Hifi Sean & David McAlmont "Twilight" (2025)

vinyl cover

Twilight

udgivet: 14. feb. 2025

format: vinyl (blue dusk vinyl) / digital (12 x File, FLAC)

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

producer: Hifi Sean

selskab: Plastique Recordings - nationalitet: England, UK

Udvalgte numre: 1. "The Comedown" - 2. "Twilight" - 3. "Uptown / Downtown" - 4. "Driftaway" - 5. "Sorry I Made You Cry" - 6. "Goodbye Drama Queen" - 7. "Equinox's Children" - 8. "High with You" - 10. "Star"

3. album i træk fra samarbejdsprojektet mellem Hifi Sean & David McAlmont lander blot et halvt år efter Daylight (aug. 2024), og ligesom de to foregående udgivelser er dette produceret af Hifi Sean (aka Sean Dickson) og udgivet på Dicksons selskab, Plastique Recordings. Twilight er ikke overraskende alene en opfølger, men bør måske snarere ses som andet kapitel til det, der blev påbegyndt med duoens 2024-album. På duoens Bandcamp-side lyder det: "Twilight er en køretur gennem natten på tolv numre fra skumring til daggry, med alle øjeblikkene indimellem."

David McAlmont har mange gange bevist sine vokalevner i diverse samarbejdsprojekter - fx på to fine albums som McAlmont & Butler (med Bernard Butler), David McAlmont & Michael Nyman, i Fingersnap (med Guy Davies), McAlmont & Webb (med Alex Webb), og på sin solodebut McAlmont, som grundlæggende var bearbejdninger af numre fra det hedengangne duo-projekt Thieves, som McAlmont kortvarigt var halvdelen af sammen med Saul Freeman. At han nu arbejder sammen med Hifi Sean på tredje album i træk siger en del for aldrig tidligere er McAlmont blevet sammen med nogen anden kunstner i så lang tid, hvilket tydeligt skinner igennem som et livsdueligt projekt. Tre fuldlængde albums på blot tre år er efterhånden ret sjældent nu om dage, og Happy Ending (sep. 2022), Daylight og nu senest: Twilight er tre forskellige udspil, selvom de er i familie. Hvor forgængeren var uptempo og ubekymret dansabel, så fremstår dette album som den mørke tvillinge. Det er stadig neo-soul og house, der er det solide fundament, men tilstedeværelsen af jazzede 'blue notes' og melankoli er her i fuldt flor, og synthpop-inspirationen har transformeret sig til noget, der er mere velegnet til timerne efter midnat. Hifi Sean sørger for at skabe natlige scenarier, der udgør det perfekte lydtapet til McAlmont's delikate fraseringer.

Jeg håber virkelig, at McAlmont endelig har fundet sin musikalske partner til mange år fremover, for parret ser ud til at besidde en udviklet fornemmelse for, hvordan man skaber fantastisk musik sammen. Twilight er modsætningen / bagsiden af noget andet, hvor Daylight er det, der er ansigtet udadtil, og som pænt og skinnende tager imod. De to albums er markant forskellige, men stort set lige gode. Albummet her, er endnu et varmt anbefalet album fra en stærk duo.

[ Mojo, Record Collector, The Arts Desk 4 / 5, 👎Uncut 3 / 5 stjerner ]

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 ]

Hifi Sean & David McAlmont "Daylight" (2024)

Daylight

release date: 16. aug 2024

format: vinyl / digital (12 x File, FLAC)

[vurdering: 4 / 5] [3,90]

producer: Hifi Sean

selskab: Plastique Recordings - nationalitet: England, UK

Udvalgte numre: 1. "Daylight" - 2. "Sun Come Up" - 3. "Coalition" - 4. "You Are My" - 5. "Meantime" - 7. "Sad Banger" - 8. "USB - USC" - 9. "Summery"

2. samarbejdsalbum fra elektroniske kunstner Hifi Sean og soul- og vocal jazz-sanger David McAlmont som efterfølger til det roste Happy Ending (sep. 2022). Debuten præsenterede os ligeledes for tolv sange, men hvor det albums samlede spilletid sneg sig op på knap en time (56 min.), afslører denne nye samling mere traditionelle spillelængder, der får udgivelsen til at lande på lige under 40 minutter. Det første udspil favnede dristige, eksperimenterende og stilistiske toner med plads nok til Hifi Sean's flair for kompositionsmæssig mangfoldighed; ikke desto mindre var slutresultatet en blanding af elektronisk house møder pop-soul iblandet disco-bidder og moderne synthpop - altsammen flot holdt sammen af især McAlmonts undervurderede blændende vokal, og det føltes stadig som et sammenhængende album.

Daylight fortsætter som en varm sommerbrise, og det ser også ud til netop at have været duoens intention. Ifølge deres Bandcamp-profil er albummet det første af to 'søskende'-albums - den anden er Twilight, som tiltænkes udgivet i starten af 2025. I mellemtiden er dette første kapitel en ret stærk og særdeles fin opfølger til en flot debut. Det handler om den lyse og varme side ved tingene, og duoen cementerer kun deres værd. Med den musikalske partner Hifi Sean er det en fornøjelse at være vidne til, hvordan McAlmont træder i karakter med det, han virker skæbnebestemt til: at synge, synge, synge, og når han får muligheden, fejler han aldrig.

Daylight er en varm og anbefalelsesværdig lytteoplevelse.

[ The Guardian, The Line of Best Fit 4 / 5 stjerner ]

Hifi Sean & David McAlmont "Happy Ending" (2022)

Happy Ending

release date: Sep. 23, 2022

format: digital (12 x File, FLAC)

[album rate: 4 / 5] [3,92]

producer: Hifi Sean

label: Plastique Recordings - nationality: England, UK

Track highlights: 1. "Happy Ending" - 2. "The Fever" - 3. "Beautiful" - 5. "All in the World" - 6. "Diamond Dust" - 7. "The Skin I'm In" - 8. "Maybe" - 10. "Real Thoughts in Real Time"

Studio album debut by a duo who appears to have been working together for a few years. The album was released as double vinyl album in Sep. 2022 and on cd and for digital download via bandcamp on Feb 3. 2023. Hifi Sean (aka Sean Dickson) is a producer and composer and McAlmont - apart from being an art historian (a degree he took in 2016) - simply possesses one of Britain's finest voices. Their first single release was "Bunker to Bunker" (Jun. 2020), but McAlmont collaborated with Hifi Sean on the track "Like Josephine Baker" appearing on Sean's 2016 solo album Ft.. During 2022 they have released a number of singles that have all been included on this one

McAlmont has made it his thing doing collaborations. I guess, he just needs to work with a strong musical composer and arranger, as his own strengths are as songwriter and vocalist. He became an international star working with Bernard Butler on their two albums The Sound of McAlmont & Butler (1995) and on Bring It Back (2002), and then he has made collaborative releases from time to time, typically with a pianist and composer: the albums The Glare (2009) with Michael Nyman, under the name of David McAlmont & Michael Nyman, Smokehouse E.P. (2011) with Guy Davies, released under their band name Fingersnap, and The Last Bohemians (2019) with Alex Webb under the name of McAlmont & Webb.

Happy Ending is a fine soul-fueled combo of house, electro-pop and neo-soul with bits of disco and jazz, and despite the huge combo of styles, it works more than ordinarily well, I think, and primarily thanks to the vocal performances by McAlmont, who shines nicely on most of the tracks but also thanks to Sean Dickson's arranger/producer skills. Happy Endings is such a warm and lovely album.

[ The Line of Best Fit👍, Mojo 4 / 5, MusicOMH 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 ]

The Chemical Brothers "No Geography" (2019)

No Geography
release date: Apr. 12, 2019
format: cd
[album rate: 3,5 / 5] [3,58]
producer: The Chemical Brothers
label: Virgin EMI - nationality: England, UK

Track highlights: 1. "Eve of Destruction" - 3. "No Geography" - 4. "Got to Keep On" - 6. "The Universe Sent Me" - 7. "We've Got to Try" - 8. "Free Yourself" - 9. "MAH" - 10. "Catch Me I'm Falling"

9th studio album by The Chemical Brothers issued after a near four year hiatus is like the most recent Born in the Echoes released on Virgin EMI and as always produced by the duo. It's a ten track collection on which Tom Rowlands and Ed Simmons take a stronger grip on acid house than usually - a style closely related to electro house and something I don't really spend much time listening to. Basically, it's a bit like returning to the early days of techno. There is also some progressive house parts here and there, but the best thing about the new album is the lust to also include big beat as they did on the 2015 album.
The album has been met by positive reviews, and it seems like the duo has re-found its potential.
The album is so fresh to me, but for the time being, I really enjoy it, and from my experience with The Chemical Brothers one simply has to digest their new material to let it unfold before judging too hard. For now; I rate it good above 3,5, but is it a 4 star album and bettering the 2015 release?
[ 👍allmusic.com 3,5 / 5, The Guardian, Mojo, Q Magazine, Uncut, NME 4 / 5, Rolling Stone 2,5 / 5 stars ]

Happy Mondays "Pills 'n' Thrills and Bellyaches" (1990)

Pills 'n' Thrills and Bellyaches

release date: Apr. 1990

format: cd (2007 remaster)

[album rate: 4 / 5] [3,82]

producer: Paul Oakenfold, Steve Osborne

label: Rhino Records - nationality: England, UK

Track highlights: 1. "Kinky Afro" (4,5 / 5) - 2. "God's Cop" - 3. "Donovan" - 4. "Grandbag's Funeral" - 5. "Loose Fit" - 6. "Dennis and Lois" - 7. "Bob's Yer Uncle" (4 / 5) - 8. "Step On"

3rd studio album by Happy Mondays following 1½ years after Bummed (Nov. 1988) originally released on Factory Records. After Happy Mondays' commercial breakthrough with a remix of the hit song "Hallelujah" taken from the ep Madchester Rave On (Nov. 1989) and a similar follow-up succes with the cover song "Step On", the band went to the studio with the two DJs and remix producers Paul Oakenfold and Steve Osborne to see if they could carry the succes of their Club Mixes into shaping a collection of new songs. After all, the band had always been a club house party band and just by its title, the album alludes to a certain unhealthy but nevertheless characteristic lifestyle of this particular band.

If the band blended styles and genres on Bummed, they simply take it to another level here by fusioning the whole mix of the predecessor with modern dance beats, electronic rave and basically embracing the style of acid house. It's a modern version of rock that mixes reminiscences of post-punk with indie pop, neo-psychedelia, funk, disco, soul, alt. dance, techno - and whatever made people dance.

The album was met by great enthusiasm and peaked at number #4 on the British albums chart list bringing new fame to the Factory label. Although, only released in a remix, the first single "Step On" went to #5 on the UK singles chart list, and "Kinky Afro" ecqualed that (and went #1 on the Modern Rock list in the US), which was followed by single releases of "Loose Fit" (#17 in the UK) and "Bob's Yer uncle" (US promo single only).

In retrospect, the album sits on top of the whole 'baggy / madchester' movement as an iconic cornerstone. With it's unique stylistic mix and Ryder's original singing style, it showcases a most specific time full of exstacy pills and abuse. Ryder mumbles along with funny semi-autobiografical lyrics about sex, drugs, and everyday life of the working-class in Manchester - events, episodes, and funny phrases all stashed together, just like the music. It's over-the-top and at times odd touching on the bizarre, but also damn charming and full of youthful energy. It's also obvious that with the right people to produce their music, the end result simply improves above what everyone can see is mere potential. John Cale and Martin Hannett simply didn't really know what they were dealing with - or, at least the latter knew something but wasn't quite able to follow suit. Oakenfield and Osbourne are both part of the contemporary dance-scene and in retrospect you may only ask yourself why on earth Factory weren't better in finding matching engineers and producers.

The album is enlisted in "1001 Albums You Must Hear Before You Die". Both the '88-album and the successor contains great tunes, but this is simply the band's best effort. Imho, I never was a huge fan of The Mondays. Generally, I have always found the huge blend of styles to be too much of mix, although, really enjoying a few of their songs, but with the rest being too far from that. Still, this one is more than just fine.

The 2007 Rhino remaster contains five bonus tracks: two 12'' versions of tracks #5 and #7; two remixes of tracks #1 and #8; and the previously unreleased song "Tokoloshie Man".

Recommended.

[ allmusic.com, Q Magazine, Select 5 / 5, NME 4,5 / 5, Sounds, Uncut 4 / 5 stars ]

Happy Mondays "Hallelujah" (1989) (ep)

Hallelujah, ep

release date: Dec. 1989

format: cd

[album rate: 3,5 / 5] [3,62]

producer: Martin Hannett

label: Factory Records - nationality: England, UK

Track highlights: 1. "Hallelujah (MacColl Mix)" - 2. "Clap Your Hands" - 4. "Rave On" - 5. "Hallelujah (Club Mix)" - 6. "Rave On (Club Mix)" - 7. "W.F.L. (Think About the Future Mix)"

Ep release of the non-album track "Hallelujah" by Happy Mondays. Originally it was released exclusively for the UK market in Nov. '89 in two versions: a 4-track 12'' ep titled Madchester Rave On, and as a 2-track 7'' single titled Hallelujah. In December it was re-released in this expanded 7-track edition consisting of other remixes spliced with the Madchester Rave On ep now targeted for the European continental and US markets. Martin Hannett is producer of the original recordings but four of the tracks are made as additional production remixes. Paul Oakenfold is credited as remix producer on tracks #5, #6, #7 - track #5 together with Andy Wetherall and track #6 with Terry Farley - Steve Lillywhite is remix producer of track #1.

This is a nice collection of extended mixes and various remixes, and it serves as a fine document of the general appeal of Happy Mondays on the club arena back in the day. It also features some of Paul Oakenfold's early remixes for the band, which paved way for his role on the 1990-album, which may be seen as the band's pinnacle.

"Sexy & Dirty House Music Vol. 1" (2011)

Sexy & Dirty House Music Vol. 1 (compilation)
release date: Oct. 19, 2011
format: digital
[album rate: 3,5 / 5]

Album excerpts: 1. Johny S "Can't Get Enough (Original Mix)" - 5. Chantola "Chicago (I Need You) (Original Mix)" - 8. Johny S "Smooth Operator (Chantola Remix)"

A compilation album of club house. This may be a series in many volumes, but this specific album is surprisingly quite good.

Trentemøller "Lost" (2013)

Lost

release date: Sep. 23, 2013

format: digital (12 x File, FLAC)

[album rate: 3,5 / 5] [3,62]

producer: Anders Trentemøller

label: In My Room - nationality: Denmark

Track highlights: 1. "The Dream" (feat. Low) - 2. "Gravity" (feat. Jana Hunter) - 3. "Still on Fire" - 4. "Candy Tongue" (feat. Marie Fisker) - 6. "Never Stop Running" (feat. Jonny Pierce) - 7. "River of Life" (feat. Ghost Society) - 9. "Come Undone" (feat. Kazu Makino) - 10. "Deceive" (feat. Sune Rose Wagner) (official video)

3rd studio album by Trentemøller follows 3½ years after Into the Great Wide Yonder and is like that produced by Trentemøller and released through his own label In My Room.

His previous releases, including the DJ Mix album Harbour Boat Trips 01 - Copenhagen by Trentemøller from 2009 all have the traits of deep house electronic experimental style, building heavily on progressive compositions and all held in a primarily instrumental style. This marks a complete turn-around with Lost as 7 out of 12 tracks are composed using more traditional melody structure with vocal performances and making it all touch on synth pop in darkwave territory. Anders Trentemøller is not well-known for his vocal capabilities and therefore he has made use of various featuring vocalists. The American artists Alan Sparhawk and Mimi Parker (both from the band Low) feature on vocals together with their band on track #1; American artist Jana Hunter is featuring vocalist on track #2 together with Danish guitarist Lisbet Fritze; Danish vocalist Marie Fisker adds vocals on track #4 - she also featured on Trantemøller's 2009 and 2010 albums - American vocalist Jonathan Pierce (of The Drums) feature on track #6; the Danish band Ghost Society feature on track #7; Japanese artist Kazu Makino is featuring vocalist on track #9; and Danish artist Sune Rose Wagner (of The Raveonettes) is featuring vocalist on track #10. All featuring vocalists are also credited the songwriting on the songs, on which they feature.

Lost marks a considerable change of style in Trentemøller's discography. The album is not a strong coherent whole - some of his instrumental compositions could without difficulty have been included on his previous albums without stirring the whole picture, and here they could be mistaken for sound artefacts or just misplaced intermissions, but on the other hand they also contribute in binding together the various and differently sounding compositions with vocals - or at least: attempting to glue the strictly individual songs into one artistic package.

Altogether, Lost is no less than Trentemøller's so far most succesful album.

Recommended.

[ bandcamp ]

[ allmusic.com, UnderTheRader 4 / 5, TheLineOfBestFit 8,5 / 10, Pitchfork 6.4 / 10 stars ]

The Chemical Brothers "Don't Think" (2012) (live)

Don't Think (live)
release date: Mar. 27, 2012
format: dvd & cd
[album rate: 4 / 5] [3,92]
producer: The Chemical Brothers
label: Parlophone - nationality: England, UK

👉 Official playlist trailer

Great live album by The Chemical Brothers is first and foremost a film-documentation of the duo's concert concept recorded from the duo's 2011 live performance at Fuji Rock Festival in Japan. The sticker on the front cover reads 'The Chemical Brothers Present Don't Think Live From Japan'.
It's always a bit hard to review live albums, and electronically-founded ones aren't making it any easier but with the visual dimension it adds a great deal to the live experience. The album is issued in dvd and cd format, which means that Disc 1 is the dvd footage including 20 tracks of live recordings and Disc 2 compiling 11 selected audio tracks. The compositions all come from various albums over time but the great thing about electronic artists performing live, and especially in this case, is their ability to create new music based on their own original material, and this one is absolutely in the high-end of live performances as they understand to build the compositions together and make it a fascinating whole. Compared to e.g. Sigur Ròs and their mighty fine Inni live album, this is simply a better live performance in the sense that The Chemical Brothers' old repertoire played live is transformed into brand new material - instead of 'only' playing popular songs like they sound on the original studio albums (as SR does so well). The Chemical Brothers produce live versions of well-known tracks that are stuffed with interceptions and interpretations of their own material to make everything fit to the moment. Now, that's living the art!
Highly recommended.

Jean-Michel Jarre "Electronica 2: The Heart of Noise" (2016)

Electronica 2: The Heart of Noise
release date: May 6, 2016
format: digital
[album rate: 3,5 / 5] [3,32]
producer: Jean-Michel Jarre
label: Sony Music - nationality: France

Track highlights: 1. "The Heart of Noise, Pt. 1" (feat. Rone) - 6. "Here for You" (feat. Gary Numan) - 7. "Electrees" (feat. Hans Zimmer) - 8. "Exit" (feat. E.S.) - 9. "What You Want" (feat. Peaches) - 11. "Switch on Leon" (feat. The Orb) - 13. "Why This, Why That and Why" (feat. Yello) - 18. "The Heart of Noise (The Origin)"

17th studio album by Jean-Michel Jarre is his second part in collaborative works featuring artists of various electronic styles. Both albums were recorded over a six year period from 2011 to 2016 and they are difficult not to regard as one and the same project, and thus should have been released as a double album. Both albums are highly experimental, and overall it's nice to witness a collaboration work like this where you witness a symbiotic end-result of the process involving different takes on a genre and style leaving equal evidence from both artists. That also means that the individual songs point in different directions as the featuring artists represent very different styles but together with Jarre the output still has his fingerprints all over, making it quite interesting, but not as a perfect overwhelming work of art. Both of the two parts are quite extensive, the first part running for more than 68 mins and this one just above 74 mins.
Recommended.
[ allmusic.com 3 / 5, The Guardian 4 / 5 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.

The Durutti Column "Fidelity" (1996)

Fidelity
release date: 1996
format: digital
[album rate: 3 / 5] [2,96]
producer: Laurie Lexicon
label: Crépuscule - nationality: England, UK

Track highlights: 2. "For Suzanne" - 3. "Future Perfect" - 5. "G & T" - 7. "Sanko" - 9. "Guitar for Mother" - 10. "Storm for Steve"

10th studio album or so by The Durutti Column released on Crépuscule and produced by Laurie Lexicon [Laurie Keith, aka Laurie Laptop]. By this, Reilly has released so many obscure albums on likewise obscure record labels that it has become difficult to keep count of what are "official" albums and what are collaboration works and / or just regional / limited releases. This is not released through Factory Records (who had a troubled time in the early '90s and eventually closed in '92) nor on Factory Too, but the album had its release on the Belgian label Crépuscule (or: Les Disques du Crépuscule, a label with strong bonds to Factory Records as it was also called Factory Benelux, which originally was a sublabel of Factory Records residing in Belgium). This is another of his electronic experiments, and he really tries many styles on this, mainly in a downtempo house area. I feel it's slightly better than Obey the Time (1990) but not much, although, allmusic disagree.
[ allmusic.com 4 / 5 stars ]

The Chemical Brothers "Hanna" (OST) (2011)

Hanna (soundtrack)
release date: Mar. 15, 2011
format: digital
[album rate: 2,5 / 5] [2,68]

Track highlights: 1. "Hanna's Theme" - 2. "Escape 700" - 4. "The Devil Is in the Details" - 10. "Bahnhof Rumble" - 11. "The Devil Is in the Beats" - 17. "Escape Wavefold" - 19. "Container Park" - 20. "Hanna's Theme (Vocal Version)"

Original Soundtrack by The Chemical Brothers to an action adventure movie by Joe Wright (feat. Cate Blanchett). It's unmistakably The Chemical Brothers, and pretty much as usual a soundtrack album differs from what artists normally produce. In this case the music is more progressive and experimental house instead of big beat and / or breakbeat, and also, many tracks are noteworthy short in playing time with elements of industrial and musique concrete. I think, it's an interesting album, which almost touches a genre of modern classical, and I come to think of Laurie Anderson, Philip Glass, and Kraftwerk as possible sources of inspiration.

The Chemical Brothers "Further" (2010)

Further
release date: Jun. 7, 2010
format: cd / 2 lp vinyl (gatefold)
[album rate: 4,5 / 5] [4,28]
producer: The Chemical Brothers
label: Parlophone / Freestyle Dust - nationality: England, UK

Track highlights: 2. "Escape Velocity" (4,5 / 5) - 3. "Another World" (5 / 5) - 4. "Dissolve" - 5. "Horse Power" (4,5 / 5) - 6. "Swoon" (4,5 / 5) - 7. "K+D+B" (4 / 5) - 8. "Wonders of the Deep"

7th studio release by the Chemical Brothers following three years after We Are the Night (Jul. 2007) is a different type of album from the Chem. Bros. and a truly remarkable one, in my mind. The 'brothers' are back on track, now pushing big beat to new pastures with electro house in a big beat soundscape with foucus on minimalism. The double vinyl album comes with two tracks per side.
The new approach sees the duo on their very own - perhaps for the first time, as I understand. On all of their previous albums they have teamed up with various collaborators, who have usually been driving forces of a lyrical dimension. Sometimes it has taken the music in new directions utilising the forces of the vocalists' background to shape the music. On this new outing, however, there are few vocalists and little room for lyrical output, which means the duo are in full charge of the production and it's their most full-electronicical instrumental album to date. Again, it will undoubtedly divide fans because of the full-on approach.
In 2010 the album soon sat on my car cd-player for a very 10o0ng time (at least when I drove on my own). It's almost as one long track evolving into new sound and structures. At first, I found it too noisy but it didn't take long before I really loved everything about this new extremely tight electronic thing, which signals a strong return to something in direct line with the bold big beat songs of the 90s mixed with some experimental progressive electronica.
Further is one of those albums where you know your speakers and amplifier just aren't sufficient.
Highly recommended.
[ 👎allmusic.com 2,5 / 5, Rolling Stone 3 /5, NME 3,5 / 5, Q, musicOMH, 👍Mojo 4 / 5 stars ]

2010 Favourite releases: 1. Søren Huss Troen & ingen - 2. The Chemical Brothers Further - 3. Robyn Body Talk

Underworld "Barbara Barbara, We Face a Shining Future" (2016)

Barbara Barbara, We Face a Shining Future
release date: Mar. 16, 2016
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Rick Smith, High Contrast [aka Lincoln Barrett]
label: Beat Records - nationality: England, UK

Track highlights: 1. "I Exhale" - 2. "If Rah" - 3. "Low Burn" - 5. "Motorhome" - 6. "Ova Nova" - 7. "Nylon Strung"

9th studio album by Underworld released after three live albums [including a part as musical directors at the 2012 Summer Olympics in London], two compilations and a soundtrack, and who knows how many collaboration works, all following 5½ years after Barking (Sep. 2010). Apparently, the obscure title refers to what Hyde's father said to his wife, Barbara, shortly before passing [see The Guardian review below]. It seems with this album that Rick Smith and Karl Hyde once again have regained some of their curiosity concerning progressive house and moved away from techno influences.
The album is perhaps at a more experimental level than I believe the two have ever found themselves at before. I think, the album may silence critics who have argued that Smith and Hyde wouldn't know how to appeal to their fans after Darren Emerson left the band, although, I think they already proved that with A Hundred Days Off (2002). Anyway, this new album clearly is an improvement from their two most recent studio albums. The album has been met by critical acclaim, which also brought the duo a Grammy nomination.
[ allmusic.com, Q Magazine, Mojo, The Guardian, Spin 4 / 5, PopMatters 4,5 / 5 stars ]

Björk "Debut" (1993)

Debut [debut]
release date: Jul. 13, 1993
format: cd (519715-2)
[album rate: 4,5 / 5] [4,28]
producer: Nellee Hooper
label: Mother Records / One Little Indian - nationality: Iceland

Track highlights: 1. "Human Behaviour" - 2. "Crying" - 3. "Venus as a Boy" (4,5 / 5) - 5. "Like Someone in Love" - 6. "Big Time Sensuality" - 9. "Come to Me" - 10. "Violently Happy"

Studio solo debut after leaving the successful indie pop band The Sugarcubes - actually, it's not her actual debut as solo artists since she released her first cover-songs album in her Christian name at the age of 12 in 1977; however, with the title Debut, she initiates her (artistic) adult music career pointing to the fact that her childhood debut should not have critics search for comparisons some 18 years down the line. This is her actual debut as Björk. This is the first issue of the album that consisted of 11 tracks, but already as of Nov. '93, the label reissued the album with 12 tracks and the addition of "Play Dead" on cd issues - later vinyl issues contain the original 11 tracks.
The loss of The Sugarcubes wasn't positively welcomed as they had been a nice blow of fresh air to the music industry, so a solo album by Björk at this point was like a secondary option.
Musically and instrumentally, she wasn't renowned for her musical capabilities, as her main instrument in her former band had been her voice. Therefore, the album almost came as a bit of a shock to everyone - including fans of Sugarcubes. Her vocal remains the same, but the music was brand new. It's literally one of the rare occasions where everything turned out just right. Stylistically, it's a difficult task to pin out - even today, as it represents a huge blend of influences and styles. Yes, it's art pop, and perhaps one should just refer to it as that leaving out the electronic, alt. dance, dance-pop, electropop, trip hop, and house elements, which by no means are just filler styles.
That year the album was aired everywhere. Not just on local and national radio stations, in record stores, not just bars and cafés - the album would be heard in restaurants, in clothes boutiques, shoe shops, and at sports retailers, in airports - you name it. It was like the soundtrack of the year, and it was naturally nominated dozens of prizes all over Europe. Across the Atlantic critics were a bit more controlled, and Rolling Stone even called the album 'a disappointment'; however, the general and wide-spread reception was more than just a thumbs up.
I played the album again and again and truly found it one of the absolute best releases of '93, but I also tired of the sound - not as much the music qualities but the sound of Björk, in general. Anyway, the album is a 'must-have' in any collection of popular music, and it's a quite natural inclusion in "1001 Albums You Must Hear Before You Die". Furthermore, the album is included in many best of lists like Slant Magazine's "The 100 Best Albums of the 1990s", Spin's "The 125 Best Albums of the Past 25 Years", Channel 4's "125 Nominations for the 100 Greatest Albums", Elvis Costello's list of "500 Albums You Need", Melody Maker's "Albums of the Year", Mojo's "The Greatest Albums of All Time... and How They Happened", NME's "The 500 Greatest Albums of All Time" - just to mention some. In retrospect, I find the album worth the positive reviews and think of it as an essential contribution to modern popular music as well as a cornerstone in the history of contemporary popular music.
A musical cornerstone and highly recommended.
[ allmusic.com 5 / 5, Spin NME 4,5 / 5, Q Magazine, Select 4 / 5, Rolling Stone Album Guide 3,5 / 5 but Rolling Stone 2 / 5 stars ]

1993 Favourite releases: 1. Tindersticks Tindersticks - 2. Björk Debut - 3. The Breeders Last Splash

The Style Council "Modernism: A New Decade" (1998)

Modernism: A New Decade
release date: Oct. 26, 1998
format: digital
[album rate: 2 / 5] [2,02]
producer: The Style Council
label: PolyGram - nationality: England, UK

Track highlights: 6. "That Spiritual Feeling"

5th and final studio album by The Style Council - an album the record label rejected upon its completion in 1989, which led to the band splitting up. The first three albums by The Style Council had all sold quite well in the UK, all reaching at least number #2 on the national charts list but with the fourth album Confessions of a Pop Group, it 'only' a positions as number #15, so what made the band risk a major stylistic change, was not accepted by the label. However, here it is - released a decade after its completion. Apparently, Weller said that the band should have split two-three years before they actually did, meaning before or after recording The Cost of Living (1987). Anyway, this is a strange album. Not for its time but for being a release by a sophisti-pop band. And then again: thinking of how well Everything but the Girl made their move from sophist-pop to dance-pop and electronic, would make this an accepted decision. However, Paul Weller and Co. simply weren't accustomed with the genre nor did they get the same and perfect helping hand from someone who knew about the style they boarded. Na, this is weak, though, not worse than the band's '87 album, but frankly, this should have stayed on the shelf.
Not recommended.
[ allmusic.com 1,5 / 5 stars ]

New Order "Music Complete" (2015)

Music Complete
release date: Sep. 25, 2015
format: cd (CDSTUMM390)
[album rate: 3,5 / 5] [3,64]
producer: New Order
label: Mute Records - nationality: England, UK

Track highlights: 1. "Restless" - 2. "Singularity" - 3. "Plastic" - 8. "Nothing But A Fool" (4 / 5) - 9. "Unlearn This Hatred" (4 / 5) - 11. "Superheated"

10th studio album by a re-united New Order following 2½ years after Lost Sirens (Jan. 2013) is here on a new label, and with the introduction of a new line-up after what was never announced an official break-up, although, founding member, bassist Peter Hook in 2007, upon his departure, declared that he and Bernard Sumner were no longer making music together. On the other hand, an official New Order statement promptly stated that the band would continue with or without Hook; however, both Hook and Sumner founded new bands in 2007 and in 2009 Sumner then argued that he would not make music again with New Order. So, although there never really was an official disbandment, the band was practically dead by 2009 [about the split, see: here - here - here - here - here - and here].

New Order's last studio album, Lost Sirens from 2013 was actually recorded 9-10 years prior to its release and basically only consisted of outtakes from the studio recording sessions for the album Waiting for the Sirens' Call (Mar. 2005).

In this new formation of the band, Bernard Sumner still handles lead vocals and is also credited for playing guitar, keyboards, and synthesizers. Likewise, Stephen Morris is the band's usual drummer and percussionist. He also handles keyboards, synthesizers, and is credited for drum programming. After Hook's departure, the band has welcomed back Morris' wife Gillian Gilbert, who once again plays keyboards and synthesizers. Phil Cunningham, who was brought in to replace Gilbert, and who has been a band member since 2002, plays guitars, keyboards, synthesizers, and is in addition credited for electronic percussion. Tom Chapman, replacing Hook, is the newest member, who fills the part as the band's primary bassist, but he also handles keyboards, synthesizers and is credited for backing vocals. Several prominent guest musicians feature on the album. Tom Rowlands of The Chemical Brothers has produced and co-written two of the tracks (tracks #2 & #9). Lead vocalist of The Killers, Brandon Flowers, has co-written and feature on "Superheated". La Roux (now synonymous for Elly Jackson) is credited for additional vocals on two tracks on the album (tracks #4 & #5), and Iggy Pop appears on "Stray Dog".

Soundwise, this is unmistakably New Order, but for once the band has not only reproduced its own back catalogue - which have come to mind on a few occasions looking closer at the albums from 1991 to 2011 - but the band has broadened and updated its sound to a more modern / contemporary expression. Sumner sounds like Sumner, which is a distinct quality of its very own kind and a thing you wouldn't replace, and Morris adds his usual great skills to the basics, which may be the band's biggest asset. On top of that, synths, keyboards and bass-lines provide a fine spatial dynamic soundscape rarely heard of by New Order, and that really says something. La Roux, Iggy Pop, and Flowers don't really provide the music with much extra on this. Actually, I think, the only really fine contributing guest artist is that of Tom Rowlands.

Music Complete is easily bettering the band's last four albums and literally reaching back to redefine what many think of New Order as a band belonging to, defining, but also a band stuck in the 1980s. With the 1990s, and the first decade of the new millennium, New Order had basically taken an artistic de-route, in so far that after many years with lesser albums, this manifestation, is a surprising and uplifting 'new order' of the band many of us had buried in a glorious past.

Recommended.

[ allmusic.com 3 / 5, Rolling Stone 3,5 / 5, The Guardian, The Observer, Mojo, Q 4 / 5 stars ]