Prior to making a name for herself as Matthew Herbert's key collaborator, vocalist/producer Dani Siciliano played in jazz combos and spun soul, funk, and jazz records in San Francisco clubs. A meeting with Herbert resulted in the two working together and eventually marrying. It's Siciliano's lilting voice that graces the likes of Herbert's "Going Round," "Leave Me Now," and "Suddenly," three of the richest, danceable avant-pop singles of the late '90s and early 2000s. Other outside collaborations with Brooks and fellow Herbert accomplice Phil Parnell were sprinkled throughout the early 2000s. A little later in the decade, Siciliano released a pair of solo albums for the !K7 label. Likes... (2004) and Slappers (2006) both involved Herbert, but the albums were definitely her shows, and she was also featured throughout her partner's Scale (also 2006). For several years, new Siciliano recordings were scarce. She was featured on DJ Koze's Amygdala (2013) and later joined the Paris-based label Circus Company, where she released her predominantly self-produced third solo album, Dani Siciliano (2016). ~ Andy Kellman
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Electronic/Dance - Released September 4, 2006 | !K7 Records
Known primarily through her work with Matthew Herbert and Brooks, Dani Siciliano's distinctive voice has graced many of their best albums. Breaking out of her supporting role as left-field dance music's vocal go-to girl, SLAPPERS consolidates Siciliano's many talents and adds producing and songwriting to her already impressive resume. While the album displays a clear technological fluency, SLAPPERS is no mere techno record. Taking influences from modern music as far a field as contemporary jazz, R&B, and glitch, Siciliano has crafted an intimacy and warmth seldom found in electronic music.
Electronic/Dance - Released January 26, 2004 | !K7 Records
The calming voice of Dani Siciliano graces Herbert's Around the House and Bodily Functions, slithering and wrapping around and floating on top of her husband's mutant lounge grooves. It also does similar things throughout Brooks' You, Me and Us, a horrifically underheard slab of mutant house from 2002. A full album of that voice turns out to be as wonderful as one might have expected -- even more wonderful in a few instances. On Likes..., Siciliano's the one in control, with Herbert on board in a more supportive role. The set-up isn't much different from anything Siciliano/Herbert fans are familiar with, though the album is less glitch and dance-oriented than anything they've been associated with in the past. "Same" sets the muted tone from the beginning; over the course of nine minutes, an understated momentum slowly builds, with a human bassline eventually swallowed up by a machine pulse during the latter third. Just when it verges on the brink of string-arrangement bombast, it peels back and ends abruptly. A reinterpretation of Nirvana's "Come as You Are" that's neither silly nor ironic in sentiment follows and is another highlight. Barely recognizable, the tension between the stand-up bass and the flurry of percussive effects -- along with splashes of somber French horn -- prevent it from being some kind of tongue-in-cheek send-up. As a lyricist -- a role she takes on for the remainder of the songs -- Siciliano isn't particularly compelling. This isn't much of a sticking point; her voice falls into the dreamy productions as an instrument that adds another shade. The words suit the sound, if not necessarily the song, and it's not as if they're poor by anyone's standards. The album makes an excellent companion piece to Bodily Functions. At points, it comes very close to being its equal. Why can't we get more records like this, when so many hand-me-down trip-hop acts continue to hatch, Tribble-like, from the bargain bins? ~ Andy Kellman
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