Qobuzissime

A specific and a lasting reading disorder that occurs during childhood and adolescence, dyslexia is recognized as a dysfunctional learning disability. No doubt that 10LEC6 just learned ... differently? The Afro-post-punk collective has first and foremost digested a number of influences quite impressively. From funky post-punk like ESG and Liquid Liquid hailing from New York in the 80's. But also disco, house, punk from Bad Brains, afrobeat, high-pitched electro and very solid tribal rhythms. Since 2004, the group of varying geometries formed around the street artist Simon and the producer and DJ Jess (a member of the duo Jess & Crabbe) and they make fusion like no other! A fusion that was formed with the arrival in 2014 of a new voice, Nicole, who sings in Bulu, a Bantu language which is spoken in the south of her native Cameroon. With Bone Bame, rhythm takes control of the body and the brain. This third album that appears on Ed Banger, the label of Pedro Winter, is above all a long percussive and electronic trance where the heavy bass and the incantatory voice of Nicole makes it totally elusive. All that is left to do is to let yourself go with delight on this singular and cosmopolitan dancefloor that is like no other. An all round Qobuzissime! © Marc Zisman/Qobuz

At first glance, post-rock and techno were hardly made for one another. Guy Andrews would beg to differ. By fusing his two passions, the two major influences on his music, the young British producer has created his second album, Tåke, which means fog in Norwegian. This is an atmospheric journey, viscerally linked to nature. Andrews says plainly that the single Fjell was inspired by a walk on Cadair Idris, a Welsh mountain. It was inspired by the climbs. The challenge of the ascent. And the pride in reaching each peak... Another escapade, this time in Norway, offered added fuel for his record. It gave a power that has influenced this captivating work from beginning to end. Guy Andrews plays with atmospheres (his first works were very much rooted in ambient music) and alternates between Northern Lights and violent hurricanes. Each composition on Tåke is in fact a kind of miniature sonic documentary, inspired by the writer's many wanderings. Here, even more than on his 2016 debut album Our Spaces, Andrews is a painter. He is sketching out an electro landscape with diverse textures and hypnotic effects. No surprise that the Londoner's art has been hailed by big names such as Massive Attack, Scuba, Bonobo, Max Cooper and others. Tåke depicts a vast sound tapestry, mottled by rhythms and lit up by the colours that Andrews offers. Fog has never looked so radiant. © MD/Qobuz

A French house producer who rarely offers French house music, Brodinski launched his career as an electro don who perfectly fits with Bugged Out! or Southern Fried, but his later work is left-field hip-hop of the highest order, the kind of stuff that attracted mavericks like Danny Brown and Kanye West. Here, the indie electronica DJ with two productions on West's monolithic Yeezus LP makes his album debut with an unexpected and excellent blast of fractured tracks, some so skeletal and wobbly they sound like the Chicago genre of footwork as heard through a nu-disco remix. "Bury Me," with Maluca and MPA Shitro, is a good example as it jerks like a zombie while shining like a diamond, but a more downtown version is "I Can't Help Myself," where SD stutters over trap booms and blasts before disappearing in a whirlwind of rave-rap beats. The weird "Need for Speed," with Louisahhh and Bloody Jay, sounds as if Giorgio Moroder called for Lil Jon, got Trinidad James instead, and was happy the mistake happened; then there's the pounding acid number called "Hector," which is one-part Mad Decent and one-part happy hardcore. With dark bass, aggressive attitude, and the word "bitch" used for emphasis, both Three 6 Mafia and Pimp C's influences are in full effect throughout the album, but even with all these touchstones and special guests, Brava has a unique voice, one that's choppy, quirky, welcoming, and likely smells of blunts when it burps. Think of Mr. Oizo signed to Hypnotized Minds, or Chief Keef as Erol Alkan's hype man, and the delightful, wobbly magic of Brodinski's debut will come as less of a shock. ~ David Jeffries

Even if they're not billed as a supergroup, the Acid's three members boast a formidable amount of talent (and other projects): Adam Freeland scored a hit single with 2003's breakbeat-driven "We Want Your Soul" and remixed songs by Orbital and Silversun Pickups, among others; along with his own intimate singer/songwriter fare, Ry X is also one half of Howling; and Steve Nalepa is also a composer, and professor of music technology. This wealth of skills and experience could have led to similarly overstuffed music, but the trio's full-length debut, Liminal, is remarkably restrained in its ever-shifting balance of indie, dance, and R&B. Indeed, the songs that first appeared on the Acid's self-titled EP sound downright lush compared to how spare and sculpted the rest the album is. "Animal" pairs the chiming, Durutti Column-esque guitars that have become a hallmark of this style with revving synths that sound like one part dubstep and one part motorcycle, while "Fame," with its beautiful juxtaposition of fizzy warmth and cool tones, might still be the Acid's most immediately engaging song. Tracks like these offer a gateway to more implosive moments such as "Clean" and "Red," both of which deliver graceful, elongated ebbs and flows that are miles away from the epic drops expected of 2010s dance music. The way the Acid incorporate elements of house and dubstep on Liminal borders on dream logic, particularly on "Veda," where a distant four-on-the-floor beat propels its meditations. Of course, they aren't the only ones fusing these sounds; How to Dress Well, the xx, and James Blake are just some of the most prominent artists working in similar territory. However, Freeland, Nalepa, and X may be the most eclectic in comparison to their contemporaries. Since the Acid boast two accomplished producers, Liminal always sounds intriguing, whether it's the sleek yet feral atmosphere of "Tumbling Lights," which evokes walking through a jungle at night, or the subtle building and blending of acoustic and electronic textures on "Basic Instinct" and "Ra." X's melancholic, Thom Yorke-like tenor is the fulcrum for these explorations, and he sounds at home in whatever backdrops Freeland and Nalepa give him. His storytelling also helps the Acid distinguish themselves from their peers, particularly on the aptly named "Creeper," where a narrative of uneasy desire ("I wanna touch you in a painted stall") unfurls over a pulsing, fractured track that conveys several kinds of tension. In theory, balance and restraint aren't the most exciting virtues for an album to possess, but in practice, Liminal's subtlety is confident and dynamic. ~ Heather Phares

After a decade of releasing singles, remixes, and edits to large amounts of acclaim among in-the-know dance music fans, Norwegian whiz kid Todd Terje finally made an album of his own in 2014. It's Album Time is a pretty self-explanatory title, though it could have been called "I Love Many Different Styles of Dance Music and Will Proceed to Put My Warped Spin on All of Them." Well, that one would have been a mouthful, but it does sort of explain what was in Terje's head as he whips from one style to the next over the course of the record's 12 tracks. Stylish neo-disco is what he's best known for, and if any one style dominates, it's that. Bouncy dancefloor fillers like "Strandbar," "Inspector Norse," "Swing Star, Pt. 2," and the light-as-a-feather "Oh Joy" set the dials for the heart of the disco ball and form the shiny center of the album. Terje's unerring grooves and the sophisticated and melodic sounds he lays over the beat make them the easiest tracks to love. He's less successful when heading off the floor and into the chillout lounge ("Leisure Suit Preben"), the tiki room ("Preben Goes to Acapulco"), or whatever strange place the impossible-to-describe (or listen to more than once) "Svensk Sås" resides, though he does get lucky with a guitar-strumming electro '80s style ("Delorean Dynamite") that begs to have some vocoder vocals over the top. The sweeping, ice-colored synths get the job done fine anyway, and it seems like a path Terje would be wise to follow on future releases. The same can't be said for the one vocal feature on the record that finds a sepulchral Bryan Ferry croaking a version of Robert Palmer's "Johnny and Mary" that Terje decides to take at "Chariots of Fire" tempo and with the same level of portentous drama. It's a huge misstep that threatens to derail the album and wipe away all the good that exists. Take it out, along with a couple of filler-y tracks, and It's Album Time is a solid debut. As it stands, it's a hard album to get your head around and it's a hard album to fully embrace. Terje should set aside the experiments and just focus on making sleek and shiny electro-disco tracks; the rest only gets in the way of a good time. ~ Tim Sendra

3 stars out of 5 -- "[T]he French duo are as synonymous with hazy Parisian grooves and dreamy vocals as central London is with artisan coffee houses."

Rewarding as it was for most lovers of 1983 and Los Angeles, Cosmogramma was so complex and knotted that Steven Ellison's next step could have gone beyond the challenging and into the self-parodic. On his fourth album, Ellison not only peels away layers from his sound but organizes his tracks into a gracefully flowing sequence. The producer once again draws from numerous instrumentalists and vocalists, from Brainfeeder associates Stephen "Thundercat" Bruner and Austin Peralta to the likes of Erykah Badu and Thom Yorke. Bruner has the most presence. His tremulous basslines are on nine of the album's 18 tracks, and his spaced-out, quasi-oracular vocals poke through on occasion, such as on an 80-second track that is titled after a natural psychedelic compound and references the title of Ellison's 2010 EP. True to Flying Lotus form, Bruner's voice, as well as those of everyone else, is made to sound phantasmal rather than spotlit. While much of the material on Ellison's previous three albums came across like brief and isolated ideas with an impact unaffected by the shuffle function, the shorter pieces here act more like true connectors or proper set-ups/interludes. The 12 minutes from "See Thru to U" through "Only if You Wanna" make for the album's least divisible section. It begins with lithe and slightly unsettling pattering and closes with a futuristic, organic-synthetic jazz trio piece. Somewhere in the middle, there's "The Nightcaller," the closest the album gets to dancefloor funk like Cosmogramma's "Do the Astral Plane" -- that is, until the last minute, when the gliding/chugging beat stammers and switches to a delirious strut. For all the elegiac and turbulent moments, several tracks, including the majestically wistful "Getting There" and the cascading "Until the Colours Come," are gorgeously starry and even lullaby-like, laced with ear-perking flourishes. And then there's the alien critter voice on "Putty Boy Strut," and the bizarrely bleak and comical "Electric Candyman," featuring Yorke, which arouses some serious cognitive dissonance by provoking thoughts of Tony Todd and Beyoncé ("Say my name, say my name, say my name"). Ellison's trademarks -- skittering and rustling percussion atop slightly irregular drums that knock and thud, for instance -- factor almost as much as ever, but his slight adjustments and increased restraint make this his most accessible and creative release yet. ~ Andy Kellman