new album

das dritte und letzte kapitel der woolfy vs projections album-trilogie findet mit stations seinen kršnenden abschluss, der mit den alben the astral projections of starlight aus dem jahr 2008 began und mit the return of love aus 2012 fortgefźhrt wurde. das konzept der alben-saga der band aus los angeles von simon james und dan hastie basiert lose auf den abenteuern des verschollenen astronauten captain starlight, der held des zazu songs, einem balearic rock klassiker, der auch den sound von woolfy vs projections auszeichnet, mitbeeinflusst hat, ein dźsterer balearic und cosmic vibe, verbunden mit dem typischen west coast sound, disco dub, funk und hippie rock. stźcke wie absynth (von resident advisor treffend mit air covering steely dan umschrieben), neeve oder set me loose kšnnen allesamt als moderne klassiker des genres bezeichnet werden.

the name paul ritch echoes around the world. his productions and live sets, charged with pure adrenaline and characterised by his powerful, harmonic, and deep techno, have made him the holder of a unique mark of sounds in which his passion and power transmit numerous memorable music moments.

the spatial disco series continues with the best from the legendary tele music label. after the hype about the cult disco album sauveur mallia needs no introduction. volume 2 focuses on electronic productions from 1981 to 1984.

>sidonia< opens, immediately announcing that this wont be merely business as usual. with its groaning sub-bass and flickering percussive flashes, the track echoes the dubby, drifting melancholy of classic warp records-always, in truth, a key influence for cadenza. bells and voices lend an atmosphere of shimmering energy thats carried over into >around the angel< which sails jubilantly forward, propelled by intricate polyrhythms and uplifting female vocals.

final song goes to the very heart of musics spiritual dimension by asking a number of musicians to select their ideal last song, either to serenade their final moments or to memorialize them after the fact. the participating artists deserve to be commended for their openness: theyre responding to one of the most personal questions one could ask. (several of those approached declined to take part- taboos are taboos, after all.)