You might not be able to understand a single word that Washington, D.C.-based vocalist Henning Fritzenwalder is crooning in his native German (although you can probably guess what “fotografie” means); despite the language barrier, his breezy bossanova vocals translate into something sunny, warm and accessible. Fritzenwalder cuts his tunes with electronically swiped beats and cackling static, and there’s a brooding loveliness to these tracks that speaks volumes. Highlights include Fritzenwalder’s breathy, deeply sexy stylings on “Verbrechen,” where he sounds unquestionably macho against driving guitar-rock chords. This is Kraut rock, baby.
Oliver Lieb The Best Of L.S.G.
If a single artist can be considered most responsible for inspiring rave shenanigans during the ’90s, surely it’s Oliver Lieb. Ceaselessly prolific in his day, it’s fair to say that this German composer all but single-handedly shaped the art of non-cheesy trance under a wealth of different monikers-including his dark, acid-doused work as Spicelab for the Harthouse label. This double-CD retrospective of Lieb’s work as LSG gloriously revisits ’90s trance dancefloors, with a bonus disc offering Lieb faves in their stronger, un-retouched state, including his gorgeous classics “Blueprint” and “Hearts.” Hey, we all twirled glowsticks around once, and-as Lieb gently reminds us-that’s okay.
Double U Life Behind A Window
The newest project from Jazzanova’s Berlin-based Sonar Kollektiv label comes from an unemployed French kid with a huge sound. Parisian producer Frank “Double U” Rabeyrolles debuts a stunning exercise in experimental hip-hop rhythms laced with ’60s psychedelic instrumentals. Like the rich, multi-dimensional style of Jazzanova compositions, Rabeyrolles deftly manipulates a complex set of elements against unpredictable song structures and the result is something deeply stirring. Lonely hearts will shudder at the open vulnerability of Rabeyrolles’ spoken word poem “Hard Times,” while the melancholy sweetness of the opening track, “In Vain,” weaves a tale of dodging disappointment amidst zigzagging electronic synth chords. Easily one of the brightest new talents of 2004.
Maylay Sparks Graymatter
Rappers sound best when they’re least aware of themselves. Exhibit A: Maylay Sparks. The cat can blab about smokin’ dutches or doing the nasty all he wants, because, whatever the subject, he’ll still sound fresh-he doesn’t so much spit lyrics as chuck them at you. This guy definitely deserves the best, sexiest beats and fortunately his cabal of producers (the best of whom is DJ Noize) come through on Graymatter for the most part. The only tracks that don’t bump are “The Suare” and “Head Check”-yo, someone give those joints new boobs and a rhinoplasty.
World Standard & Wechsel Garland The Isle
The persistently out of the ordinary Staubgold presents a subtly delicate and undramatically sweeping reissue of last year’s tragically underexposed P-Vine release, Jorge Follett and Sohichiro Suzuiki’s The Isle. Showcasing a delightfully sublime ear for organic instrumentation without relying on the conventional vernacular, The Isle has a heartfelt and childlike quality that doesn’t lose itself in saccharine nostalgia. Surface simplicity masks the mature contours and wise intimacy of these compositions. The Isle is along the lines of a Morr Music release, but clearer, brighter, and more intelligently executed; it’s in line with Sack/Blumm collaborations, but less childish in its toy piano fetishism. Lovely.
Donna Summer Donna Summer
More samplecore from the current reigning heavyweight champ: Jason Forrest. Here, he sends bits of Styx, David Bowie, Iggy Pop and Black Sabbath colliding through a corridor of lock-grooved chaos that spirals giddily into a terrified but willing universe.
Colder Colder
As the inaugural Stateside release for Trevor Jackson’s Output imprint, Colder makes for a perfect mission statement. Like much of Output’s roster, Colder-the self-titled album from Parisian Marc Nguyen Tan-displays a sophisticated blend of sleek, brooding urbania rooted in post-punk and leftfield techno stylings. Like Jackson’s Playgroup, Colder’s effortless amalgam of skeletal funk (Joy Division being the looming influence), dub, Kraftwerk and early NYC proto-hip-hop positions itself on the edge of the fashion industry-not surprising, considering Tan’s day job as video and graphic producer for the likes of Comme des Gar¡ons and Kenzo. Like the best of Output’s, um, output, Tan manages the uneasy task of being both hopelessly referential and nonchalantly fresh at the same time.
Leroy Hanghofer Overture
Berlin’s Munk boys reprise some of last year’s overlooked White Trash album, throw some new beats onboard and prove that they’re still making great tracks that should’ve been made in early ’80s NYC. It’s all about the technology. And the drugs, of course.
Rob Ellis Music For the Home Vol. 2
If the name of this collection implies otherwise, the second volume of Rob Ellis’ Music For The Home could hardly be called calming. Ellis’ definition of home may be not so much a place of tranquility but a place where one can sift through these oblique modern classical piano workouts without the interruptions public spaces may offer. Make no mistake, there is nothing easy listening on offer here. The PJ Harvey drummer has conjured a diverse, challenging collection that locates him somewhere in the midst of Oliver Messaien, Karlheinz Stockhausen, and John Cage. Indeed, it’s an impressive feat of composition when compared with the Neanderthal miming most pop has become.
ESG/Freddie Mas More G.D.M. Vol 5
In which a long lost ESG track is unearthed, “Party Music” finds the sisters Scroggins with a proto-house tune that, in a just world, would incite a traffic jam any time cued up. Paired with Freddie Mas’ paranoid android funk jam “Paths,” Tigersushi proves they’ve got more goodies up their Parisian sleeves.
