Qobuzism

Kiddy Smile wants to bring house to the masses. While vintage house has come roaring back over the last few years, and twenty years have passed since French Touch conquered the charts, this totem of the ballroom scene and Parisian voguing makes no secret of his ambitions for this first album. After putting audiences on notice with 2016's Let A B!tch Know, Kiddy Smile, on the much-publicised label Defected, is aiming higher and brings in Robin S, Armand Van Helden and Mojo, his points of references for songs, aiming perhaps for a career like that of Sylvester, American gay icon who wrote the global hit You Make Me Feel (Mighty Real) in 1978. But that doesn't mean he's giving up on house, which forms the foundation of almost all the tracks on this album, in particular the vocal house of Ron Trent and Frankie Knuckles in particular, who sent the genre mainstream in the US of the 1990s, with their remixes of soul/pop hits. Can the model work in France? We'll see. But Kiddy Smile, assisted by Julien Galner of Château Marmont on production, brings all his talents to the table, like on Be Honest featuring Rouge Mary, a superbly soulful track, or One Trick Pony, produced by Boston Bun (Ed Banger), an alluring pop/R&B crossover. Two tracks with great potential, accompanied by club hits that are sure to fill dancefloors (House of God, Burn the House Down), and the single Dickmatized, which recalls the powers of the Italian fidget duo Crookers. All the elements of success are brought together here. © Smaël Bouaici/Qobuz

His second EP You’ll Understand, released in 2016 on Distant Hawaii, a sub-division of the London label Lobster Theremin (spearhead of lo-fi house) and his melancholic yet rousing track Talk To Me You’ll Understand made it clear: Ross From Friends has gold at his fingertips! He has spent his time over the past two years fine-tuning the tiniest details for this 50-minute album that is sure to satisfy those who have fallen for the charm of his silky house, as well as ensure him a new base of devout fans. Ross From Friends’ music is somehow addictive, as confirmed by Thank God I’m A Lizard, a shamanic house with Pink Floyd-like guitars, while Wear Me Down sounds more fluid and reminiscent of the Argentine Ernesto Ferreyra and Luciano's sweaty dancefloor label Cadenza. In addition to the hypnotic aspect of his minimal techno, Ross From Friends adds an extra touch of soul, drawn from his family history. His parents were keen travellers, the kind of Englishmen to roam around Europe in the 80s with a sound system to diffuse the first electronic experiments (hi-NRG, italo-disco…). The Knife offers a kind of soulful synth-pop that plunges us straight back into the atmosphere of the 80s, before he switches up the BPM for the techno track Project Cybersyn. "Every time I started working on a song, I was immediately caught up in the most emotional aspect of things," he explains. It's certainly one of the most important parts of the work around the album, trying to tap into those emotions, that emotional instability." This approach is reminiscent of that of another British producer of the new generation, Leon Vynehall, who built his latest album Nothing Is Still around the history of grandparents with an equally moving result. The superb track Parallel Sequence and its breakbeats also show that the Englishman is not fixated on the kick and that, unlike so many others, he does not put the drum machine at the centre of his music. It would be difficult to define a rotary axis, as his songs seem to emanate from an idea, from a concept. The rest of the album is just as bewitching, and we let ourselves be carried from one end of the twelve tracks to the other in this cotton blanket that Ross From Friends has wrapped us in. It's only summer, but this is probably already one of the albums of the year and for sure a perfect Qobuzissime record. © Smaël Bouaici/Qobuz

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

The Australian-American-UK trio The Acid bring soulful electro into dreamy territory. Now, acid is a chemical substance defined by its reaction to another kind of chemical with a complementary composition. But with this Acid, the ingredients list is a bit longer and more complicated... Behind The Acid there is a triumvirate led by the Australian Ry Cummings, aka Ry X, the young guru of a mind-blowing, diaphanous electro-soul, with his two henchmen, UK DJ Adam Freeland (whose 1998 mix Coastal Breaks II is considered as one of the highlights of breakbeat) and the Californian producer Steve Nalepa (who is most famous for his work with The Weekend and Drake, and who spends most of his time teaching music). With their début album Liminal, The Acid has given the world a brilliant, spartan record which will enchant fans of James Blake, Sohn, Bon Iver and all those outfits from the 2010s which brought together electro textures, breathtaking ambiances, pop melodies, and heavenly voices. This is a futuristic, dreamy Qobuzissime. © MD/Qobuz

It's Album Time uit 2014 is de titel van de debuutplaat van de Noorse dj, muzikant en producer Todd Terje. De muzikant die al naam maakte met talloze remixen brengt op zijn eerste plaat aanstekelijke dance, die rijkelijk wordt vermengd met disco, jazz en lounge. De plaat is goed voor een tweede plaats in de Noorse albumlijsten en een vierde plek in de Amerikaanse dance-albumcharts.

Op Until the Quiet Comes, Steven Ellisons vierde album, pelt Ellison lagen van zijn geluid af en ordent hij zijn nummers op gracieus vloeiende wijze. De producer werkt opnieuw met een grote verscheidenheid aan instrumentalisten en zangers, van Brainfeeder label artiesten als Stephen “Thundercat” Bruner en Austin Peralta tot grote namen als Erykah Badu en Thom Yorke. Bruner heeft de meeste aanwezigheid, zijn donderende baslijnen staan op negen tracks en zijn spacey vocalen treden af en toe op de voorgrond. Alle meditatieve-melancholische en turbulente momenten terzijde, een heel aantal van deze nummers zijn heerlijk dromerig en zelfs slaperig. Ellisons vaste waarden – dartelende en knisperende percussie over onregelmatige drums die kloppen en ploffen bijvoorbeeld – zijn hier bijna net zo belangrijk als altijd, maar kleine aanpassingen en een grotere terughoudendheid maken dit tot zijn meest toegankelijke en creatieve release tot nu toe. ~ Andy Kellman