Ai is that rare sort of electronic label: by defying or simply ignoring musical genres, it has become the arbiter of a certain sound. This sampler, gathered from Ai’s catalogue circa ’00-’05, provides examples of exactly why the imprint has garnered such critical acclaim-its music runs the gamut from deep, epic techno to warped breakbeat, electro, experimental noise, and ambient pop. Every track is a standout, so there‘s no point in singling one or two out-suffice it to say that fans of good, solid electronic music, whether it be on the dancefloor or at home, will find plenty to like, indeed love, in this fine compilation.
Et Sans Par Noussss Touss Les Treus De Vos Cranes!
Equal parts industrial, noise-pop, and psychedelia, Et Sans’ Par Noussss… is another coup for Montreal‘s envelope-pushing Alien 8 recordings. Outer space effects commingle with whispers, pulsating organic thuds, pounds, and chants and fleeting hints of piano chords, ghost notes and haunted timbres. Just when the melancholy threatens to overwhelm, however, enough backbeat will come into the picture to bring you back to reality, or at least Et Sans’ version of it. Not a bad place to be, really…
Mathias Schaffh‚user Coincidance
If Cologne‘s techno scene were a public swimming pool, Mathias Schaffhäuser might represent the “deep” end-while he knows how to throw down dark and minimal, he also doesn‘t shy away from melody and emotion. This effect on Schaffhäuser‘s fifth album, Coincidance, can occasionally be overwrought: the sing-song vocals on this year‘s hit, “Truthology,” may work on dancefloors but are quickly cloying here. The album is best when kept simple, as with the crunchy tech stomper “Episode 3” or the beautifully subdued “Dear Elliott,” featuring acoustic guitar whispers from the late Elliott Smith‘s “Bled White.”
Ezekiel Honig & Morgan Packard Early Morning Migration
Although the tracks on Early Morning Migration are split evenly between labelmates Ezekiel Honig and Morgan Packard, the album sticks closely to the somnambulant ambience of Honig‘s solo output, with none of the meatier drum&bass Packard is known for. However, that doesn‘t make this collaboration any less of a beauty. Early Morning Migration trickles elegantly into the subconscious with whispered percussive elements and the clicks and skitters of artificial (or real?) pebbles falling on pavement. Variations do develop, as repeated listens reveal a muted interplay between the slightly off-kilter effect of Honig‘s “found sound” pastiches and Packard‘s more pristine melodic loops.
Seba & Paradox Planet Stars
Seba & Paradox have stuck to their drum-driven guns from day one and are finally getting the recognition they deserve. The duo builds momentum on “Planet Stars” with twisting amen edits, floor dropping bass, and vengeful vocal snippets, while Middle Eastern flavors run throughout the percussive beat down of “Kali.”
Calibre Domeron
Critical captures more Calibre craftsmanship on this fine tuned release. “Domeron”‘s lofty bass rolls over slapping breaks, faint female vocals, and high-pitched horns to minimal yet infectious effect. The flip, “Maximus,” is a more upbeat affair with its sweeping strings and bouncy bass hops. Calibre proves once again that less can be more.
Goldie Say You Love Me
We welcome back Goldie as he turns back the clock to ‘95. Washed away synth pads lead this mental tune through clanking breaks and razor sharp b-lines in classic Metalheadz fashion. The fast rising Skitty develops more musical noise on “Sith Print” by shuffling eerie, unsettling samples with the perfect puncturing bass stabs.
Various Artists Marc Romboy: Systematic Sessions Vol. 1
New labels looking to make a splash would do well to emulate Systematic Sessions. Compile the best from some hotly tipped 12″s along with tracks from sympathetic artists and mix under the guiding hand of an assured DJ/selector into a massive two-disc salvo. Here, Marc Romboy delves deep into Systematic‘s electro-house world by focusing on relentlessly dirty house beats, sonic variety, and a day/night tone split. On the first disc, Sthim Sound Machine‘s micro vocal edits and buzzing hard drive-error bassline evolve into John Tejada‘s cavernous “Mono On Mono,” which splits into individual blips before revolving into the Teutonic shuffle of Samim and Michal‘s poplock-inducing “Dirty Big Mouse.” By the second disc, things get darker until the one-two punch of Dirt Crew‘s glam-stomp acid bleeds into the rubber bounce of Justin Kohncke‘s “Elan,” closing out the two-hour set in a state of graceful hedonism.
Ernesto A New Blues
Mysterious one-name vocalist Ernesto dares to go where his album title points, where Moby claimed to go years ago but failed: into a new form of the blues for the 21st cenury. Ernesto‘s high, catchy voice was uniquely suited to the broken beat sound of Beanfield‘s Seek last year, but on A New Blues he finds a fuller expression of his vision of melding blues structures with future jazz/IDM electronics. Check out the DSP‘ed, microedited vocals, strangled bass, and swooping Herbie Hancock keys of “No More” for a précis: bringing the oldest forms of soul into line with the nu-est.
The Away Team National Anthem
The Justus League crew claims some of the hottest names in hip-hop right now, including superproducer 9th Wonder and Little Brother; now North Carolina‘s The Away Team steps up with their debut. Rhymer Sean Boog and producer Khrysis keep National Anthem well within the Justus aesthetic: Khrysis offers filtered soul hooks and deceptively simple arrangements that are harder-edged and a bit less catchy than 9th Wonder‘s work, while Sean Boog keeps up with workman-like rhymes. The funny liquor ode “Likka Hi (Last Call),” R&B love jam “One-N-Only,” and swinging posse cut “On the Line” show versatility and promise.
