Showing posts with label downtempo. Show all posts
Showing posts with label downtempo. Show all posts

Sunday, 22 June 2014

Various Artists - The Art Of Chill (Platipus Records)



To what extent is it necessary to be entirely strung out before you can chill out? Does the concept of chill out exist solely within a dialectical relation to getting cranked up (thesis), and strung out (antithesis)? Is chill out a modem phenomenon? Or can it be seen as a timeless one? Can we speak meaningfully of chilling out as an art? Or is it an art only in the sense that love or war can also be viewed as arts? Are the sleeve notes for this compilation of the finest contemporary chill out going to consist entirely of questions? And if this is the case will they themselves require their own equivalent chill out, in the form of a lot of answers?

To this question let me say, emphatically, yes.
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The melodic and atmospheric roots of club trance and progressive house lie in the layered sounds of 70's and early-80's psychedelic ambient ala Tangerine Dream and Klaus Schulze. So it's only fitting that iconic UK trance and progressive label Platipus Records launched the first volume of this downtempo series by focusing on ambient material and remixes from its own artists.

For those who care for electronic music history, the first of Platipus's Art Of Chill compilations is the sound of trance leaving the beats of clubland behind and returning to the source. For anyone else it's simply a terrific after-party or late night swim in a deep, multi-coloured ocean of sound. Its studded with downtempo gems that dip into the Platipus catalogue as far back as eight years. Melodic, ethereal tracks like Union Jack's "Water Drums" and Kansai's ambient mix of "Rococco" are both stunning in their own gentle way. The better known Sinead O'Conner and Binary Finary both shine via previously unheard remixes of their tunes "Troy" and the Binary Finary trance anthem "1998" as re-imagined in cold deep space by Neo & Farina. Although a handful of tracks here have appeared on many other comps, the quality of the Platipus content puts this album up there with the best ambient trance collections around.

The pleasant but non-essential Art Of Chill 2 (2005) is far more generic, throwing in just about every strain of downtempo across another two disc set. Thanks to screamingly obvious inclusions like FC Kahuna's "Hayling" and Bent's "Swollen" it simply doesn't distinguish itself enough from many other comps on the market.

Fortunately the series gets well and truly back on track with Art Of Chill 3, a rich, mind-altering mix complied by old hippie techno-ambient rockers System 7 aka Miquette Giraudy and Steve Hillage. It's a colourful, harmonious and at times surreal blend of warm dubby lounge, Hillage's own electronica (as System 7 and Mirror System), current psy-chill tracks from names like Shulman and Blutech, and folksy detours through India and the Far East. An undoubted highlight is System 7's own "Kupuri", a slow-building shamanic groove of rare hypnotic power with Hillage's famous gliss guitar soaring sweetly overhead.

Art Of Chill 4 from 2007 was complied by Alex Paterson of The Orb and was hands-down the best thing he'd put his name to since The Orb's glory days of the early 90's. Given his love of sampling and encyclopedic knowledge of all things ambient he proves the perfect choice to create a highly distinctive mix. It's nothing less than a two hour trip through Paterson's extraordinary personal music collection from the 70's onwards with an emphasis on atmospheric ambience, soundtracks, pretty landscapes and stoned, quirky downbeats. Several new Orb tracks are also effective. Given the chance to run amok with his record collection, Paterson shows a surprising lack of self-indulgence. The album gels beautifully and its the most ambitious entry in the series.

----- Reviewed by Mike G - ambientmusicguide.com


Volume 5 of the compilation (Mixed by Bent) is not included in the above review but definitely deserves a mention, this is nothing like previous Art of Chill releases. This mix offers up alternative, piano, instrumental and classical chill out. With Big guns such as Craig Armstrong and Kirsty Hawkshaw supporting nicely, its the likes of Ben Benjamin, Nonostar and Helios that do this mix justice. CD1 goes very classical, and CD2 opts for a more ‘Art of Chill’ sound. An essential mix for anybody wanting to chill the fuck out. Looking forward to the next compilation!


Saturday, 21 June 2014

Tipsy - Trip Tease (1997)/Uh-Oh (2001)

Tipsy first appeared on the San Francisco music scene in 1996 with a cartoonish mix of cut-up charity shop vinyl, twangy guitar and weird spacerock electronics.

Dave Gardner was an obsessive record collector who had gotten involved in the mid-80s avant/industrial/noise crowd in the San Francisco bay area, using tapes, record players, cheap samplers & broken guitars. He recorded a couple of albums and played with a dozen or so bands; during this time (while living at an art/music collective space) he first met Hawaii-born Tim Digulla.

Tim eventually moved to San Francisco, worked with robot performance group Survival Research Labs and recorded with the psychedelic spacerockers Imajinary Friends (on Bomp) before ending up with Naut Humon's Sound Traffic Control studio/soundsystem.

After hearing some low-fi cassette tracks mixing easy listening with harsh electronics that Dave was working on, Naut offered to sponsor an album on the then-new Asphodel label his wife had, and suggested Tim and Dave record together.

After a couple years work, they released the retro-lounge-themed TRIP TEASE (1997) which mixed cut-up exotica & electronics with real instruments in a slickly surreal, obsessively detailed way. By a lucky coincidence, it was released at the height of the brief lounge fad and turned out to be a surprise pop success, showing up in the background everywhere; indie movie soundtracks, international ads for beer, TV (MTV's Real World, the Sopranos, Sex in the City), the corner bar.

Working with producer/engineer/guitarist Alex Oropeza (Broken Horse, Tarnation), they recorded their next album, the excessively eclectic, dreamily cinematic, almost unclassifiable UH-OH (2001) with a set of renowned guest musicians, including classical percussionist William Winant, and the late Vince Welnick (Grateful Dead) among many others.

After years of changing membership, the live version of Tipsy eventually stabilized. In person, they are a much noisier, more unrestrained thing.










Wednesday, 16 April 2014

Nightmares On Wax - Carboot Soul (1999)


Nightmares on Wax or George Evelyn is a DJ and electronic music composer from Leeds, England. His music is released on Warp Records and was one of the first releases on the label. Originally partnered with Kevin Harper they released an original album in '91 that was grounded in hip-hop with a techno edge.

Carboot Soul is the groups third album and was the first album to be domestically distributed through the US label, Matador Records. The style of the music has changed extensively since this initial release but maintains some of its roots. In the 8 years since their initial album release Evelyn & Harper had subsequently stopped their collaboration. This album featured soul singer Sara Winton, Hamlet Luton on Bass, Chris Dawkins on guitar, and Robin Taylor-Firth on keyboards with the Pure Strings Orchestra on strings.

This was a change for Nightmares on Wax, as they began as a DJ-based group. Their newfound contribution of live musicians allowed for the group to operate more like a band than a studio act. However, the drum machine was not replaced with a live musician, remaining true to the band's original technology-based tracks.

Evelyn said about the group's change and about expanding the idea that "Doing the live side proves there is more to the music. People have something more tangible to relate the music to and it gives us the chance to connect with the audience. Also I've always had this idea of creating a big band – which is what we call our sound. The main priority for NoW is to prove that we can perform music. But we're not ignoring the fact that we come from a studio, technical background. We just want to mix the old with the new. That's why, at the moment, I don't have a live drummer. The sound of the beats is what makes Nightmares."

This album is fantastic, I actually may prefer it to Smoker's Delight, and the later releases. Well worth a look.