At Amoeba SF's electronica section, we've usually got at least four or five titles each month that we're extremely hyped on. Here's our current batch:
First we've got Gui Boratto's Chromophobia on Kompakt. Boratto's Brazilian heritage gives him an edge when making his brand of tech-house, and that's an ear for rhythm. Straddling between minimal and electrohouse, Chromophobia avoids any LP pitfalls by working equally on a dancefloor as on headphones, it's got enough oomph to sound fantastic on a large sound system, but intricate enough that you notice small details while listening at home. I love his way with melody, particularly the swooping tones of "Terminal" and the bleep counterpoint in "Gate 7"; it gets quite emotional. The rhythms are key, though, and it's clear from the first track on that Boratto has a good grasp of syncopation and funk. Between the Hug and Field albums and now this, Kompakt are on a bit of a roll, again!
Next up is We Are Together by Japanese producer Kuniyuki Takahashi, released on Mule Musiq. This is an album that is a unanimous vote amongst the electronica staff - everybody loves it (well, at least four of us). It's jazzy house music only in the loosest sense of the phrase, managing to perfectly walk the tightrope between noodly and stiff. The thing I like best about this album is its sense of space, the production on every track sounds so expansive and widescreen as to conjure up images of the music's physicality. In that sense it reminds me of the Burial album where there's a very conscious sense of three-dimensional space - it's a real "smokers delight". Check Kuni's MySpace page to hear more of this excellence.
First we've got Gui Boratto's Chromophobia on Kompakt. Boratto's Brazilian heritage gives him an edge when making his brand of tech-house, and that's an ear for rhythm. Straddling between minimal and electrohouse, Chromophobia avoids any LP pitfalls by working equally on a dancefloor as on headphones, it's got enough oomph to sound fantastic on a large sound system, but intricate enough that you notice small details while listening at home. I love his way with melody, particularly the swooping tones of "Terminal" and the bleep counterpoint in "Gate 7"; it gets quite emotional. The rhythms are key, though, and it's clear from the first track on that Boratto has a good grasp of syncopation and funk. Between the Hug and Field albums and now this, Kompakt are on a bit of a roll, again!
Next up is We Are Together by Japanese producer Kuniyuki Takahashi, released on Mule Musiq. This is an album that is a unanimous vote amongst the electronica staff - everybody loves it (well, at least four of us). It's jazzy house music only in the loosest sense of the phrase, managing to perfectly walk the tightrope between noodly and stiff. The thing I like best about this album is its sense of space, the production on every track sounds so expansive and widescreen as to conjure up images of the music's physicality. In that sense it reminds me of the Burial album where there's a very conscious sense of three-dimensional space - it's a real "smokers delight". Check Kuni's MySpace page to hear more of this excellence.
