ALBUMS REVIEWS 8.5 Redshape
Square Running Back Still untouchable
It’s been three years since Redshape’s standalone and standout last album, ‘The Dance Paradox’, but it still sounds as good as ever. Now appearing on Gerd Janson’s Running Back, ‘Square’ feels like a continuation of that sound, despite various ragged and raging dancefloor workouts for labels like Martyn’s 3024 in the interim period. The overriding characteristic is still one of sonic efficiency, where every last drop is wrung out of a single hi-hat or melody. Most tracks remain coated in the Berliner’s trademark fine grain fuzz, and he often pairs the rough with the smooth à la Omar S with sensual results. Each deeper-than-deep track feels like a mini film, betraying heartbroken tales from a long-lost era of industrial romance with bleary-eyed melodies and, in one instance, dread-fuelled Spaceape diatribes for company. Simply essential. Kristan J Caryl
Blackbelt Andersen
Blackbelt Andersen II Full Pupp Alien flora and fauna
On his second long-player, Norwegian producer Daniel ‘Blackbelt’ Andersen successfully joins the dots between his fellow countrymen’s cosmic disco ex- cursions, the eyes-on-the-skies techno of ‘80s Detroit and Black Dog Produc- tions’ early ’90s work, creating in the process one of the most life-affirming albums you’ll hear this year. Tracks like ‘Kosmos’ and ‘Indre demoner’ effort- lessly soar above the clouds, ‘Postkort fra Berlin’ conjures up mental vistas less of the German capital than of some futuristic Polynesian megalopolis jut- ting like a silver spear from the Pacific, whilst the glorious ‘Aapenbaring’ will hit dancefloors with all the emotional intensity of Sabres Of Paradise’s classic ‘Smokebelch II’. ‘Blackbelt Andersen II’ feels loaded with nostalgia for an increasingly unlikely utopian future, a playful Mondo 2000 fantasy where alien fauna and flora frolic through pristine fractal landscapes. Absolutely essential. John Power
9.0 Vitalic
Rave Age Different Recordings New rave age
The musical cliché “the Godfather of...” is thrown around too easily, but the way Vitalic made his name with his proto electro/techno fusion ‘Poney EP’ on Gigolos in 2001 stakes his claim on the current blurring/bleeding edges. Sadly, he’s not pushing any boundaries or laying down future templates with his third album. Lacklustre contributions from guest vocalists Mickael Karkousse from Goose and Joe Reeves of Shit Disco, combined with a slightly baffling predilection for dated pad-like trancey synth sounds, makes for an uninspiring mix. At its lowest points, Reeves’ vocals bring to mind nothing more than his own failed ‘new rave’ band and whilst ‘Vigipirate’ interestingly stutters and threatens to stomp, it never really gets started. Best track by far is ‘The March Of Skabah’, coming across like something you’d hear at a Dalek’s disco. David McCarthy
5.0 Prins Thomas An odd approach
One half of space-disco’s uber tag-team returns with a frequently puzzling second album. Whilst Prins Thomas’ approach to music has never been about beating the listener around the head, parts of the record are simply too restrained for their own good, charac- terised by almost incessant percussion and little else on some tracks. It’s frustrating at times, but then tracks like the beautiful ‘Symfonisk Utviklingsh- emming’ and its multi-layered colourful disco patterns flow out of the speakers, fully reinstating your faith. Largely, though, we find Thomas try- ing pedantically to nail very specific grooves in each track; some, like ‘Tjuk- kas Pa Karussel’, succeed, but others fall short. The overwhelming impression is that he’s having some light-hearted fun, but this seems to have been at the expense of creating a fully-rounded album — made more disappointing by the oc- casional flashes of excellence. Tristan Parker
Prins Thomas 2 Full Pupp
6.5
7.0 Pangaea
Release Hessle Audio Tough
Saying anything less than 100% favourable about Hessle or any of its associates feels, well, blasphemous, but here goes: ‘Release’ is divisive. A bunch of tracks really stand out from the rest, which, dare we say it, could’ve wandered out of the ‘Coiled’, ‘Memories’ and ‘You and I/Router’ era without earning the same creden- tials. Anyway, let’s focus on the good as opposed to the less good stuff. Kevin McAuley’s love of pirate radio sounds and soundsystem music shines throughout, as does his characteristic penchant for refined abrasion and unrelenting toughness. ‘Release’ is a vision of futuristic, hardcore energy; ‘Majestic 12’ is unashamedly bouncy and ravey; ‘Trouble’ has a luscious, ‘Inna Daze’-style spookiness and ‘High’, with its searing delicacy, pulls you into a swirling, galactic vortex. There’s the odd fault to pick, but only because Pangaea’s set the bar too high for himself. Emmajo Read
114 Miguel Campbell
Back In Flight School Hot Creations Something (not that) special
With his breakthrough track ‘Some- thing Special’, Leeds producer Miguel Campbell seized quite precisely on the sound of Jamie Jones’ Hot Creations, and in the process bagged himself a hit (not to mention a gong at DJ Mag’s Best Of British awards and Beatport’s biggest seller of 2011). ‘Back In Flight School’ signifies another milestone, his debut set, and the culmination of a pretty intense 18 months, by the sounds of things. And while there are no surprises here — literally, not a single one — it would feel somehow churlish to take issue with the fact. If you’ve heard ‘Something Special’, you’ve heard ‘Back In Flight School’ in its entirety. Everything else is simply a variation on a theme, that theme being ‘80s boogie and funk pumped up for modern dancefloors. But drop any of these on a Saturday night, and you’ll find Miguel wins the argument. Kudos. Ben Arnold
6.0 Steve Bug
Noir Poker Flat Recordings Like a fine pinot noir
‘Noir’ is Poker Flat boss Steve Bug’s fifth long-player, ostensibly a ‘listening album’ as opposed to a collection of club tracks, but then who admits to the latter these days? This becomes apparent pretty quick, however, when his second track, ‘Poison Of Choice’, decelerates to 60bpm and drops in blues-y, Floyd-esque guitar flourishes atop a bassline of purest dubstep. We’re not at the disco anymore. But then soon enough, the throbbing kicks return, with ‘No Adjustments’, featuring collaborative skills from the excellent Foremost Poets. ‘Moment Of Ease’ finds vocalist Emilie Chick adorning a stuttering, vaguely wonky loop and hypnotic piano chords. ‘Those Grooves’ feels like more classic Bug, deep, synth-led tech house crafted beautifully. ‘Farewell Friend’ is flooded with languid, emotive ambience, and album closer ‘The Seventh Victim’ feels permeated with sunset rays and long shadows. Classy. Ben Arnold
www.djmag.ca
8.0 Fritz Kalkbrenner
Sick Travellin’ Suol Beardy Suol brother
No longer the withdrawn, slightly reclusive brother to Paul, we’ve become increasingly familiar with Fritz Kalk- brenner since debut album ‘Here Today Gone Tomorrow’. First and foremost a vocalist until then, his throaty folk tones gracing techno from his brother, Sascha Funke and Chopstick & Johnjon, he has since con- tinued to prove his worth as a producer, with a slew of releases on Suol, and as a DJ with his ‘Suol Mates’ influences mix. So have we learnt any more from this, his second LP? Not a great deal. Instead it serves to extensively prove his deft touch as a producer, while further indicating his limitations as a vocal- ist. Too often the album strays into familiarly twee territory, despite mo- ments — especially with ‘Make Me Say’ or ‘Brumare’ — when Fritz truly makes his mark as a microhouse master. Mixed bag. Lisa Loveday
7.5
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