045 - Gold Panda (Miyamae EP)

There is little more to say than this EP is but another example of Gold Panda's ability to conflate interesting instrumental samples and strong beats. The first track of the release has been chosen for its characteristic use of distorted samples. Although spatially the track is quite full, it retains subtlety, restraint and composure, due to its tasteful and delicate treatment of piano and violin samples. Also, there's a lovely vinyl-sounding crackle that introduces another thin rhythmic layer.

P.S. Note the efficacy of this simple yet elegant cover:



Gold Panda - Back Home

033 - Bear In Heaven - (Beast Rest Forth Mouth)

- An acquired taste -

The tone of these tracks are set by arpeggiators and slow, march-like drums; providing a back-drop for a less-is-more style of vocals.

Bear In Heaven - You Do You

Bear In Heaven - Lovesick Teenagers

031 - Robag Wruhme (Wuppdeckmischmampflow)

There's something pacifying about using playground sounds in music -  perhaps they subconsciously evoke memories of childhood. Heard near the beginning, they aid in setting a retrospective tone. The tempo and style of the melody place this track inside the living room more than anywhere, yet is still has ample movement, due largely to the shuffle  introduced at 1:20.  All together, the track is atmospheric and nostalgic; calm and calming.

Additionally, there's a nice mix of Four Tet's Angel Echoes ; and a slowed down, more relaxed version of Moderat's epic Rusty Nails.

P.S. The cover for this mix - inspired by Shed's Shedding The Past - is worth a look.

Rohbag Wruhme - Robellada

Four Tet - Angel Echoes

Moderat - Rusty Nails

022 - Pfirter

-Not for the faint-hearted.-

This track is just so dirty. It's also angry, broody, heavy and intense. It lives in darkness, where no life resides. The noise that comes in (0:54/5:04) sounds like Terror and Evils's fog-horn, announcing their arrival. Characteristic of this kind of techno, it's a long track, designed to move the dancefloor. The main drop (at 6:21, if you get that far) is like a giant ball of fire being released - full of energy.

P.S. The kick sounds like Satan's heartbeat.

Pfirter - The Dub Track (Len Faki Remix)

012.01 - Pantha Du Prince

Hearing this live was one of the best moments of my life: for an instant, everything was perfect. The whole track is so well crafted, but ultimately it's the strings that set it apart: when they fully arrive (2:40), I can't help but smile. Overall the track feels regenerative and reassuring, as if there is now hope where once there was none. In that sense it is positive and empowering, albeit in a modest way. I like how it persists, with one final drop two minutes before the end, before the horns lead us out. The strings and brass demonstrate how effective electronic artists' use of conventional instruments' sounds can be within an electronic context.

Pantha du Prince - Saturn Strobe

020 - The Field (From Here We Go Sublime)

The Field has a different approach to John Roberts (or  James Blake) with regard to how frequently sounds should be used. Whereas John & James value pauses and silence as devices almost as much as they do sound itself, moments of non-sound in The Field's work are hard to come by. Instead, he champions looping of the same sounds back-to-back, an uncommon take on the concept of repetition. The result is simply a constant wall of sound, placing the tracks in perpetual motion. His melodies are very basic, but his use of dynamics isn't: occasionally elements are thrust into the foreground through a shift in dynamics. For better or for worse, there's little variation on this album: formally it remains constant throughout. There is, however, enough variation in the sound-sets of the individual songs to make this an album worth listening to.

The Field - A Paw In My Face

The Field - The Little Heart Beats So Fast

017 - John Roberts (Glass Eights)

With this album, less is more. As opposed to cheapening components through their overuse, Roberts' use of restraint maintains their value. He recognizes the potential in holding back, in building up - as well as subverting - expectation. As a result, his music appears smart, well-dressed and sophisticated. I particularly like the use of the piano, which can be heard in Pruned.

John Roberts - Ever Or Not

John Roberts - Pruned

014 - Burial & Four Tet

This track is the precursor to their most recent collaboration with Thom Yorke. I think it chugs along really nicely. Despite this, however, I find that sometimes it loses my attention, due in part to its length. It doesn't really go anywhere - or rather, it doesn't go far - but that's not necessarily a bad thing: not all tracks have to embark on some kind of journey. It wouldn't set any dancefloors alight, but would go down well at the end of a night. I like the jerky element of the melody coupled with the wispy vocal line characteristic of Burial. Most importantly, both artists have left their mark without overshadowing the other. Overall, a successful collaboration.

Burial & Four Tet - Moth

013 - Gold Panda (Lucky Shiner)

Perhaps what makes this album worthy of note is its choice of sounds. Gold Panda incorporates what I can only reductively term Eastern sounds into Western electronic form. As such, the album feels fresh, even if structurally it remains fairly conventional.

N.B. There are two pairs of tracks on the album You/You Pt. II & Before/After We Talked, both of which work well when considered independently and collectively.

Gold Panda - Same Dream China

Gold Panda - Marriage