Electronic Recap - Feb 2020
Artists Covered: Against All Logic * Caribou * Disclosure * Gupi * Riki
Originally, my plan was to alternate between Electronic Recaps and Jazz Recaps although, given the overwhelming number of electronic albums I've been desperate to cover, I've decided to have the former upgraded to a monthly recap (whilst the later remains every two months). Without further ado, these are five pretty exciting albums on the chopping block, so let's get into it...
"2017-2019"
Against All Logic
7th February 2020
Other People
I was as surprised as everyone else when Nicolas Jaar announced he'd be following up his fantastic 2018 record so soon, that having been the first release under the pseudonym Against All Logic. That first album was a glorious endeavor into electro house and funk that has grown to become one of my all time favourite records in the short time since it came out. 2017-2019 sees Nicolas take the pivot into deconstructed club music as he embraces more experimental horizons with the inclusion of elements of IDM and techno into his more futuristic impression of tech house.
From the abrasive, Eastern-tinged openings of the first track "Fantasy", there's a clear cut contrast with his previous work under the Against All Logic name. Aside from the differing genres, the dynamics and stylings have morphed into a sharper, more aggressive and intense reality that's paired with more appropriately confident and confrontational vocals, lead by Beyonce in the commanding chopped-up samples on "Fantasy". From here, we're given a taste of the more laidback side of the album with "If Loving You Is Wrong", a song that demonstrates Jaar's fantastic ability to gradually build up the layers of his tracks into something mind blowing and utterly unbeatable.
In terms of criticisms of this album, I suppose that "With An Addict" spends a little bit too long meandering without having the same sort of payoff as the percussion-driven "Faith" or the wailing "Deeeeeeefers", and the closing track "You" is an unfortunately underwhelming ambient piece that feels more aligned with something Jaar would put out under his own name, although it suffers from an unforgivable lack of direction and relies all too much on its bass-heavy mix and uncoordinated percussion to get by. Overall, though this might not top his last record, it's another win from Against All Logic and yet another example of why Nicolas Jaar remains one of the best producers of our time.
8/10
Best Tracks: Fantasy; If Loving You Is Wrong; Alarm; Deeeeeeefers; Faith; Penny
Worst Tracks: You (Forever)
"Suddenly"
Caribou
28th February 2020
City Slang
The 5th album from Dan Snaith's Caribou moniker, and the 10th studio album he's released in his long-spanning career within his rather expansive career. Suddenly feels like the fragments of ideas it is, but in a uniquely finished state where each song feels polished and professional in spite of how they're constructed. As such, it's the presentation that really helps to carry this album and make it the triumphant win that it is.
From the rolling toms and jaunting guitars of "New Jade" to the grandiose arc of the closing track "Cloud Song", this is an album that impresses me with its exploration of different textures and the mastery with which Dan incorporates elements of different styles into a seamless and summery record that's easy to put on repeat. It feels very expansive, and there's a certain quality that makes it seem as though you're listening to a classic record despite the immediacy of the modern edge presented early on with a track like "Sunny's Time" and its utterly weird and welcome drop.
Of course, there are times when the fragmented experimentation of each track lacks the payoff to feel complete, and the track "Lime" is the most obvious example of this; it's split into two distinct sections and neither seems to reach a point of closure due to how little each is explored. In the context of an album where Caribou really submerges himself in the styles he's emulating, it's a shame to see such an unfinished and half-hearted dip into a more soulful side that's done to perfection on "Home" and the intriguing tribal chants on the later part of the song that aren't explored anywhere else on the album, instead coming to a full stop as the song ends to allow the wholesome and bona fide dance number that is "Never Come Back" emerge from the ashes of a failed experiment.
Conclusively, I'd be hesitant to call this one of the best albums of the year so far, but it's up there as one of my most listened to and most essential. The positive energy and jazzy flourishes make for an incredibly fun album that, paired with moments of melancholy in the minimal but important lyrics, makes for a therapeutic and necessary album during this crazy quarantine.
8/10
Best Tracks: You and I; Sunny's Time; New Jade; Home; Never Come Back; Like I Loved You; Ravi
Worst Tracks: Lime
"Ecstasy"
Disclosure
24th February 2020
Island Records
Disclosure have had a pretty rough period of mediocrity since their pretty much universally loved debut album Settle came out in 2013, with countless flop singles and underwhelming retreads of the magic captured on that housy first record. What I'm thrilled to announce is that their latest EP is more than the return to form we've all been hoping for.
Alright, I will admit that 2018's Moonlight EP was a gloriously funky return to their electro house roots that ramped up the retro to full on nostalgia mode. It was an admirable but odd release that was immediately contrasted with their dire collaboration "Talk" with Khalid, a track that felt entirely lacking in terms of a strong instrumental as the duo are known for. Following this a year later with yet another collaboration with Khalid in the form of the tight "Know Your Worth", a single that figured out how to own the failed formula of "Talk" but something that failed to be as summery or fun as Disclosure's best work and left their recognisable roots behind. I was understandably nervous upon hitting play on Ecstacy, their newest EP and first larger release in well over a year.
Thankfully and honestly surprisingly, the sound I was greeted with when hitting play was the tropical island paradise house turned up to maximum, a sound previously done best on their single "Ultimatum". The grooves are insanely danceable and the overall vibe of this EP is perfectly balanced between the chilled electronics of wind-down house with the brazen triumph of an act finally nailing their sound and delivering the most high quality project of their career. Perhaps some of the four-on-the-floor kicks are a little overcompressed but the overall energy of this thing is irresistable. I'm very happy this EP exists. Here's to hoping that this is the direction Disclosure continues to explore.
8.5/10
Best Tracks: Ecstasy; Tondo; Etran; Get Close
Worst Tracks: Expressing What Matters
"None"
Gupi
25th February 2020
Dog Show Records
Filling the shoes of pop experimenters 100 gecs just months after the release of their own respective debut album is the newcomer Gupi, bringing the quirky edits and cute sounds that 100 gecs specialise into a more danceable mold complete with pummelling drums and a quaint energy that's rather charmingly displayed through the chopped synths and sci-fi feel to this record.
It's frantic, fast paced fun that works best when fronted by some sort of vocals, as the instrumentals seem to lose themself without a distinct lead which can definitely result in a lack of the same sharp and precise punchy qualities necessary to drive home this kind of music. Unfortunately, Gupi's more dance oriented take on the sound utilises larger, more spacious synths than break away from the impressively controlled mixes only sometimes achieved on this record of on-and-off successes.
For me it's sad to say that more often than not it's the mixing and lack of directionality and focus that Gupi's influencers found ways to channel into masterpieces by leaning into different genres. Apparently unwilling to sacrifice the raw blend of high-octane trap, art pop and avant garde electronica by committing to any of the styles, Gupi ends up floating in the void between sounds and often misses the necessary connections that I personally need to enjoy the music. That's not to say that there are moments of chaotic bliss or electronic insanity that I can absolutely appreciate, because there are countless moments that I adore on this album, but for me there isn't enough coordination to get behind the experience of this as a whole album without getting lost a few times on the way, that stops me from calling this a great album.
It may be worth checking out as a substitute for SOPHIE, the aforementioned 100 gecs and other artists like Kero Kero Bonito and Charli XCX, but at the end of the day I'd rather listen to all of those artists due to how much more refined their experiments with this new style of art pop and dance is.
7/10
Best Tracks: Modest; Driving Directly Into A Concrete Wall; Regression; Thos Moser
Worst Tracks: Paradise; Delusion
"Riki"
Riki
14th February 2020
Dais Records
Introspection strikes the dancefloor on the debut solo record from the former anarcho-punk Niff Nawor, a showcase of dark synthpop and new wave grooves in the same ballpark as MGMT's Little Dark Age, albeit more intended for a club setting.
There's a timeless quality to this album that's reflected in the haunting tone of Niff's beautifully ghostly vocals atop the writhing, churning synths and gratifyingly cold and commanding drum machines. Although it's built up and structured in a straightforward way typical of club music, this is an album which pulls equally from the renowned as it does from the underground whilst retaining its pure 80s pastiche throughout moments of hinted industrial and darkwave.
Aside from the blatant recreations of Madonna, Soft Cell and Depeche Mode in the instrumentals, it's in the lyrics and vocals that give this record the uniqueness to carry it out of the derivative hole it could easily have occupied. I mentioned before how Niff's vocals are hauntingly beautiful, but aside from the tone her delivery varies pretty greatly between songs. On the ethereal "Spirit of Love" the synthpop sensibilities are counterbalanced by Niff's almost tribal chanting of the chorus, lending itself to the dark and inescapable atmosphere created by the instrumental. It's something almost entirely reversed on the next song "Come Inside", where it's the turn of the synths to do the heavy lifting and go off the rails with a kaleidoscopic array of colours that are in turn complimented by more restrained vocals.
Overall, I feel like this is one of those records that if you're into synthpop you'll absolutely adore in spite of the arguably outdated sound. That said, the hazy production and sharp drums were enough for me to be on board with this from the first few bars of "Strohmann" and on repeated listens I've only grown to love the details and nuances of Riki's take on this classic sound. I highly recommend it.
9/10
Best Tracks: Napoleon; Know; Earth Song; Spirit of Love; Come Inside; Monumental
Worst Tracks: Böse Lügen (Body Mix)
"2017-2019"
Against All Logic
7th February 2020
Other People
I was as surprised as everyone else when Nicolas Jaar announced he'd be following up his fantastic 2018 record so soon, that having been the first release under the pseudonym Against All Logic. That first album was a glorious endeavor into electro house and funk that has grown to become one of my all time favourite records in the short time since it came out. 2017-2019 sees Nicolas take the pivot into deconstructed club music as he embraces more experimental horizons with the inclusion of elements of IDM and techno into his more futuristic impression of tech house.
From the abrasive, Eastern-tinged openings of the first track "Fantasy", there's a clear cut contrast with his previous work under the Against All Logic name. Aside from the differing genres, the dynamics and stylings have morphed into a sharper, more aggressive and intense reality that's paired with more appropriately confident and confrontational vocals, lead by Beyonce in the commanding chopped-up samples on "Fantasy". From here, we're given a taste of the more laidback side of the album with "If Loving You Is Wrong", a song that demonstrates Jaar's fantastic ability to gradually build up the layers of his tracks into something mind blowing and utterly unbeatable.
In terms of criticisms of this album, I suppose that "With An Addict" spends a little bit too long meandering without having the same sort of payoff as the percussion-driven "Faith" or the wailing "Deeeeeeefers", and the closing track "You" is an unfortunately underwhelming ambient piece that feels more aligned with something Jaar would put out under his own name, although it suffers from an unforgivable lack of direction and relies all too much on its bass-heavy mix and uncoordinated percussion to get by. Overall, though this might not top his last record, it's another win from Against All Logic and yet another example of why Nicolas Jaar remains one of the best producers of our time.
8/10
Best Tracks: Fantasy; If Loving You Is Wrong; Alarm; Deeeeeeefers; Faith; Penny
Worst Tracks: You (Forever)
"Suddenly"
Caribou
28th February 2020
City Slang
The 5th album from Dan Snaith's Caribou moniker, and the 10th studio album he's released in his long-spanning career within his rather expansive career. Suddenly feels like the fragments of ideas it is, but in a uniquely finished state where each song feels polished and professional in spite of how they're constructed. As such, it's the presentation that really helps to carry this album and make it the triumphant win that it is.
From the rolling toms and jaunting guitars of "New Jade" to the grandiose arc of the closing track "Cloud Song", this is an album that impresses me with its exploration of different textures and the mastery with which Dan incorporates elements of different styles into a seamless and summery record that's easy to put on repeat. It feels very expansive, and there's a certain quality that makes it seem as though you're listening to a classic record despite the immediacy of the modern edge presented early on with a track like "Sunny's Time" and its utterly weird and welcome drop.
Of course, there are times when the fragmented experimentation of each track lacks the payoff to feel complete, and the track "Lime" is the most obvious example of this; it's split into two distinct sections and neither seems to reach a point of closure due to how little each is explored. In the context of an album where Caribou really submerges himself in the styles he's emulating, it's a shame to see such an unfinished and half-hearted dip into a more soulful side that's done to perfection on "Home" and the intriguing tribal chants on the later part of the song that aren't explored anywhere else on the album, instead coming to a full stop as the song ends to allow the wholesome and bona fide dance number that is "Never Come Back" emerge from the ashes of a failed experiment.
Conclusively, I'd be hesitant to call this one of the best albums of the year so far, but it's up there as one of my most listened to and most essential. The positive energy and jazzy flourishes make for an incredibly fun album that, paired with moments of melancholy in the minimal but important lyrics, makes for a therapeutic and necessary album during this crazy quarantine.
8/10
Best Tracks: You and I; Sunny's Time; New Jade; Home; Never Come Back; Like I Loved You; Ravi
Worst Tracks: Lime
"Ecstasy"
Disclosure
24th February 2020
Island Records
Disclosure have had a pretty rough period of mediocrity since their pretty much universally loved debut album Settle came out in 2013, with countless flop singles and underwhelming retreads of the magic captured on that housy first record. What I'm thrilled to announce is that their latest EP is more than the return to form we've all been hoping for.
Alright, I will admit that 2018's Moonlight EP was a gloriously funky return to their electro house roots that ramped up the retro to full on nostalgia mode. It was an admirable but odd release that was immediately contrasted with their dire collaboration "Talk" with Khalid, a track that felt entirely lacking in terms of a strong instrumental as the duo are known for. Following this a year later with yet another collaboration with Khalid in the form of the tight "Know Your Worth", a single that figured out how to own the failed formula of "Talk" but something that failed to be as summery or fun as Disclosure's best work and left their recognisable roots behind. I was understandably nervous upon hitting play on Ecstacy, their newest EP and first larger release in well over a year.
Thankfully and honestly surprisingly, the sound I was greeted with when hitting play was the tropical island paradise house turned up to maximum, a sound previously done best on their single "Ultimatum". The grooves are insanely danceable and the overall vibe of this EP is perfectly balanced between the chilled electronics of wind-down house with the brazen triumph of an act finally nailing their sound and delivering the most high quality project of their career. Perhaps some of the four-on-the-floor kicks are a little overcompressed but the overall energy of this thing is irresistable. I'm very happy this EP exists. Here's to hoping that this is the direction Disclosure continues to explore.
8.5/10
Best Tracks: Ecstasy; Tondo; Etran; Get Close
Worst Tracks: Expressing What Matters
"None"
Gupi
25th February 2020
Dog Show Records
Filling the shoes of pop experimenters 100 gecs just months after the release of their own respective debut album is the newcomer Gupi, bringing the quirky edits and cute sounds that 100 gecs specialise into a more danceable mold complete with pummelling drums and a quaint energy that's rather charmingly displayed through the chopped synths and sci-fi feel to this record.
It's frantic, fast paced fun that works best when fronted by some sort of vocals, as the instrumentals seem to lose themself without a distinct lead which can definitely result in a lack of the same sharp and precise punchy qualities necessary to drive home this kind of music. Unfortunately, Gupi's more dance oriented take on the sound utilises larger, more spacious synths than break away from the impressively controlled mixes only sometimes achieved on this record of on-and-off successes.
For me it's sad to say that more often than not it's the mixing and lack of directionality and focus that Gupi's influencers found ways to channel into masterpieces by leaning into different genres. Apparently unwilling to sacrifice the raw blend of high-octane trap, art pop and avant garde electronica by committing to any of the styles, Gupi ends up floating in the void between sounds and often misses the necessary connections that I personally need to enjoy the music. That's not to say that there are moments of chaotic bliss or electronic insanity that I can absolutely appreciate, because there are countless moments that I adore on this album, but for me there isn't enough coordination to get behind the experience of this as a whole album without getting lost a few times on the way, that stops me from calling this a great album.
It may be worth checking out as a substitute for SOPHIE, the aforementioned 100 gecs and other artists like Kero Kero Bonito and Charli XCX, but at the end of the day I'd rather listen to all of those artists due to how much more refined their experiments with this new style of art pop and dance is.
7/10
Best Tracks: Modest; Driving Directly Into A Concrete Wall; Regression; Thos Moser
Worst Tracks: Paradise; Delusion
"Riki"
Riki
14th February 2020
Dais Records
Introspection strikes the dancefloor on the debut solo record from the former anarcho-punk Niff Nawor, a showcase of dark synthpop and new wave grooves in the same ballpark as MGMT's Little Dark Age, albeit more intended for a club setting.
There's a timeless quality to this album that's reflected in the haunting tone of Niff's beautifully ghostly vocals atop the writhing, churning synths and gratifyingly cold and commanding drum machines. Although it's built up and structured in a straightforward way typical of club music, this is an album which pulls equally from the renowned as it does from the underground whilst retaining its pure 80s pastiche throughout moments of hinted industrial and darkwave.
Aside from the blatant recreations of Madonna, Soft Cell and Depeche Mode in the instrumentals, it's in the lyrics and vocals that give this record the uniqueness to carry it out of the derivative hole it could easily have occupied. I mentioned before how Niff's vocals are hauntingly beautiful, but aside from the tone her delivery varies pretty greatly between songs. On the ethereal "Spirit of Love" the synthpop sensibilities are counterbalanced by Niff's almost tribal chanting of the chorus, lending itself to the dark and inescapable atmosphere created by the instrumental. It's something almost entirely reversed on the next song "Come Inside", where it's the turn of the synths to do the heavy lifting and go off the rails with a kaleidoscopic array of colours that are in turn complimented by more restrained vocals.
Overall, I feel like this is one of those records that if you're into synthpop you'll absolutely adore in spite of the arguably outdated sound. That said, the hazy production and sharp drums were enough for me to be on board with this from the first few bars of "Strohmann" and on repeated listens I've only grown to love the details and nuances of Riki's take on this classic sound. I highly recommend it.
9/10
Best Tracks: Napoleon; Know; Earth Song; Spirit of Love; Come Inside; Monumental
Worst Tracks: Böse Lügen (Body Mix)
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