Articles
Robert Henke
Deepchord and Soultek

Albums
Amoebazoid
Boy Is Fiction
BTB
Calika
Vic Chesnutt
Enrico Coniglio
Eric Copeland
Deadbeat
Deepchord : Echospace
Ditch
Terrence Dixon
Brian Ellis
Reinhold Friedl
The Green Kingdom
Marc Hannaford
Hrsta
K. Leimer
Lights Out Asia
Nebula 3
Netherworld
Le Peuplier de Simon
Po
Portable
Lou Reed
Jeffrey Roden
Skallander
Swod
Gregory Taylor
Telephone Jim Jesus
Pau Torres
Tunng
Rolan Vega
Robert Vincs
Warmth
Otomo Yoshihide

Compilations / Mixes
Sander Kleinenberg
One Point Two
Total 8

3"/ 7"/ 10"/ 12"/ EPs
Adultnapper
Arrow!!!
Ascoltare
Beneva vs. Clark Nova
Cinematic Orchestra
Deepchord : Echospace
Easy Changes
Fink
Peter Grummich
The Heavy
Isomer Transition
Laptik
Larytta
Nadja
Pendle Coven
Polvere
Redhooker
Spied
Andy Stott
Torrance & Hochstrate
Andy Vaz

The Cinematic Orchestra: Ma Fleur: Live at the Barbican
Ninja Tune

Admittedly, The Cinematic Orchestra's half-hour Ma Fleur: Live at The Barbican EP (download only) is rendered somewhat unnecessary in light of the group's recent Ma Fleur release and so may appeal primarily to completists. At the same time, it offers a radically different take on the album's magisterial ballad “Breathe” with Eska Mtungwazi's vocal delivery departing significantly from Fontella Bass's majestic but wearily intoned original. Recorded on May 6th, 2007, Mtungwazi's youthful voice is stronger and more vital by comparison and clearer in its enunciation, although it lacks the gravitas that the legendary Bass brings to her poignant performance. On the other Ma Fleur piece, “Familiar Ground,” Mtungwazi's overly emotive approach sounds less effective when compared to Bass's more straightforward reading.

The group itself sounds spectacular in both studio and live contexts, and its dynamic jazz-infused style loses nothing in the transition to the stage. The EP's other key selling point is the inclusion of an almost thirteen-minute treatment of “Man With The Movie Camera” which affords Tom Chant, Stuart Macallum, and Nick Ramm a forum for their considerable sax, guitar, and piano playing talents, and the ensemble as a whole (powered by Luke Flowers' robust drumming) to showcase its tight interplay. Somewhat less satisfying is “Channel 1 Suite” (from 1999's Motion) which features singer Patrick Watson alongside a heavier electronic-oriented backing; for a better account of his formidable vocal gifts, proceed directly to Ma Fleur's “To Build A Home.”

September 2007