Released under the moniker DJ Sprinkles, Midtown 120 Blues reflects Thaemlitz’s experiences in almost every aspect of its construction. The album presents an unabashed view of the commercialization of the New York house scene, and the mix of ambience, deep house and melancholy throughout the album embodies this disenchantment. Though scathing when on attack, Thaemlitz produces great warmth in the soft ambience of songs like House Music is a Controllable Desire You Can Own. Yet the album does not get lost in emotion, often taking an analytical approach to the topics covered. Underlying the lyrics though is the emotion he conveys. By no means grandiose, Midtown 120 Blues excels for the simple fact that it takes a part of Thaemlitz and expresses it consistently throughout all aspects of its construction.
Tangerine Dream’s five atomic seasons series has produced some of their best music in recent years. As the third addition to the series, Autumn in Hiroshima exceeds its two very solid predecessors in almost all areas. The melodies capture a unique take on the aftermath of the atomic bombings in Japan through one set of eyes. The experience when following the albums journey towards inner tranquility after the trauma of the bomb is often mesmerizing. Though not necessarily easily accessible, the beauty of the album lies in the journey and understanding of the rich concept behind it.
Obvious similarities do exist to Gwen Stefani. Yet with more skillful vocals and a focused synth-heavy sound, Lady GaGa does plenty to carve out her own style. The album seems unconcerned with external opinion, simply aiming for the goal of creating something that sounds good. It’s a charming attitude that extends throughout the album, especially in her lyrics. Combined with nimble control of her vocals and skilled production; it makes for an exceptionally appealing combination. While The Fame only really captures one component of the pop theatrics of Lady GaGa, the strong execution in production and vocals helps GaGa deliver an energetic punch. The Fame isn’t a defining moment in pop culture, but it is a promising sign for Lady GaGa, with plenty to dance to.
It seems that if any songs on Klute's latest album The Emperor's New Clothes were to be described as self-inspired, Toiler would be the most appropriate fit. Klute's music merely reflects what sounds good to him, and it seems his deft touch always takes songs just where they need to go. The album packs both laid back experiences with pure melodies and high-paced, bass driven songs. Our Leader proves the focal point of the album, a hair-raising melody and strong unrelenting breakbeats creating a memorable ride. And in every song the album maintains a standard of quality reflective of Klute's hard work. Those unfamiliar with Drum & Bass may not know where to look, yet those who turn to Klute are unlikely to turn away with a feeling of disappointment.
Power Ballads by London Elektricity is very much in the same vein as Drum N' Bass artists Pendulum, Shapeshifter and Concord Dawn, mixing in large portions of vocal samples with fast paced Jungle break beats. Power Ballads focuses heavily on melodic female diva vocals, at times working to great effect such as in Power Ballads, Out of This World and Will To Love. But never does it reach new grounds nor differ greatly from its contemporaries. The essence of their sound also bears resemblance to Kruder and Dorfmeister, taking organic acid jazz and speeding it up to 180bpm. When all seems to blend together nicely, London Elektricity create mesmerising melodies on top of incessantly addictive break beats, and most importantly a wonderful colour of sound.
Through his simple song structures and impeccable Spanish guitar playing, Jose Gonzalez steps ahead of his modern day contemporaries with Veneer and offers a tantalising view of what he is capable of. Gonzalez's single for the Sony Bravia ad offers only a glimpse of the beautiful melodies available in Veneer, with songs like Slow Moves and Lovestain capturing a magical sense of beauty. Whilst Gonzalez does not reveal enough of his feelings, his passion and his true soul in the album, the quality of his musical creations is never in question.
Before Human After All, Thomas Bangalter and Guy-Manuel de Homem-Christo were the mysterious golden boys of the French House scene. Human After All was met with a heavily negative reaction, with much outrage over its heavily industralised sound, its repetitiveness and its poor production quality. But despite this, Daft Punk strike gold in a number of songs with their usual infectious sound still there, but in a different context.
