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Two and a half years after their debut LP.23 Seconds dazzled critics and lit up dance floors worldwide. Cobblestone Jazz are back with a powerhouse new album that captures their live-in-the-studio energy like never before. A mixture of heady. jazz-inspired house grooves and below-the-belt analog funk. it raises the bar for electronic dance music in 2010.
Two and a half years after their debut LP, 23 Seconds dazzled critics and lit up dance floors worldwide, Cobblestone Jazz are back with a powerhouse new album that captures their live-in-the-studio energy like never before. A mixture of heady, jazz-inspired house grooves and below-the-belt analog funk, it raises the bar for electronic dance music in 2010. Titled The Modern Deep Left Quartet, the record marks an important addition to the Cobblestone Jazz lineup, as the trio of Mathew Jonson, Danuel Tate and Tyger Dhula brings aboard Colin de la Plante (aka the Mole). De la Plante is no newcomer to the Cobblestone crew: the four musicians have been playing together for nearly 15 years, since their first performances in small-town Victoria, British Columbia, and they’ve all shared the stage as the Modern Deep Left Quartet. (In 2005, they also recorded an EP for the band’s Wagon Repair label, which is also responsible for the vinyl release of The Modern Deep Left Quartet.) Now, using the moniker as their new album title, the band officially anoints de la Plante a full-time member of the studio lineup. The band recorded the album during three intense weeks over the summer. With Jonson and de la Plante living in Berlin and Tate and Dhula holding down the fort in Victoria, they stay on top of their game by touring once every other month, taking advantage of downtime between gigs to rehearse and record in their Berlin studio. “Rehearse” and “record” actually mean virtually the same thing for Cobblestone Jazz: their method is spontaneous, in part because their gear requires it. There’s no saving patches with the analog machines like theirs-antiques like the TR-808, TR-909 and SH-101; newfangled headscratchers like Cwejman and Doepfer modular synths; strange, custom-built doohickeys of uncertain purpose; and of course Tate’s trusty vocoder and Fender Rhodes. Tracks begin from scratch and develop across freeform jam sessions that often see day turning into night.
(added: 2010-03-18 08:54:44 )