I won't join the rip-off vs genius debate, although there would be much to go on about.
Just, one thing I find quite annoying about this production : not mentionning the origin of the samples used (abused ?) throughout the track.
One could sense it has been taken from some obscure traditional music from god knows where... or reckon Mr Villalobos composed those bits himself and have them performed by some cheap mariachis from his native Chile. Time to place your bet...

Well, this is the first option (obscure traditional...) and, disclosed just for you nerds, here is the reference :
- the band of gypsies : blehorkestar bakija bakic
- the location : vranje, south of serbia
- the title of the track : pobjenicki cocek

How do I know ? I started playing a mix beginning with this track to a friend of mine (not what you would call a minimal techno freak...) and she IDed the sound in approximately 3 seconds. I was a bit doubtful but she picked a 2 cds compilation called 'Road of Gypsies - L'épopée Tzigane', and played track 3 on cd2, which cleared all doubts and confirmed the origin of Fizheuer.

Actually, Villalobos sampled the 20 seconds intro which he uses as the orchestral brass theme coming later in his track, and otherwise loops a simple bar of the main rythmic pattern (horns & snares), enough to fiddle with some AbletonLive parameters throughout the 30ish minutes.

The original lasts 3'48''.
It's a soulful, dramatic, hypnotizing and exciting piece of live music... and I'm not exactly a world-music fan, but here I must admit that the electronic treatment is pretty lame compared to the genuine gypsy rendering.
Debate aside, I'm thankful to Villalobos for opening my ears (ans hopefully some others) to some original material like this.
But next time, some acknowledgment to the obscure folks blowing the horns would be much appreciated...

Over a year passed since I hadn't listened to this one, and it comes right back at the good time ! If you're having a shitty day this will pull you back up onto your feet... one advice : pitch it up to the max and you get a harder disco touch that somewhat lacks to the normal pitch play. But the tracks are there, lush bass & synths parts and a brilliant and playful beat programming.
Can't say which tracks are the best for me as every listen brings up a new angle, a moody and versatile personality, preventing any boredom syndrom... but then again, who could expect Vibert to get boring ?

A1 'Postcard' contains vocal & harmonica samples of 'Postcard Blues' from the Cowboy Junkies, and keeps a structure very close to the original song.
The junkies got some exposure in the early 90's thanks to the cover of Lou Reed's 'Sweet Jane'... and then somewhat vanished.
Nice to hear Margo Timmins'flimsy voice revived on this deep & very well cut groove.

Best Band of All Times ??
As far as I'm concerned, the most influential and decisive I've ever come across some 15 years ago.
Will never get bored of them and will definitely cherish those few records until the very end.
Once you've heard JD and appreciated the amazing songwriting plus the genius production of Martin Hannett, you will probably find today's rock bands slightly tasteless and boring, which is my case.
"This is the Way, Step Inside..."

The Soulwax remix of 'Six Days' is based on the drumbeat & guitar riff of '52 girls' from the B52's on their album 'Play Loud'. One more spot-on job from the belgian bastard remixers.

Miss Kittin aka Caroline Hervé takes risks with this release, towards her hardcore fanbase, recording very personnal songs. It ends up being pretty distant from her usual powerful techno DJ sets and happily reveals new artistic directions (from Ghettotech to Dub, via a more expected Hacker-style dark electro and a surprising cover from the cheesy french band Indochine).
Altogether, it works damned well and opens up for future exciting adventures.
"Inhale, Exhale..."

I really got my head around this album when listening to it walking around east Berlin last december, taking the tube and getting off at Potsdamerplatz, air freezing, surrounded by ultramodern glass towers and drinking glühwein... a pretty good match.
Into my opinion, a perfect instance of the current german electronic music scene, minimal (to some extent), but stylish above all. A pure modern gem, and for many years to come.

a very schizophrenic yet balanced release from Ulf Lohmann :
A side unfolds two rasping & nasty groovy tracks (A2 being cut around a tremendous telluric bassline)
B side delivers six hazy atmospheric soundscapes, sorts of crystal & gas compositions. May sound boring the first time you listen, but it gets more & more penetrating and enchanting after a while. Give this a go, you won't come back the same !

Definitely one of the few artists in today's electronic music who dares to be humourous (check his 'Music is Okay' mix and the names of most of his tracks) along with audacious production skills.
When he starts sounding a bit too slick, something is gonna happen (check 'the geklöppel continues - B1' at 4'28'' !!).
Can't wait to hear this guy behind the decks !

Been shedding tears listening to this one in the record shop.
'Final frontier' is some kind of evidence that music-made-with-machines can cause deep and intimate feelings, beyond any rational ways of understanding...
I've heard few tracks up to now capable of such a powerful fusion of heavy dancing beats, nostalgic melodies, simplicity, darkness, complexity and brightness.
Could be the anthem of an ecstatic cybergoth party in a post nuclear Ibiza... could be !