you’ll probably want to drop everything and grab this album. I wish they were more mine too, but as it is I’m nostalgic for the pianos, orchestral bits and generally more subdued feel of the earlier Pedro (although I do dig that drum programming!)

There’s some of that here - like the Múm-like ‘Nothing But Pebbles’, marred by unnecessary glissando-ing analogue synths. I find myself gravitating more to tracks like the very Four Tet-like ‘Hope Is A Happiness’, nice strings and head-nodding beat, or the beautiful title track. The Four Tet comparisons might also be the monkey on the back of a track like ‘Vitamins’, which could easily come from Everything Ecstatic, but again the horns and woodwind take it in a slightly different direction. It’s worth remembering that the album’s a kind of dream narrative, because the arrangements here are deliberately off-kilter, contrasting with the almost techno impetus of the drumming. There’s nothing that new here, which is a shame considering that the Pedro album was such a highlight, but it’s extremely well done and will certainly earn Pedro many deserved fans." [source]

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Skalpel "Skalpel"

Artist: Skalpel
Album: Skalpel
Label: Ninja Tune
Release date: 20 April 2004
Genre: Electronic
Style: Nu Jazz/Breakbeat

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Tracklisting:
01. High
02. Not Too Bad
03. 1958
04. Together
05. So Far
06. Break In
07. Quiz
08. Asphodel
09. Theme From ‘Behind The Curtain’
10. Sculpture
Total running time: 41' 29"

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[Skalpel - 1958 - Video Clip]

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[Skalpel - Break In - Video Clip]

"Welcoming Skalpel in its roster with open arms, Ninja Tune celebrates more than the rise of a pair of talented musicians. The arrival of this record days before the European Community opened to ten new countries, if fortuitous, is a perfect illustration that European integration is more a reality today than it ever was, political union or not. Ninja had already given DJ Vadim a place to confront his musical ground with that of musicians from the UK and beyond, and now, it is the turn of Polish duo Skalpel and their exhilarating jazz-infused electronica.

Hailing from Wroclaw, the cultural capital of Lower Silesia in South Poland, a stone-throw away from the German border, Marcin Cichy and Igor Pudlo first got noticed after they interviewed DJ Vadim for a Polish hip-hop magazine and consequently toured the country with him. They then recorded a CDR, simply entitled Polish jazz, which led to the pair being signed to London-based Ninja Tune. Four Solid Steel sessions followed over a two-year period before the band finally got down to record their first album proper. Basing their work almost entirely on samples of Polish jazz records, the band claim to aim at ‘resurrecting the dusty and smoky spirit of 60’s and 70’s Polish Jazz’ by revisiting it and adding a modern touch to it. The result is somewhat reminiscent of Saint Germain’s Tourist in part, yet Skalpel refrain from giving their record too much of a dance floor feel. Instead, Cichy and Pudlo remain close to the original sonorities of their sound sources. Listening to Skalpel, it is hard to make the distinction between what has actually been sampled, and what might have been played especially for the record. And that’s perhaps the main strength of this album: sounding like a genuine jazz record without pretending to be anything special. All the way through, the pair presents a totally classic, yet fresh, soundtrack on which flourish elements of swing, bop and soul, creating an extremely consistent piece of work from beginning to end.

The album opens with the devilishly groovy High, on which the band combines congas, double bass and flute into a whirlwind of sounds and beats. Later on, a voice confirms ‘Let them play their jazz records and dance all night if they want to’ on the equally funky Not Too Bad. Although Cichy and Pudlo alternate between buoyant compositions and more reflective moments, the general mood of this record is definitely upbeat. On tracks such as the stunning 1958, Quiz or the tongue-in-cheek Theme From ‘Behind The Curtain’, Skalpel provide some slices of energy, while at other times, they demonstrates great control over their music. Together, Break In or Sculpture, which closes the album, show Skalpel venturing into more delicate and fragile constructions, yet the band retain the same driving force.

Far from the technology-conscious electronica that we have grown accustomed to, Skalpel draw from the Polish jazz scene that flourished during the Communist era the elements to create a soulful and honest collection of groovy compositions. Marcin Cichy and Igor Pudlo demonstrate all the way through a great understanding of their sound sources and a great control over their music without ever sounding arrogant or pretentious." [source]

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Kim Hiorthøy "My Last Day"

Artist: Kim Hiorthøy
Album: My Last Day
Label: Smalltown Supersound
Release date: 5 November 2007
Genre: Electronic
Style: Nu Jazz/Hip Hop/Breakbeat/Techno/Acid

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Tracklisting:
01. I Thought We Could Eat Friends
02. Beats Mistake
03. Skuggan
04. Album
05. Same Old Shit
06. Den Långa Berättelsen Om Stöv Och Vatten
07. Alt Går Så Langsomt
08. Goodbye To Song
09. Wind Of Failure
10. Hon Var Så Otydlig, Som En Gas
11. I'm This I'm That
Total running time: 44' 56"

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[Smalltown Supersound - Open MySpace Standalone Music Player]

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[Kim Hiorthøy - Alt Måste Bli Anorlunda - Video Clip]

"Norway's Kim Hiorthøy is not only regarded as one of the most exciting graphic designers in the world today (he has been on the cover of Creative Review, Grafik and Eye, and many more) - he is also an acclaimed musician and producer. "My Last Day" is his long-awaited follow up to his seminal and critically hugely acclaimed "Hei" album from 2000.

Since then he has also released the 2002 album "Melke" (a collection of remixes, 7 inches, rejected tracks and tracks for compilations), several 7 inches and 12 inches as well as his three EPs in 2004: "Hopeness", "Live Shet" (a live recording) and "For The Ladies" (a limited edition collection of field recordings). Since his debut album he has also toured the USA, Europe and Japan several times, as well as a tour in China.

Extraordinarily talented and expressive, Kim Hiorthøy operates in many different fields in addition to music. As a graphic designer he is responsible for the Rune Grammofon artwork, as well as most of Smalltown Supersound’s artwork. He is also an artist (check out www.standardoslo.no for more information about his art) and a writer. Kim wrote the book "Du kan ikke svikte din beste venn og bli god til å synge samtidig" on Norwegian literary publisher Oktober Forlag. He has released a book of photography in Japan, a book of drawings, Alt Fins, and a design book, "Tree Weekend" on Die Gestalten Verlag in Germany. Additionally, Kim has illustrated several children’s books, and has worked in film as a photographer, having shot the acclaimed Norwegian movies “Kroppen Min” and “Ungdommens Raskap”, as a video director for the concert film “Supersilent7”, and as a filmmaker, having just debuted as a director/screenwriter with the Swedish/Norwegian co-production, ”Hur Man Gör”.

Kim Hiorthøy is based in both Berlin and Oslo, but has mostly lived in Berlin over the last couple of years. He has worked on "My Last Day" on and off throughout the last two years; most of it was recorded at his Berlin studio. Compared to "Hei", the new album is less fragmented and more song based. It is also more melodic and complete, all with Kim’s characteristic sound. He often has an organic and folk-like tone to his music which XLR8R magazine recognized when they placed him in the forefront of the new electronic folk music movement with artists such as Herbert, Matmos and Four Tet. Kim Hiorthøy’s music draws influences from folk, jazz (his live sets these days are with free-jazz drum virtuoso Paal Nilssen-Love), lo-fi/leftfield electronics, acid, hip-hop, field recordings and samples. All his music is created on an MPC sampler, the original hip-hop instrument. The use of the MPC also makes Kim’s live performances much more physical than the often mundane laptop live sets in electronic music.

The music and everything else Kim Hiorthøy creates has his own unique and strong signature - that Kim Hiorthøy feeling, you might call it. On “My Last Day” Kim Hiorthøy continues to create great electronic pop music all in his distinct way and style, and all in his very own universe." [source]

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Bjørn Torske "Feil Knapp"

Artist: Bjørn Torske
Album: Feil Knapp
Label: Smalltown Supersound
Release date: 26 March 2007
Genre: Electronic
Style: House/Dub/Nu Jazz

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Tracklisting:
01. Hemmelig Orkester
02. Hatten Passer
03. Spelunker
04. Tur I Maskinparken
05. Loe Bar
06. Kapteinens Skjegg
07. Møljekalas
08. God Kveld
09. Ørkenrotta
10. Fembussen Hjem
Total running time: 58' 33"

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[Bjørn Torske - Open MySpace Standalone Music Player]

"When Prins Thomas was asked the question “what is the most desirable signing if money grew on trees?” by Fact Magazine, his answer was; “if I could lure him out of his cave for a second I wouldn't mind getting some new stuff from Bjorn Torske”

And now; Bjorn Torske is finally out of the cave with a brand new album titled “Feil Knapp”! This is his first album since “Trøbbel” in 2001 (on Telle Records). In many ways “Feil Knapp” (Norwegian for wrong button) represents a sound that sits somewhere in between “Trøbbel”, 1999`s seminal “Nedi Myra” on Ferox and his underground cult hit “Søppelmann” on Svek. With influences ranging everything from Count Ossie and The Residents via 22 Skidoo to Idjut Boys, Torske has created his very own and characteristic signature sound, a unique blend of warm and melancholic house, quirky avant-disco, leftfield electronica and dark, heavy psychedelic dub. In other words; this album has everything that we have learnt to love Bjorn for. Weirdly melodic and wonderfully groovy.

Leading up the this album Smalltown Supersound has also released the two 12”s “Ny Lugg (kort bak/lang på siden) and “Kokt Kveite”. Torske is now working on remixes for Lindstrøm and Sunburned Hand of The Man.

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Biography:
Bjørn Torske comes from the capital of electronic music in Norway, Tromsø, a small town far north over the artic circle. This town has bred great artists such as Mental Overdrive, Biosphere and Royksopp. Through Geir Jenssen, Torske got in touch with SSR/Crammed Discs in Belgium, and in 1991 he appeared on two separate 12" singles on the label. Dutch label Djax-Up-Beats picked up on the talented young Norwegian, and the following years Torske released a string of underground 12" singles on Djax-Up-Beats and other labels, such as Reinforced Records, run by Mark & Dego of 4Hero.

Still early 90’s, Torske soon moved to Bergen. At this time he played synthesizer on Biosphere’s live shows, and toured around the world with Geir Jenssen. After releasing an album on Djax-Up-Beats in 1995 Torske concentrated on DJing for a couple of years, releasing only one single on Per Martinsen’s Love OD label. It did have a noticeable impact, though. «Fleet» became a club hit in Amsterdam, and was pumped regularly by DJs like Dimitri and Derrick May. Eventually Ferox-boss Russ Gabriel got to hear Torske’s music. He immediately phoned Torske, led to the release the album «Nedi Myra». The album caused quite a stir around the world.

Back in Norway some of Bjørn’s fellow Tromsø-dwellers, like Röyksopp’s Svein Berge and Torbjørn Brundtland moved to Bergen. New acts, clubs and labels were emerging in town, transforming the otherwise sleepy university town on Norway’s west coast to the hippest place to be. Meanwhile, Bjørn had started releasing singles through prestigious house label SVEK. In 1998 his friend Mikal Telle founded Tellé Records, and invited Bjørn to join in on the fun. Bjørn released «Disco Members» on Tellé in 2000 as well as taking take time off to release the brilliant «Aerosoles» on SVEK. In the same period Torske also produced his next album, Trøbbel on Telle Records, as well as remixing his friends and studiopartners Røyksopp`s first hit single “Eple”. Torske also toured Europe with Royksopp in the spring of 2002." [source]

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Koop "Koop Islands"

Artist: Koop
Album: Koop Islands
Label: Superstudio Grå
Release date: 4 October 2006
Genre: Electronic
Style: Nu Jazz

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Tracklisting:
01. Koop Island Blues
02. Come To Me
03. Forces... Darling
04. I See A Different You
05. Let's Elope
06. The Moonbounce
07. Beyond The Son
08. Whenever There Is You
09. Drum Rhythm A (Music For Ballet Exercises)
10. I See A Different You [Markus Enochson Remix]
Total running time: 38' 05"

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[Koop - Come To Me - Video Clip]

"It´s been four years since we last heard from the Stockholm based duo of Oscar Simonsson and Magnus Zingmark. Their album "Waltz for Koop" slowly but surely found it´s way into the hearts of more than 160.000 record buyers across the globe. Then followed the world tours, the two sets a night at the Blue Note in Tokyo and hundreds of remixes, until finally last year they found themselves back in Stockholm able to begin work on what was to become "Koop Islands".

Where "Waltz For Koop" was steeped in a modern - and modernist - take on 60s jazz and swedish songstressess from the time (Monica Zetterlunds name was mentioned more times than the group thought was fair), Koop Islands has - despite its name - very little to do with romanticising the Stockholm archipelago. Rather, it goes much, much further south west, all the way down the caribbiean for inspiration. That´s where you´ll find Koop Islands on their imaginary world map.

Also, Magnus and Oscar realised that sometimes the only way forwards is to go as far back in history as possible. "I think we can do that", says Magnus. "Our music is created in a post-sampling world where everything is possible. Even time travel. That´s why we just laugh if someone calls what we do retro."

So back they went. Back to the swing of the 1930s, the exoticism of forgotten orchestras and entertainers performing on late 40s yacht cruises to Jamaica. The characteristic Koop vibes now joined by marimbas, furious gene krupaesque jungle drums (just listen to them rip on "Forces… Darling") and an ever present Cape Verdean Blues with just a hint of Mento that would have made islanders in european exile, like the recently salvaged Lord Kitchener & His Friends, nod in approval.

This journey in time and music is what forms the foundation Koop Islands was built on.

On their travels towards Koop Islands they were joined by their inner circle of friends, some of whom you might remember from "Waltz For Koop". The amazing Yukimi Nagano with her free flowing vocals and her male counterpart - the criminally underrated Mikael Sundin. Ex-Galliano main man Rob Gallagher (aka Earl Zinger) tells a heartbreaking tale that weaves together tennis ace Björn Borg with the sad story of the passing of a mother. And, last but no way least, on the album´s title track the norweigan singer-songwriter Ane Brun heads out on her virgin tour of the Islands.

Even though Magnus and Oscars hearts and souls are filled with exotic and eclecticly swinging sounds the whole album was recorded in their own tiny studio on Stockholms Södermalm. If you listen very carefully you can hear the number 4 bus go by on the snowy street outside." [source]

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Squarepusher "Hello Everything"

Artist: Squarepusher
Album: Hello Everything
Label: Warp
Release date: 16 October 2006
Genre: Electronic
Style: Drum 'n' Bass/Nu Jazz

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Tracklisting:
01. Hello Meow
02. Theme From Sprite
03. Bubble Life
04. Planetarium
05. Vacuum Garden
06. Circlewave 2
07. Cronecker King
08. Rotate Electrolyte
09. Welcome To Europe
10. Plotinus
11. The Modern Bass Guitar
12. Orient Orange
Total running time: 63' 41"

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[Squarepusher - Hello Meow - Live @ Koko, London]

"What with the Jenkinson clan now harboring another beat mangler amongst their ranks (Andy of Ceephax Acid Crew fame...), it seems that Squarepusher (aka Tom Jenkinson) has deemed the time right to reignite his love of crazy-leg rhythms and pickled electronics - with 'Hello Everything' a breathless collision of styles and influences. Picking elements from all his past work, 'Hello Everything' can be viewed as Squarepusher doing what Squarepusher does best; i.e. packing his compositions full of blistered beats, jazz breaks, lofty soundscapes and a cascade of melodies that makes this his most accessible work for donkey's years. Marking his tenth full-fat LP, Squarepusher has suffered in the past from dotting genuine jewels amongst less effusive work - with last album 'Ultravisitor' a fine example. Yet where that record had a scope and ambition that some listeners found off-putting, 'Hello Everthing' is undoubtedly Squarepusher's most rounded work to date; wherein his clever-clogs ideas never stand in the way of accessibility or a good tune. Kicking proceedings off with 'Hello Meow', Squarepusher immediately recalls the mutiple-beat pile ups of 'Go Plastic', as sliced snippets and cold-water bass map out a sonic topography that is very complicated but never over-awing. From here, 'Theme From Sprite' is another showcase for Jenkinson's superlative bass playing skills, as a tricky melody is subdued through the rolling low end, whilst 'The Modern Bass Guitar' will get Squarepusher fans all wistful for 'Greenway's Trajectory'. Elsewhere, 'Welcome To Europe' is a further nod to the more melodic path this new album seems to signal, 'Bubble Life' ropes in some Spanish guitar, whilst 'Planetarium' equals 'Big Loada' for visceral thrills. Still the f*cking daddy..." [source]



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