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The Mirror Conspiracy by Thievery Corpor...

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The Mirror Conspiracy by Thievery Corporation (CD - 11/01/2003)

"The Mirror Conspiracy" (11/01/2003) Electronic Thievery Corporation, ESLThievery Corporation: Eric Hilton, Rob Garza. Additional personnel: Bebel Gilberto, See-I, Pam Bricker, Lou Lou, Brother Jack (vocals); Desmond Williams (guiatr, keyboards, bass); Chris Vrenios (guitar); Rob Myers (sitar); Rick Harris, Zack Grady, Mike Thomas (horns); Roberto Berimbau (percussion). Engineers: Desmond Williams, Rob Garza, Eric Hilton. Recorded at ESL Studios, Washington, D.C. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Bebel Gilberto (vocals); Desmond Williams (guitar, keyboards); Rob Myers (sitar); Mike Thomas, Rick Harris (horns); Eric Hilton, Rob Garza (programming). Recording information: ESL Studios, Washington D.C. Photographer: Bill Crandall. Thievery Corporation's second album strengthens the duo's reputation as masters of downtempo, internationally influenced beats. Borrowing from bossa nova, dub reggae, French torch songs, Italian movie soundtracks, and jazz, THE MIRROR CONSPIRACY is a sophisticated, pleasurable listen. The album is sequenced beautifully, with sexy, world-weary tracks such as "Samba Tranquille" floating into the downtempo torch stylings of "Shadows of Ourselves." The album's international flavor comes from places as diverse as Jamaica, ("Focus on Sight" featuring I-See on vocals), Paris' Arab quarter ("Le Monde"), and opium dens and teahouses ("Indra," "Lebanese Blonde"). Rob Hilton and Eric Garza, the men behind Thievery Corporation, also have active remix and DJ careers. They're co-owners of Washington D.C.'s 18th St. Lounge, a club where the Thievery Corporation sound gets tested and exercised at each evening's DJ sets. Their remix album ABDUCTIONS AND RECONSTRUCTIONS is another excellent example of their masterful production work.

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Reiki: Hands of Light by Deuter (CD - 03...

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Reiki: Hands of Light by Deuter (CD - 03/05/2002)

"Reiki: Hands of Light" (03/05/2002) Electronic Deuter, New Earth RecordsLiner Note Authors: Deuter; HP Beate Blaszok. Of all the CDs designed to accompany the healing energy of Reiki, Reiki: Hands of Light, by Deuter, is one of the best, if not the best. That is no surprise, because Deuter always ascends to the top in whatever style he chooses. His releases are always diverse, with many different applications. This CD is perfect for use in the healing arts. It is also outstanding ambient and deep space music. The atmospheres and soundscapes evoke images of exploration and discovery. It is like a perpetual sunrise -- always new. This disc is in on an elite level and rates with the best work of Constance Demby, Jonathan Goldman, Anugama, and Jorge Alfano. ~ Jim Brenholts

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Cross by Justice (French Duo) (CD - 07/1...

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Cross by Justice (French Duo) (CD - 07/10/2007)

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Vertigo II * by Dictaphone (CD - 03/21/2...

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Vertigo II * by Dictaphone (CD - 03/21/2006)

"Vertigo II *" (03/21/2006) Electronic Dictaphone, City Centre Offices (USA)Dictaphone: Oliver Doerell, Roger Doring. After an onslaught of releases during the first half of the 2000s, keeping the notion of glitch music fresh and engaging is quite the challenge, as the sound palette has been all but exhausted and spent beyond its capacity to remain a central piece of a composition. And while Dictaphone don't exactly make glitches the forefront of Vertigo II, they use the textures to complement the field recordings and instrumentation in the forefront throughout. A blend of horns, woodwinds, and thundering basslines is the focal point throughout the record's 12 tracks, and the balance between the stark use of the organic and digital is uncomfortable yet pleasant. Vertigo II is the soundtrack to a haunting black-and-white movie that has yet to be made. ~ Rob Theakston

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Quiet Songs by Aisha Duo (CD - 2003)

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Quiet Songs by Aisha Duo (CD - 2003)

"Quiet Songs" (2003) Electronic Aisha Duo, ObliqSoundAisha Duo: Andrea Dulbecco (vibraphone); Luca Gusella (marimba). Personnel: Marco Decimo (cello); Andrea Dulbecco (vibraphone); Luca Gusella (marimba); Glen Velez (frame drum). Additional personnel: Glen Velez (drums, percussion); Marco Decimo. Recording information: Chiesa Di Sant' Agnese, Bogogno, Italy (09/2003). Tuned percussion freaks are going to love this. Aisha Duo is the pairing of Andrea Dulbecco and Luca Gusella, who play marimba and vibraphone, respectively. The aptly named Quiet Songs is almost entirely a duet album, with only a little hint of cello and some unobtrusive Irish-style frame drums in the background of a few songs. (Only on the simply lovely bossa nova-style album closer "Amanda" do the guest instruments take more than a decorative role.) Otherwise, Quiet Songs is nothing but pealing tones from the duo's primary instruments. The album was recorded in the center of a 17th century Italian church, and the combination of stone walls and a large, open room gives the album an ambience so thick the listener can almost touch it, amplifying the natural resonance of the woody marimba and the weightless, ethereal sound of the vibraphone, surely one of the most beautiful-sounding instruments in the world. The centerpiece of the album is a reworking of eight of Chick Corea's Children's Songs, his brief piano solos transformed into equally concise but considerably more inviting duets, but the entire record is a delight, lulling and fascinating in equal degree. ~ Stewart Mason

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Anything [Digipak] * by Martina Topley-B...

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Anything [Digipak] * by Martina Topley-Bird (CD - 09/01/2004)

"Anything [Digipak] *" (09/01/2004) Electronic Topley-Bird, Martina, PalmBest known for her guest appearances on Tricky's first three solo albums, Martina Topley-Bird owes much to the trip-hop movement, yet is not defined by it. Originally released in the UK to much critical acclaim under the title QUIXOTIC, ANYTHING is a pared-down, re-sequenced version of that original album, and serves as the US introduction to Topley-Bird's postmodern, electronica-infused soul music. Sophisticated, unpredictable, and intense, Topley-Bird veers between rock ("Need One"), ragga-rap ("Ragga"), atmospheric ballads ("Sandpaper Kisses"), and piercing pleas of emotional intensity (the spectacular title track), all unified by a keen sense of stylistic focus. Topley-Bird's sultry voice, at once understated and sharp as a tack, is equally at home with classic soul styling ("Soul Food"), and on edgier material ("Too Tough to Die"). Like the best of Britain's digital-era soul, ANYTHING is rhythmically driven, but ethereal, combining the otherworldliness of electronic soundscapes with a vocabulary informed by hip-hop, experimental music, and pop. Topley-Bird takes this recipe one step further here, and promises--if her debut is any indication--to take it even further in the future.

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The End of the World [Slipcase] by The R...

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The End of the World [Slipcase] by The Real Tuesday Weld (CD - 06/17/2008)

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Expedite Music

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Expedite Music

"EM: Expedite Music" (05/04/2005) Electronic Various Artists, Future Records

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EM3 *

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EM3 *

"EM3 *" (05/04/2005) Electronic EM, Future Records

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EM2

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EM2

"EM/2" (05/04/2005) Electronic EM, Future RecordsvisionEar's (born Jim Konen) second album as EM, EM/2, again incorporated exotic worldbeat-style sounds with ambient, moody electronica over the course of ten songs. However, visionEar diversifies his sound a bit more here than he did on his first EM album, Expidite Music, incorporating lively songs like "Party Mix" and "Check It Out," as well as a trilogy of mournful songs inspired by the September 11th tragedy: "DUDA," "911," and "Aftermath." ~ Jason Birchmeier

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Inner Peace by Steven Halpern (CD - 08/0...

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Inner Peace by Steven Halpern (CD - 08/06/2002)

"Inner Peace" (08/06/2002) Electronic Halpern, Steven, Steven Halpern's Inner Peace MusicThere are certain things you can expect to find on a Steven Halpern release, and they are all here on INNER PEACE. The instrumentation is Halpern's classic combination of synthesizer, electric and acoustic piano, flutes, and in places, English Horn (courtesy of Paul McCandless, who has collaborated with Halpern on other occasions). The range and purity of the tones, from primordial lows to celestial highs, are meant to address the energy of each of the seven chakras. The pace is beyond slow, creating an atmosphere for quiet introspection and healing. Within that formula thrives a refreshing variety of sounds. On the title track, a slow, rolling wave of synthesizer provides a deep drone, while muted horn rises over the horizon like the sun breaking. "Deep Peace" is a tone poem for keyboards, with gentle drum-taps that mimic the heart. Bettine Clemen's sweet flute melodies seem to climb the listener's spine in "Sanctuary of the Heart," and "Traveling Among the Stars" is an effortless, gliding piece for Fender Rhodes piano. The final track, "Time Being," is so motionless it almost defies the rules of music, and yet it generates pure bliss. INNER PEACE is another perfect offering from the master of healing music.

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Midnight Magic by Skateb?rd (CD - 10/10/...

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Midnight Magic by Skateb?rd (CD - 10/10/2006)

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Aural & Hearty by Mocean Worker (CD ...

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Aural & Hearty by Mocean Worker (CD - 09/01/2004)

"Aural & Hearty" (09/01/2004) Electronic Mocean Worker, PalmMocean Worker: Adam Dorn. Personnel: Mocean Worker (synthesizer); Bono (vocals); Adam Dorn (programming); Roc Raida (scratches). Audio Mixers: Adam Dorn; Martin Brumbach; Mocean Worker. Editor: Mark Fellows. After proving himself one of the more adept drum'n'bass producers on his first two sets, Adam Dorn branched out his Mocean Worker project considerably for his third LP, Aural & Hearty. The results aren't completely disastrous -- Dorn's production talents are as tight as usual -- but the parade of genre workouts on this album makes it all a bit tiring (though it must've been a fun one to record). After a short intro, Aural & Hearty begins with a beyond played-out big beat redux named "Hey Baby" (guess what the predominant vocal sample turns out to be), and the track's only partially redeemed by Dorn's production finesse and the guest scratching of Roc Raida (from the X-Ecutioners). The song with the highest expectations coming in, a Bono collaboration titled "Air Suspension," also turns out a distinct disappointment; Dorn frames Bono's tossed-off vocal with little more than a few bland acid-techno riffs and a vocal tag lifted straight from a Timbaland record. The rest of the genres Aural & Hearty soundchecks -- easy-tempo groove on "Tres Tres Chic," Brazilian samba on the scratchy cut "Velvet Black Sky," filtered disco on "Astroglide," beatbox techno on "Step" -- are pleasant enough, but quite clich?d coming on the heels of Dorn's inventive mastery of dark drum'n'bass and trip-hop on his previous material. "Intothinair" is one of the bare few highlights, a stab at paranoid tech-house with a devastating analog bassline and shimmering synth (Dorn apparently loved the bassline effect, considering he used it in two other tracks on the album). ~ John Bush

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In My Mind All the Time by Numbers (Tige...

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In My Mind All the Time by Numbers (Tigerbeat6) (CD - 01/26/2004)

"In My Mind All the Time" (01/26/2004) Electronic Numbers (Tigerbeat6), Tigerbeat6Numbers: Eric, Dave, Indra. Personnel: Dave Broekema (vocals, guitar); Eric Landmark (vocals, Moog synthesizer, sound effects); Indra Dunis (vocals, drums). Audio Mixer: Alex Newport. Photographer: Indra Dunis. Numbers return with their most focused set of songs yet on their second full-length, In My Mind All the Time. While remaining true to the blocky, almost childlike dance-punk of their previous work, the trio embellishes its sound in exciting ways, making In My Mind All the Time the band's most expansive work to date as well. Granted, this isn't an especially difficult feat; Numbers' early releases were chaotic enough that the added structure the group brings to these songs makes it possible to add some clarity and diversity without sounding slick. In My Mind All the Time's last two songs reflect where Numbers has been and where the band is going: "Obsessed" is a violent miniature reminiscent of their Life work, with a theme that fits their deliberately repetitive sound perfectly. The Krautrock-inspired instrumental "Feelings," meanwhile, begins with three and a half minutes of droning synths (in which time the band could easily crank out three and a half songs) before guitars and drums fall into subdued step behind them. However, most of In My Mind All the Time isn't as polarized as either of these tracks; most of the songs are on the short side, but there's a lot going on in each one. "Drunk With Pain"'s chugging guitars and grooves have a downright Devo-like precision that exemplifies the mix of simplicity and complexity within Numbers' music. "Waiting" is the closest the band has ever come to a ballad, contrasting its relatively slow verses with the impatiently ping-ponging melodies in its choruses (the band also gets extra points for giving the word "wait" two syllables). And "Anything," with its appealingly jumbled melody and singsongy vocals, is probably Numbers' poppiest song yet. Even when the band's songs weren't this accessible, Numbers has always had more fun with their no wave dance-punk than most of their contemporaries have; In My Mind All the Time offers plenty of playfulness as well, particularly on "Product Lust," another of the band's whimsical but still pointed attacks on mindless consumerism. On "Dance Attack," the Numbers-style self-help of "I Will Smile More," and the germphobic rant "Disease," Indra Dunis' smothered vocals make her sound like she's the spazzy kid sister of Adult.'s Nicola Kuperus. "We're Numbers" takes the band's quirky bent to nearly Servotron-like levels of gimmickry, but its low-res beats and spazzy guitars give it some musical substance. Indeed, all of In My Mind All the Time proves that Numbers' music can be more polished and complex without compromising the noisy, witty edge that made it so entertaining in the first place. ~ Heather Phares

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Elevators And Oscillators [Digipak] [4/5...

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Elevators And Oscillators [Digipak] [4/5] *

"Elevators and Oscillators [Digipak]" (04/05/2005) Electronic Solvent, Ghostly InternationalSolvent: Jason Amm. Audio Remixers: Ectomorph; Josy; The Mitgang Audio; isan; Legowelt; Lowfish; Alter Ego; Perspects; Schneider TM. Elevators and Oscillators is an album of halves that isn't sequenced as such. Six tracks are new, while the other seven are remixes of tracks that originally appeared on 2002's various-artists Disco Nouveau compilation and 2004's Apples + Synthesizers. The 13 tracks are arranged to make the disc sound less like the hodgepodge it is and more like a proper album, which is remarkable since the rather distinct remixes and new productions shouldn't really fit together. A couple remixes steal the show: Legowelt's look at "My Radio" (technically a cover) turns the teary-eyed electro-pop of the original into weary, dispassionate EBM ? la D.A.F., and Alter Ego's remix of "Think Like Us" is irresistible electro-glam. ~ Andy Kellman

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Jean Michel Jarre in Concert: Houston-Ly...

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Jean Michel Jarre in Concert: Houston-Lyon by Jean Michel Jarre (CD - 10/19/1993)

"Jean Michel Jarre in Concert: Houston-Lyon" (10/19/1993) Electronic Jarre, Jean-Michel, Dreyfus Records (France)En Concert is an energetic live album with half the tracks played in front of Houston, TX, and the other half played to a crowd in Lyon, France. Jarre ignites the crowd in both cities, letting loose on a multitude of synthesizers and sequencers while playing his classics like "Oxygene V," "Magnetic Fields I," and "Equinoxe V." His sonic display in front of the French crowd is the more spirited of the two, since Europe is where his fan base is the largest. Jarre kept many of his slower mood pieces off of this album, which is rightly so. His quicker, more robust pieces seem to gain momentum as he dazzles the audience with his electronic sweeps and sharp stabs of brilliant synth. The lasers and lights can almost be heard piercing the night sky on "Rendez-Vous II" as Jarre ceases to limit himself to only a few instruments. Both performances are outside, so there are no walls restricting the music, which, believe it or not, can be felt throughout the album. The sounds that radiate from Jarre's keyboards sound large and expansive, capturing the live atmosphere and dynamically unleashing it onto disc. ~ Mike DeGagne

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A Chance to Cut Is a Chance to Cure by M...

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A Chance to Cut Is a Chance to Cure by Matmos (CD - 03/13/2001)

"A Chance to Cut Is a Chance to Cure" (03/13/2001) Electronic Matmos, Matador (record label)M.C. Schmidt and Drew Daniel are actually sons of doctors. Matmos includes: M.C. Schmidt (spoken vocals, acoustic & electric guitars, sequencing); Drew Daniel (electric guitar, samples, sequencing). Additional personnel: Katie Williams, Jay Lesser, Felix Kubin, Hrvatski, Miquel DePedro, Stefanie Ressin, Richard Von Der Schulenburg (spoken vocals); Mark Lightcap (electric guitar); Stephen Thrower (clarinet); Steve Goodfriend (drums). Personnel: Drew Daniel (electric guitar, sampler); Mark Lightcap (electric guitar); Stephen Thrower (clarinet); Steve Goodfriend (drums). Watching plastic surgery procedures requires a brave heart (or at least a strong stomach): It's equally chilling and fascinating to see the body cut open, invaded, and manipulated with cold machinery in pursuit of aesthetic perfection. Of course, there's a parallel between the way plastic surgeons reshape humans to conform to some ideal and the way other artists sculpt their ideas into something distinctive or beautiful. Matmos' fourth album A Chance to Cut Is a Chance to Cure makes that connection in the most literal, explicit way: The duo, brave of heart and strong of stomach (and both doctors' sons), recorded the snips, clicks, snaps, and squelches of various surgical procedures, then nipped and tucked them into seven remarkably accessible, melodic pieces of experimental techno. Though the source material has been recontextualized into music, it doesn't escape its origins; you can take the sounds out of the surgery, but you can't really take the surgery out of the sounds. The jaunty "Lipostudio (And So On)" recalls Mouse on Mars' bouncy electronic pop, but realizing that the song's cheery-sounding squelches come from body fat being sucked through a tube makes for queasy listening. To the duo's credit, Matmos avoids making A Chance to Cut Is a Chance to Cure grisly or gross; Andrew Daniel and Martin Schmidt approach the album's concept with their usual playfulness and an appropriately clinical detachment, resulting in some clever and surprisingly diverse songs. "L. A. S. I. K."'s surgical laser zaps and "Ur Tchun Tan Tse Qi"'s electrical acupunture pulses make for synapse-frying glitchfests, while "Memento Mori"'s brittle, percussive funk belies its beginnings as samples of scraping and tapping a skull. "Spondee" mixes a test for hearing-impaired children with a kinetic bassline and a house beat, turning it into a dance anthem for a doctor's waiting room; "For Felix (And All the Rats)," built out of the sounds from a bowed and plucked rat cage, is an eerie elegy for Matmos' deceased pet and labaratory animals everywhere. Best of all, though, is the ten-minute album closer "California Rhinoplasty," which wittily juxtaposes a nose flute against the disturbing but undeniably rhythmic sounds of crunching bone, cauterized tissue, buzzing saws, and pumping respirators. Though its concept is somewhat gimmicky -- a word long associated with Matmos' cut-and-paste mix of everyday and extraordinary sounds and more conventional instrumentation -- A Chance to Cut Is a Chance to Cure's fascinating idea and engaging results prove that Daniel and Schmidt are two of electronic music's deftest sonic surgeons. ~ Heather Phares

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The Lost World by Michael Stearns (CD - ...

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The Lost World by Michael Stearns (CD - 05/23/1995)

"The Lost World" (05/23/1995) Electronic Stearns, Michael, FathomPersonnel includes: Keri Rusthoi (vocals). Personnel: Michael Stearns (vocals, whistling, flute, bamboo flute, synthesizer, percussion); Keri Rusthoi (vocals); Mitchell May (flute); David Korup (dumbek); Miguel Rivera (percussion). Liner Note Author: Michael Stearns. Recording information: Arenal Volcano, Costa Rica (1995); Earth Turtle Studio, Santa Fe, NM (1995). Space music composer Michael Stearns also composes for large-screen IMAX movie documentaries. The Lost World is so massive it could easily fill the theater, even without the movie. The lost world of the title refers to the towering rock pillar and cliffs and the thick tropical rain forest of Mount Roraima in Venezuela. The area was so mysterious and so full of adventure that in 1912 Sir Arthur Conan Doyle wrote an adventure novel, a book that captivated Stearns as a boy. Stearns traveled by jeep, river, and foot to explore the region, returning with spectacular images and sound samples for this Cinemascope movie for the mind. The music is vast, immense, with drums as loud as dinosaur footsteps, organ drones as thick as impenetrable cliffs, and gongs as tall as the mountain's thousand-foot waterfall. Of course, the little band of explorers is overwhelmed and outnumbered by the territory and its legends. A local porter tells a scary tale while taking shelter in a cave, and the legend springs to life right from the speakers. Nothing -- exploding volcanoes, fields of crystals, natives peeking around every tree, man-eating insects -- stops the band of intrepid adventurers from marching onward into the unknown. Stearns' music is so descriptive that dinos will pound through your speakers. Like a good summer blockbuster, this album's a winner. The operative voice of Keri Rushtoi adds considerable drama to the adventure. Liner notes rate a "thumbs up" for spectacular photography and setting the scene. ~ Carol Wright

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Blue Album by Orbital (CD - 08/10/2004)

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Blue Album by Orbital (CD - 08/10/2004)

"Blue Album" (08/10/2004) Electronic Orbital, ATO Records (USA)Personnel: Sparks (vocals); Brian G. Wright (violin); Andy Nice (cello). With charges of repetition and failure to keep pace with the standard set on initial releases, Orbital lost some critical standing with THE MIDDLE OF NOWHERE and THE ALTOGETHER. 2004's BLUE ALBUM incorporates glitch-hop, big-beat techno, and many of the tricks the duo pioneered in the early 1990s and, as such, may invite some of the same criticism, but BLUE ALBUM is an engaging techno-flavored work that's melodic as well as danceable. Orbital is at its best on tracks that are either wholly ambient (particularly the beautifully textural, abstract orchestrations of the opener, "Transient") or moody, rhythmic odysseys ("You Lot"). But for every familiar techno revisitation ("Pants"), there are bright moments of innovation (the expansive "One Perfect Sunrise," on which a phased synth- and-vocal interlude is overtaken by a driving backbeat). In truth, Orbital's marriage of soaring melodies, dark atmospherics, and machine-driven beats still packs a punch, and BLUE ALBUM is equally appropriate for big-sound-system rave parties and living-room chill-out sessions.

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Liberation by Karsh Kale (CD - 01/01/200...

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Liberation by Karsh Kale (CD - 01/01/2005)

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