Risingson

Ok, as much as I despise the downtempo style (usually from German origins) swiping out the whole more experimental trip hop scene, there were good things about it, and this is an example of it. It commits to all the tropes that were so irritating of... See full review

this was surprisingly everywhere around the mid 80s - read in the youtube comments that it was played on dancefloors (djs that played one song after the other in a totally different style were everywhere at the time) and I remember it well from radio... See full review

The state of the music press has been depressing for quite a few years - Herbert's albums used to be discussed to death on every NME, Pitchfork, allmusic, etc but reviews do not exist anymore. We are all isolated, and if you want to discover an artist... See full review

The change around 2003 in all the electronic scene to make everything sound "real" and "organic" had its peak in the James Murphy label/scene/band/productions/etc and quite a hype in this first LP. As the rest of the scene was doing, they replicated... See full review

Someone linked Mike Shannon to the main George Brummell profile, which does not make any sense.

They got famous with "Hold your colour", but a year before they released this and in the 13 years after they have been living out of the success of Immersion via live shows and others. It's campy, cheesy and incredibly catchy, with tracks that can be... See full review

Big one in Herbert's discography, a horrifying hypnotic work about the meat industry that follows similar work in "Plat Du Jour", which got Herbert in a public spat against PETA, which got actually amazing live shows and which unfairly lost its... See full review

There is something I find frustrating about 4hero starting in Creating Patterns: Dego and Marc Mac stick to tracks that are more... tropes? It is as if they pidgeonhole themselves into one of the two different compartments: Marc to the string based... See full review

Sonikku started hard as one of the lo fi house visible headliners, but his approach was more laptop based than the others - his artist name already hinted of the Sonic-like melodies in case you did not catch the relation with that kind of Japanese 80s... See full review

Respect here. One of the most relevant labels of the lo fi house scene is here. If you ever wonder why it had such a hype (apart from being chosen by the youtube algorithm) listen to the first releases.

Breakbeat, Drum n Bass, Tribal, Downtempo, Ambient is, for once, a good definition of what you can find in here, my favourite album from TJ Rehmi. A very ambient take on big beat and breaks (fashionable at the time), very sample based, very hippy, but... See full review

So if anyone asks "how is nthng doing after the Lobster Theremin debacle?" the answer, given this LP, is: "really really well". This is an incredibly strong collection of techno, breaks, ambient, experimentation and melody from someone who looks like... See full review

As a note, as it happens with many other GLR releases, the digital versions crop minutes from the original tracks because Good Looking Records hates, hates their fans so much, hates its music, hates everything.

so after many years of not being blessed by The Algorithm smashing the same videos over and over, this mix was a chosen one after any video I put as a background. Excellent selection of that kind of GLR dnb but I wish this would transform in more... See full review

Esteve and Picq were very much in sync in the Cryo days and there are few other places where you can see that more clearly than in this soundtrack. Outside the game the mix of new age, tribalism and loads of 80s and 90s tropes can be too much (if you... See full review

Alex Martin was releasing dozens of 12'', eps and albums with different names and I think he would have benefited from keeping things a bit more focused. The smooth jazz parts do feel like part of a generic chillout compilation, the trip hop numbers... See full review

dBridge and co. sold this as yet another resurrection of dnb to place it well in the Resident Advisor and other music journalists who obviously had been disconnected to the trends for ages, and it was funny as when it was released there were... See full review

After all, there were not that many reggaeton-broken tunes around there apart from the ones championed by the Orin Walters circle, but this one remains as the tunest of them all. Walters understood how the syncopation of reggaeton could blend with the... See full review

everyone has an opinion, and for me the canon is Clio's "Faces" and "Hypnotic Tango"

I guess I would have had the same reaction in the mid 90s to this as I had in the mid 00s when all the microhouse stuff was taking over by the very martial "minimal" styles. But I really like how straight "Pulp Fiction" sounds, how it distributes the... See full review

Time and the tides removed all of those, but there was quite a discourse around the time this one was released. Mostly, many did not agree on a Very Important number was the appropriate one for someone like Martyn, who was seen in a very condescending... See full review

honestly the best thing that could have happened to their fans

is respectall 100% from John Arnold then? Confusing as it appears as a John Beltran track in Americano

This was actually the comeback for Ultramarine, and their beginning of their new abstract, industrial, kind of melodic, kind of jazzy, very ambient and dissonant, kind of soothing era. Title track seems like what they liked about tropicalia in Bel Air... See full review

Tangentially related to the lo fi house movement, balearic house or whatever you want to name it, this one was a really solid collection of tunes from a label that was on the top of their game. A very 80s boogie affair decorated with the catchy riffs... See full review