Kartell, Everything Is Here (Roche Musique)
Debut LP from this French producer, who broke through in 2012 owing to his distinctly accessible electronic tuneage, which is possessed of warmth, soul and melancholia. The background is that he grew up as a lad listening to his dad’s soul, disco and early house collection, and his early stuff led to a residency at Paris’ velvet-rope Social Club and getting booked globally at all the ritzy places from California to South Korea. Opening track “Space Odyssey” is clamorous and epic, along the lines of M83 when it gets going at around the midpoint; it immediately proves he takes a lot of time cobbling his low-BPM compositions (yes, we need more of that in this world). We also have “Quest,” a disco/LMFAO-inspired afterparty joint featuring St. Lucia artist Poté that’s not near as annoying as it might look on paper. It’s no wonder this guy’s doing so well; this stuff is custom-engineered to fill floors with idle trust-funders. A+
Aves, Transformations (Kieku Records)
Retro futurism-informed album from this three-piece Helsinki, Finland-based outfit, its lyrics encompassing “all change; from man to woman, from adolescence to adulthood, from grief to hope.” Lot of dreamy synth pop goes on here, starting with “Silent Solitude,” a meditative, loop-filled ride built around a cloudy, barely discernible vocal that’ll make some listeners think of Sigur Rós (appropriate, given that all the contributors here — including Icelandic artist JFDR and Danish singer Lydmor — obviously cut their teeth on Nordic pop and adjacent genres); it’s a melancholy, sexless but expansively hopeful thingamajig that’d fit in fine on a neo-hippie coming-of-age film (they’re in talks to write the soundtrack for a film about conversion therapy, while we’re at it). The next song, “Gem Of The Ocean,” starts with the same sort of deep-reverb breathiness as the previous one but then takes a more in-your-face tack, the super-pretty vocal sounding more digitally present. More of this, please. A+
PLAYLIST
A seriously abridged compendium of recent and future CD releases
• Yikes, Friday, April 12, looks to be a real humdinger of a day for new albums, look at ’em all, folks. Yep, we’re gearin’ up for a hot summer of singles from bubblegum Taylor Swift wannabes, corporate hip-hop bros, disposable indie bands and of course heavy metal bands, because metal never rests, unless it gets too hot to wear suits of armor or whatever they’re doing now! But wait, it’s storytime, because look who has a new album coming out, that’s right, it’s New York City’s perennial arena-band-opening act Blue Öyster Cult, with a new “slab” called Ghost Stories! Yes, the band that gave us the unlistenable dentist-office classic tune “Burnin’ For You” is at it again, and for that I thank them, because they should be out and about making more albums that only five people buy, because they are fun-loving rascals! Years ago I was at some outdoor show in Loudon, New Hampshire, or whatever, where they were opening for Savoy Brown, and my date and I were standing around with the keyboard player and the drummer while some wicked-long-haired dude was trying to sell them a bag of herbs that he claimed would “bring their youth back.” Anyway, Eric Bloom — the guy with the cool voice who sang “Black Blade” and whatnot — comes walking up, grabs the bag and keeps going without paying this feller, and I started cracking up because I knew the guy wasn’t ever going to get paid for his bag of snake-oil lawn clippings or whatever they were. But anyway, I love the BÖC, even though they’ve done some really dumb songs, so I hope this album is totally rockin’, like they say. Ack, oh noes, the opening tune, “Don’t Come Running To Me,” is just a mellow version of “Don’t Fear The Reaper,” their big hit from a hundred years ago when Abraham Lincoln was president. I’m just glad I didn’t have my hopes up.
• Ugh, what else do we have, hopefully something fun, eh wot? Yikes, Bob’s your uncle, it’s that British sax player dude, Shabaka, of Shabaka and the Ancestors! He was in avant-Afrobeat quartet Sons of Kemet and jazz-tronica band The Comet Is Coming, none of which probably means anything to you, but he is an interesting music human, this feller. His debut solo album, Perceive Its Beauty, Acknowledge Its Grace, is out this week, and it is said to highlight his mad skills on such flute-related instruments as the Mayan Teotihuacan drone flute, Brazilian piano, Native American flute and South American quenas. Do you know what this means? I do not, but I’m going to listen to this balderdash right now, because anything’s better than a new Britney Spears album or whatever other horrors are in store this year! Hm, this is actually interesting, the single, “I’ll Do Whatever You Want.” It’s got an early techno vibe to it, some krautrock feel, sort of forlorn and underproduced like Daedelus, and whichever type of flute he’s playing does lend a soothing feel to it.
• Buzzard Buzzard Buzzard is from Cardiff in the U.K., and their newest is titled Skinwalker. Frontman/ and producer Tom Rees says the album is his attempt at “consolidating my 2020 obsession with Sly and the Family Stone with my 2021 obsession with David Bowie’s album Low,” so let’s see how that all panned out, that’d be great. OK, the single, “National Rust,” is a cross between Pavement and ’90s grunge, which, turns out, is a workable recipe. Lazy indie rock for sitting around while unemployed, that’s my take.
• Lastly we have another Englishperson, jungle/drum and bass singer/DJ Nia Archives, with Silence Is Loud. The title track is a rinseout, all right, with some from-the-mountaintop vocals and plenty of melody. I don’t mind this at all.
