CD Album Recommendations August 2013

Review: Norwegian synthesizer scientist Stian Gjevik has long impressed the heads with his melodic, upbeat, occasionally glacial take on drum machine electro, and earlier this year broke through with the first EOD album proper, Volume 1, on Rephlex. This second collection of bright and breezy original tracks offers a similar range of cuts, moving between bubbling, sun-bright synth-funk (the Artificial Eye-ish "Questionmark 7" and "Whateley", the brilliant "Cyberarchitecture"), Dexter-ish electro-jack ("Cannibal Acid 3"), shimmering Detroitisms ("The People Of The Basins") and sub-bothering, Rephlex-ish 'braindance' ("Trazpattern"). Immaculately produced and surprisingly upbeat throughout, EOD Volume 2 is a slow-burn delight.

Review: Over the last 14 years, UK techno-funk stalwart Colin McBean has released a vast amount of music under his Mr G alias, for a wide variety of labels; according to Discogs, he's dropped an astonishing 70 12" singles in that time. This two-disc collection of his favourite moments, simply titled Retrospective, is arguably much needed. For the newcomers it offers a neat summary of his particular brand of no-nonsense, sample-heavy techno, where cut-up jazz, disco and soul loops ride thunderous techno rhythms and robust, late night grooves. For the diehards, there's a smattering of new cuts, while occasional fans should revel in the opportunity to savour some of his most hard-to-get jams.

Review: Long regarded as an esteemed crate digger and DJ, Kon's transformation into a fully fledged producer is complete with this very summer appropriate LP for BBE. It's been some time coming too, with Kon slowly revealing his production chops across a series of under the counter edits, remixes and a full EP for Soul Clap's label earlier this year. The eleven track On My Way unfurls with the kind of bump and groove we've come to expect from a Kon DJ set and also reveals him to be a somewhat talented song writer, teaming up with veteran house crooner George Levin, Ben Westbeech and Amy Douglas on several tracks ("Blow Me... A Kiss" with the latter is proper Disclosure territory) Matching bumping mid tempo cuts with some sultry jams (808 State) and outright disco burners ("Love Shine") makes On My Way a very impressive debut and perfect for the BBE label.

Review: Berghain resident Marcel Fengler has enjoyed a long and productive relationship with the club's label Ostgut Ton, putting out his first 12" on the imprint - the shuffling carnival techno of "Playground" - way back in 2007. Despite this pedigree, Fokus is his debut album. It is, in many ways, like an extended love letter to electronic music, and techno in particular. Across the album's 11 tracks, Fengler turns his hand to atmospheric ambience ("Distant Episode", "High Falls", the dreamy "Break Through" and Pete Namlook-ish "Liquid Torso"), eyes-wide-shut Detroitisms (the pleasingly melodic "Jaz"), basement-bothering early morning fare (the paranoid "Sky Pushing") and, of course, balls-out techno wonkiness ("Dejavu" and the impressively robust "The Stampede").

Review: Despite being around since the tail end of the '90s, this is only Drumsound & Bassline Smith's second full-length. The first, 2004's Nature of the Beast, was a largely dark and tech-tinged affair. Wall of Sound is almost the polar opposite. Impeccably musical and full of festival-friendly summer jams, it offers a slicker take on the now bombastic "disco drum and bass" sound with which Hospital Records made their name. Of course, there are sidesteps - see "All Day", a collaboration with Bam of the Jungle Brothers, the ripsnorting rinse-out "Freak" and EDM-ish, autotune-heavy "Tough Times" - but for the most part it's a breezy blast of humid summer air.

Review: Dominick Martin has enjoyed a strange career. He first made his mark back in 2002 with a deep tech-house 12", before promptly vanishing from view. When he returned in 2009, it was with an album of celestial electronica and tasty downtempo treats. Now, he's switched his focus to jazz for this second full-length. It's a surprising move, perhaps, but one that pays dividends. You see, Valentia is rather good. Breezy, summery, emotion-rich and laden with live instruments - drums, pianos, guitars - Martin seems to excel in making music that drifts between shuffling easiness and sparkling, beachside beauty. When he really hits his straps - as on the dreamy "Lakeside" - Valentia is outstanding.

Review: Slow Focus sees the Fuck Buttons duo of Benjamin John Power and Andrew Hung return with a third studio album, and one that marks a departure for both as it's their first release completed without the assistance of a high profile studio hand. Mogwai's John Cummings oversaw their 2008 debut album Street Horrrsing whilst revered Alan Moore lookalike Andrew Weatherall worked his magic on their excellent follow-up Tarot Sport. So how does this seven track set fare under these new circumstances? The Fuck Buttons sound is certainly no less intense without their self professed "safety net" with the familiar sound of squalling feed back dominating opening track "Brainfreeze". From here the pair touch on Holden levels of transcendence with "Year of the Dog" whilst the brutally foreboding sonic slump of "Sentience" is a considered highlight. Welcome back Fuck Buttons!