CD Album Recommendations February 2014

Review: To mangle a cliche, former Pan Sonic man Mika Vainio has released more solo albums than you've had hot dinners. This is his ninth alone under the O moniker, and his 21st in total. Konstellaatio is perhaps not as out-there as some of his excursions, concentrating mostly on icy, atmospheric fusions of spacey, minimalist ambience, sparse, stargazing electronica, and tense, tactile soundscapes. As a result, it's unfussily beautiful, wringing maximum emotion from the most limited of elements. While it's all very good, at its' very best - such as on the 2001: A Space Odyssey style spookiness of "Metsan Sydan" - it's utterly astonishing.

Review: In the four years since he delivered his debut album, Save My Soul, Italian musician Joseph Capriati has done a lot of developing as a producer. Whereas that aforementioned debut rarely broke away from the confines of heavy machine music, this belated follow-up takes a more widescreen approach. Of course, straight-up techno is still his bread and butter - see "Easy Come, Easy Go", "Basic Elements" and the robust "Naked" - but it's arguably the album's more downbeat offerings that really stand out. On the rare occasions that Capriati does break away from his darkroom formula, such as on the picturesque futurism of "Fratello" and dreamy electronica of "Self Portrait", the results are never less than spellbinding.

Review: Disco producer, synthesizer pioneer and Hi-NRG originator Patrick Cowley made a lot of highly sexual music. In fact, his muscular synth-disco productions were, for years, the soundtrack of choice in San Francisco's notorious bathhouse scene. It doesn't stop there, though. Unbeknownst to most disco aficionados, Cowley also provided experimental synthesizer tracks to soundtrack gay porn films between 1973 and 1981. Initially released on vinyl last year, School Daze has now been granted a CD edition by Dark Entries and gathers together the best of those productions. Arguably, the material here is amongst his best work. Free of the constraints of the dancefloor, Cowley let himself go, delivering avant garde synthesizer compositions that ranged from spaciously psychedelic ("Out of Body", like some lost Confused House record) and decidedly cosmic (the chugging "Journey Home"), to otherworldly and outlandish ("Zygote"). Recommended.

Review: Man of many pseudonyms Joe Clausell seems to get more cosmic and spiritual with every passing year. Here, he dons a new moniker - Hidden Revealed - for another album length foray into a hazy musical hinterland where jazz, electronica, ambient, dub, tribal rhythms, clandestine atmospherics and grand concepts join in glorious union. While the concept - and there always is one with Clausell - may be hard to grasp, there's no denying the quality and rich musicality that pepper the American producer's evocative soundscapes. It's the sort of album that works on many levels, and it takes a few listens to fully appreciate its' multitude of layers and textures.

Review: As debut albums go, this first full-length outing from Milanese youngster Jacky O is rather impressive. Rooted in atmospheric deep house and crackly techno, it bristles with live instrumentation, evocative vocals and interesting ideas. There are hints of new wave synth-pop, early New Order (see "Sun is Late" and the string-laden "Everything Breaks Too Easily"), Balearic-tinged krautrock-house hybrids ("Hat & Dogs") and Walls ("My Only Chance To Stay Sane"). Throughout, there's a clandestine, late night feel that's rarely less than intoxicating. Clearly, Jacky O could be a name to watch in 2014.

Review: 30 year-old British soul-jazz sensation Zara McFarlane hit the headlines in 2011, when debut album Until Tomorrow garnered her a surprise MOBO nomination. This follow-up, full of sumptuous organic jazz, acoustic moods and sultry, soft focus soul, is, if anything, an improvement on that stunning debut. There are some marvelous moments, from the sinewy, slo-mo simplicity of her acoustic cover of Junior Murvin's reggae classic "Police & Thieves", and the tear-jerking piano lament of "Love", to the spiritual shuffle of "Move", and silky soul of "Plain Gold Ring". McFarlane is quickly turning into one of British jazz's finest talents; don't miss out on this scintillating sophomore set.

Review: In the two years since he dropped his debut album on Plug Research, Fantastic Plastic, NYC producer Lee Bannon has ditched experimental hip-hop in favour of dark, cinematic moods and crunchy junglist rhythms. It's a surprising move - though, given the interplay between the two genres between the years, logical - but one that seems to have brought the best out of the talented 20-something. Alternate/Endings is atmospheric, intoxicating and inspired, as claustrophobic as it is evocative. It's like soundtrack drum and bass - vintage Amon Tobin with more old skool jungle rhythms, or Wagon Christ circa his Open Mind remix (a Ninja Tune classic, fittingly) - crossed with darkroom electronica. Furthermore, it's really rather good. Bravo, Bannon, bravo!

Review: Revivalist funk and soul veterans Sharon Jones & The Dap Kings appeared to have drawn the curtain down on their career back in 2011, with the release of the well-timed retrospective Soul Time. Happily, they were just on hiatus, and three years on return with their first album of new material since 2010. For those who enjoy their sweet, soulful, faithful recreation of original '60s and '70s soul, this should be cause for rejoicing. Certainly, Give The People What They Want lives up to its title, delivering a blend of strong songs, heart-aching lyrics, nostalgic production and superb playing.

Review: Having previously released on Freerange, Delusions of Grandeur, Urbatorque and Physical Graffiti, Dave Pezzner has proven deep house pedigree. Given this history, you'd expect this sophomore set (his debut album dropped in 2010) to be pretty good. Pleasingly, it is. Rooted in tactile rhythms, dreamy atmospherics and huggable grooves, it effortlessly flits between solid dancefloor fare, hazy downtempo moments (see the ambient interlude "Step Away" and outside house dreaminess of "I Forgot") and attention-grabbing upbeat workouts. It's these - the tribal pump of "I Don't Mind", the soulful wooziness of "Last Night In Utopia", and the disco-flecked cut-up business of "All Night Dancing Party" - that invariably provide the album's standout moments.

Review: Light in the Attic consider former Queens of the Stone Age man and one-time Sub Pop regular Mark Lanegan to be one of the most overlooked talents in contemporary American folk-rock. Certainly, Lanegan is a master of his art, as this atmospheric and well-timed career retrospective proves. Featuring two discs of material cribbed from his occasional solo albums and a hefty 12 previously unreleased tracks, Has God Seen My Shadow presents a convincing case. Lanegan is a superb lyricist, writing evocative, emotion-rich songs, while his gravelly vocal delivery - variously fragile, angry and introspective - recalls Johnny Cash at his most open and intense.