Underworld "Strawberry Hotel" (2024)

Strawberry Hotel

udgivet: 25. okt. 2024

format: digital (15 x File, FLAC)

[vurdering: 4 / 5] [3,86]

producer: Rick Smith, Esme Bronwen-Smith

selskab: Smith Hyde Productions - nationalitet: UK

Udvalgte numre: 1. "Black Poppies" - 2. "Denver Luna" - 3. "Techno Shinkansen" - 4. "And the Colour Red" - 5. "Sweet Lands Experience" - 6. "Lewis in Pomona" - 9. "King of Haarlem" - 10. "Ottavia" - 12. "Gene Pool" - 14. "Iron Bones"

11. studiealbum fra det mere end 3 årtier gamle elektroniske duo-projekt Underworld - grundlagt i Cardiff, Wales og bestående af walisisk-fødte Rick Smith og engelskfødte Karl Hyde. Albummet følger fem år efter deres massive Drift-projekt, som blev kondenseret til det regulære album Drift Series 1 - Sampler Edition (nov. 2019). Normaltvis har Rick Smith været eneproducer på Underworlds udgivelser, men her har han slået sig sammen med Esme Bronwen-Smith, som 'tilfældigvis' er Rick's datter, men som samtidig er kendt som operasanger, og hun bidrager desuden med vokal på fire numre (sporene #5 til #7 og #10). Albummet indeholder 15 numre med en samlet spilletid på mere end 68 minutter.

Hvor den kondenserede Drift Series 1 - Sampler Edition kan betragtes som en form for moderne elektronisk opsamling - givet dens oprindelse som udvalgt fra mere end 40 kompositioners materiale - så er dette nye album mere af en traditionel støbning. Albummet knytter tilmed bånd til langt tidligere udgivelser som A Hundred Days Off (sep. 2002) og helt tilbage til Second Toughest in the Infants (mar. 1996) ved betoningen af progressive elektroniske lydstrukturer med medrivende drum & bass og den mere dansegulvsvenlige partymusik; musik, der ikke bare er kun det, men som burde kunne invitere store menneskemængder til at motionere fødder, arme og ben, når det spilles højt.

Strawberry Hotel er et perfekt eksempel på, hvordan disse to erfarne musikere har forstået at holde ilden brændende ved at producere ny og relevant musik til yngre generationer, og det er virkelig en fornøjelse at høre Karl Hyde lyde på omtrent samme måde som han gjorde på albums produceret for tre årtier siden.

Stor anbefaling.

[ allmusic.com 3,5 / 5, Uncut 4,5 / 5, Record Collector, 👍The Guardian, Mojo 4 / 5, SputnikMusic 3,7 / 5 stjerner ]

Jon Hopkins "Music for Psychedelic Therapy" (2021)

Music for Psychedelic Therapy

release date: Nov. 12, 2021

format: digital (9 x File, FLAC) (WIG458D)

[album rate: 4 / 5] [3,86]

producer: Jon Hopkins

label: Domino - nationality: England, UK

Tracklist: 1. "Welcome" (feat. 7RAYS) - 2. "Tayos Caves, Ecuador i" - 3. "Tayos Caves, Ecuador ii" - 4. "Tayos Caves, Ecuador iii" - 5. "Love Flows Over Us in Prismatic Waves" - 6. "Deep in the Glowing Heart" - 7. "Ascending, Dawn Sky" (feat. 7RAYS) - 8. "Arriving" (feat. 7RAYS) - 9. "Sit Around the Fire" (feat. Ram Dass & East Forest)

[ full album playlist ]

6th studio album by Jon Hopkins following 3½ years after Singularity (May 2018). The album contains nine tracks with a total running time exceeding 63 minutes, and it contains collaborations with 7RAYS, East Forest, and it builds on teachings (and the voice of) the late Ram Dass. Bearing in mind that East Forest is the alias for American electronic ambient artist Trevor Oswalt, who experiments with music for 'inner voyages', and that the late Ram Dass (aka Richard Alpert) was an American spiritual teacher and yoga guru, you may get the picture of this album, which also happens to come out after a pandemic and extensive lockdowns.

Where his 2013 breakthrough album showed everyone he was a master of progressive dance-oriented break grooves, his 2018 album proved to be a trip into deep space, this new one is again something entirely different. It's still an electronic release, but other than being instrumentally founded it's another kind of journey we're invited on. Singularity had some ambient feel to it, and that trend goes more full blown with this- and when comparing to his 2013 album, it mostly leaves you with the impression of being made by a different artist. The title Music for Psychedelic Therapy literally says everything you need to know. The music here is meant for what it proclaims. Hopkins has taken his fascination for transcendal meditation and mindfulness into his work in a new way, and the album comes out as an instrument, or a manifestation for inner journeys.

I normally don't fancy ambient or trance that much, and that's to put it nicely, but this deserves anyone's attention. It's hard to pin out highlights as the whole album is like one organism. I can only imagine how powerful it would be submerged into this while meditating. I think, I need to give it a try. The album may be his closest to some of the ideas behind Eno's music, but this is just so much better.

Highly recommended.

[ allmusic.com 3,5 / 5, Pitchfork 7,4 / 10, Mojo, 👍PopMatters 4 / 5, Clash, Exclaim! 4,5 / 5, 👎The Guardian 3 / 5 stars ]

Underworld "Drift Series 1 - Sampler Edition" (2019)

Drift Series 1 - Sampler Edition

release date: Nov. 1, 2019

format: digital (10 x File, FLAC)

[album rate: 4 / 5] [3,94]

producer: Rick Smith

label: Smith Hyde Productions - nationality: Wales, UK

Track highlights: 1. "Appleshine" - 2. "This Must Be Drum Street" - 3. "Listen to Their No" - 4. "Border Country" - 6. "Schiphol Test" - 7. "Brilliant Yes That Would Be" - 9. "Imagine a Box" - 10. "Custard Speedtalk"

[ 40 tracks playlist ]

10th studio album by Underworld following three years after Barbara Barbara, We Face a Shining Future (Mar. 2016) is much more than 'just' another studio album. Actually, Karl Hyde and Rick Smith has produced the album on the basis of their one-year project named "DRIFT", initiated Nov. 2018 through Oct. 2019, which saw the duo release new videos and new tracks each week as free-downloads via Underworld's official website [also available at bandcamp] The result was released simultaneously with this one-disc outtake from no less than a 40 tracks digital album, or: a 5 cd + 1 DVD box-set of nearly 6 hours new music. The 'Sampler Edition' is a fine coherent collection of some of the tracks, which for the occasion has been edited to fit a one-cd format of approx. 57 minutes.

With this, Hyde and Smith more than anything demonstrate they're alive and kicking. The entire 40 tracks Drift Series 1 is actually a splendid and most impressive release, but to think of that as their tenth studio album appears too overwhelming if not somewhat contradictory.

Stylewise, the duo investigates various stylistic corners of house, trance, downtempo, techno - and with the delicate use of progressiveness that has come to shape (nearly) all of their previous albums from Dubnobasswithmyheadman (1994) and via subtle variations up until present day.

Highly recommended.

[ Mojo, Q Magazine, Uncut 4 / 5, UnderTheRadar 8 / 10, PopMatters, The Music, Clash 9 / 10 stars ]

Jean-Michel Jarre "Electronica 1: The Time Machine" (2015)

Electronica 1: The Time Machine
release date: Oct. 16, 2015
format: digital
[album rate: 3,5 / 5] [3,32]
producer: Jean Michel Jarre
label: Columbia Records - nationality: France

Track highlights: 4. "Automatic (Part 1)" (with Vince Clark) - 8. "Suns Have Gone" (with Moby) - 11. "Zero Gravity" (with Tangerine Dream) - 12. "Rely On Me" (with Laurie Anderson) - 13. "Stardust" (with Armin van Buuren)

16th* studio album by Jean-Michel Jarre is his first real studio album in 8½ years following the album Téo & Téa (2007). It consists of 16 tracks composed and played with 15 different collaborators featuring artists such as Air, Vince Clarke (Erasure), Moby, Fuck Buttons, Pete Townsend, and Laurie Anderson, and as its title suggests, it's the first of two collaborative albums of this sort.
Musically and stylistically, the album represents (at least on some of the songs) a move towards vocal-founded electronic and more strict compositions in terms of popular music tradition. According to Jarre himself, who had invited various artists to participate in his project, his intentions were to make an album that paid tribute to electronic music and an album that would reflect the link between his musical history to other artists, who were either deeply involved or closely (or somewhat) related in the making of electronic music.
My first impression was luke-warm but I have come to see greatness in this project, and knowing a few of the details about this album makes it much more interesting, but it also wins over time.
[ Renowned for Sound 4,5 / 5, The Guardian, Gaffa.dk 4 / 5 stars ]

*Some mention it as his 17th, 18th or 19th album requiring his 2001 album Interior Music (exclusively released for Bang & Olufsen in 1000 copies), his 2004 remix album Aero, and / or Oxygène: New Master Recording from 2007 being regarded as studio releases.

Korallreven "An Album by Korallreven" (2011)

An Album by Korallreven [debut]
release date: Nov. 15, 2011
format: digital
[album rate: 3 / 5] [2,88]
producer: Korallreven
label: Acéphale Records - nationality: Sweden

Track highlights: 1. "As Young as Yesterday" - 3. "The Truest Faith" - 4. "Keep Your Eyes Shut" - 6. "Comin' Closer" - 8. "Honey Mine"

Studio album debut by Swedish synthpop duo, Korallreven, consisting of keyboardist Daniel Tjäder (The Radio Dept.) and vocalist Marcus Joons. The album contains ten compositions of which at least four previously released singles are included (tracks #1, #3, #5, #8).

Musically, it's a long way from the music by The Radio Dept., which may explain why Tjäder would eventually leave that band in 2015 to concentrate on his duo with Joons.

The album was met by positive reviews but also some negative ones. Basically, it's not music of my taste. Once in a while, there's a unique song structure with chorus-lines and verses, but generally, there's simply too much ambient and trance inspiration going on with keyboards doing simple spherical loops and imitations of whale sounds. And then there's a lot of self-reproduction at stake. The first, and also best, track on the album has the verse-line "Sa Sa Samoa", which then is not only the title of the following song but also has some of the same synth structures - only as a bolder work-around instrumental composition. The album contains glimpses of qualities that you will find much better elaborated by The Knife, and the real downside is that there are too many songs that sound like elevator-muzak ("Sa Sa Samoa", "Pago Pago", "A Surf on Endorphins", and "Comin' Down") to my ears.

Korallreven "Honey Mine Remixes" (2011) (single)

Honey Mine Remixes, single
release date: Feb. 15, 2011
format: digital
[single rate: 2,5 / 5] [2,72]
producer: Korallreven
label: Acéphale Records - nationality: Sweden

Tracklist: 1. "Honey Mine" - 2. "Honey Mine (Lissvik Remix)" - 3. "Honey Mine (Memoryhouse Remix)" - 4. "Honey Mine (Nacho Lovers Remix)" - 5. "Shine On"

Single release by Korallreven taken from the forthcoming debut album An Album by Korallreven (Nov. 2011).

This is lounge-like synthpop and trance without much going on, and the main single sounds like a fusion of music by The Knife and then the chorus line from the single "Shine On" (1990) by British jangle-pop band The House of Love.

Underworld "Barking" (2010)

Barking

release date: Sep. 13, 2010
format: digital (10 x File, FLAC)
[album rate: 3 / 5] [3,18]
producer: various
label: Cooking Vinyl - nationality: England, UK

8th studio album by Underworld is succeeding Oblivion with Bells (Oct. 2007) thus following the near usual three years in between studio albums. On this the duo has progressed into drum and bass electronic and returned to trance, which was one of their initial styles back in 1994.
Frankly, my initial feelings about the album was a rather boring release and I have to admit that I didn't really play it that many times. I always ended up skipping tracks and by putting something else on in the end. To me it was the disappointing continued journey into earlier and already known territory, however, I did continue to return to the album. Just to try to understand on one hand my rejection 'cause I really enjoy several of their other albums and on the other hand to see if I could find the band's fascination and intentions. And luckily so, I did! I have ended up seeing this from a much more positive perspective. It took me a long time to get there, but after enjoying their 2016 album I returned to the albums, I somehow had rejected as detours, and what I found here is the same distinct fingerprint that simply says 'Underworld'. It's a take on the electronic genre with clear evidence of their fascination of progressiveness. Sometimes they incorporate techno and trance but there are always hints of more danceable styles like drum & bass and house, which in the end has become their distinctive style. And although, this is more techno than breakbeat it's also simply more experimental progressive electronic as such, and with a will to understand it does contain fine compositions and music that matters despite not being an album of single wonders.
[ allmusic.com 3 / 5, NME 2,5 / 5, Mojo, Uncut 4 / 5 stars ]

Fuck Buttons "Street Horrrsing" (2008)

Street Horrrsing [debut]

release date: Mar. 17. 2008

format: cd

[album rate: 3,5 / 5] [3,58]

producer: John Cummings

label: ATP Recordings - nationality: England, UK

Track highlights: 1. "Sweet Love for Planet Earth" - 2. "Ribs Out" - 5. "Bright Tomorrow" - 6. "Colours Move"

Studio album debut by British electronic duo Fuck Buttons consisting of Andrew Hung and Benjamin John Power, the latter also synonymous with the acclaimed solo-project Blanck Mass initiated 2011. Apparently, the two got together as early as 2004 when Hung was into Aphex Twin whereas Power was a fan of Mogwai - the album is produced by founding member of Mogwai, John Cummings - and that basically explains much of the duo's starting point, although, the album here reveal a new aspect of their music, which initially was about... noise.

The founding denominator on Street Horrrsing is the electronic progressive element, although both members may be said to be grounded in instrumental experimental electronica.

The album both seems inspired by the aforementioned artists but is really anything but merely a copy. The drone element is everywhere and the compositions are often built on a structure of simple, repetitive patterns that either transforms slowly or abrupt. On all compositions the duo play with harmony and chaos. There's always some soothing melody line, here and there, and at the same time, there's noise, or: a bleak darkness underneath that keeps you alert. It's definitely an album for listeners, and if you don't find it appealing at first, you may give it a second chance.

[ allmusic.com, Uncut 4 / 5, Pitchfork 8,6 / 10, 👎Spin 3 / 5 stars ]

Underworld "Oblivion with Bells" (2007)

Oblivion with Bells
release date: Oct. 15, 2007
format: cd
[album rate: 3 / 5] [3,22]
producer: Rick Smith
label: Underworldlive.com - nationality: England, UK

7th studio album by Underworld is a five-year old follow-up to A Hundred Days Off (Sep. 2002) and it's a self-released studio album, for which the duo has engaged in the more original electronic styles of techno. It's still progressive house but they have turned up on the tech house and idm style with the addition of ambient elements.
It's both a return to their initial experiments with electronic music and a progression to include what to me sound more like original techno with trace elements, leaving the breakbeats of house. It may still be progressive but as progressive techno the album is not one of my preferred Underworld albums.
I really neglected the album for years, but I have come to see it as more than 'just' a take on original techno' as its simply more instrumental and experimental proving that Hyde and Smith are seeking new ways of expressing themselves without letting go of their known formula of tech house.
[ allmusic.com, Slant 3 / 5 stars ]

Underworld "Born Slippy + ..." (1996) (single)

Born Slippy + ..., Maxi-single

release date: Nov. 27, 1996

format: cd

[single rate: 4 / 5] [3,76]

producer: Underworld

label: Sony Music - nationality: England, UK

Tracklist: 1. "Born Slippy.NUXX (Short)" - 2. "Born Slippy.NUXX (Deep Pan)" - 3. "Born Slippy.NUXX (Darren Price Mix)" - 4. "Pearl's Girl (Short)" - 5. "Dark + Long (Dark Train)" - 6. "Oich Oich" - 7. "Mosaic" - 8. "Deep Arch"

Single release by Underworld with the non-album track "Born Slippy.NUXX", which was originally released as the B-side to "Born Slippy" (Feb. 1995) on 12'' vinyl and the "NUXX" version of the song was included on the Trainspotting Soundtrack album (Feb 1996). This Japanese cd-issue of the single focusses entirely on the "NUXX" version of "Born Slippy", which in essence is a different song compared to the original A-side from '95. Also, the Japanese issue comes with another four tracks making it a more than a 57 minutes Maxi single - exceeding the running time of many standard album issues. Track #4 "Pearl's Girl (Short" is the only track taken from the album Second Toughest in the Infants (Mar. 1996), albeit in a heavily shortened version of 3:52 minutes making it the shortest track on the release (the orginal album version has a running time of 9:36 minutes). "Born Slippy.NUXX" is one of, or: the actual highlight of the Trainspotting Soundtrack, and it's probably the song that paved the way for the following success of Underworld as a progressive house and trance duo, but on this Born Slippy +... issue the actual title track, which originally has a running length of 9:44 minutes has been heavily shortened to 4:24 minutes. Yes, I know the 'short'-version is also identical to the famous MTV-video of the song, and you could argue that the song then comes in two other mixes but only "Born Slippy.NUXX (Darren Price Mix)" comes close enough to the original to weigh out the damage of the exclusion of the original.

Underworld "Dubnobasswithmyheadman" (1994)

Dubnobasswithmyheadman
release date: Jan. 24, 1994
format: cd (1998 reissue)
[album rate: 3 / 5] [3,22]
producer: Underworld
label: JBO (Junior Boy's Own) - nationality: England, UK

Track highlights: 1. "Dark & Long" - 2. "Mmm Skyscraper I Love You" - 4. "Spoonman" - 6. "Dirty Epic" - 7. "Cowgirl"

3rd studio album by Underworld released on the newly-established electronic label Junior Boy's Own. The album is also known as the band's first as mk2 [Underworld Make 2] where the band has become a trio as Darren Emerson joined Karl Hyde and Rick Smith in 1990. With Emerson, the band completely reshaped its profile and began experimenting with electronic techno.
An outspread misconception states that Emerson was the mastermind behind the early successful years of Underworld and that Hyde and Smith only profited from his direction when he left the two in 2000. The truth is that Hyde and Smith are credited as songwriters of all compositions on this album, whereas Emerson is only credited on two. Also, after the first incarnation of Underworld had dissolved, the new trio started out making electronic music together, rather than one person showing the others what new styles could accomplish. Some early singles were released by Lemon Interupt and some performances were also credited Steppin' Razor.
Now, the album is not one of my favourites, though. I really enjoy Underworld and its take on house but I never really enjoyed the electronic shape of trance and original techno all that much, but for what has now become a trio this alsbum stands a U-turn in the music by Underworld's musical style, and the music was welcomed as quite innovative.
Dubnobasswithmyheadman was released to positive reviews reaching number #12 on the national albums chart list and it became Underworld's breakthrough and a prize-winning album that showed a new direction to follow.
I really don't know of their two earliest albums: Underneath the Radar (1988) and Change the Weather (1989), but from what I've read, these two releases were made as new wave and funk-styled, which seems aeons away from this, although, some tracks here does contain rather funky bits. This was highly experimental for the trio - and Underworld has since stuck to electronica and house in different disguises on all of their albums to follow.
Now, the album is far from bad or mediocre, but it's really more of 'putting a finger in the air' to see where to go to from here.
[ allmusic.com 5 / 5, NME 4 / 5 stars ]