Andy Vaz Interview and Set
Mark O'Leary's Grønland

Ólafur Arnalds
Kush Arora
Steve Brand
Nick Chacona
Robert Curgenven
Daniell and McCombs
Delicate Noise
Danton Eeprom
Seren Ffordd
Paul Fiocco
El Fog
Koutaro Fukui
Corey Fuller
The Go Find
Ernest Gonzales
Francisco López
Ingram Marshall
Craig McElhinney
My Majestic Star
Nommo Ogo
Olive Oil
O'Leary - Passborg - Riis
RPM Orchestra
Richard Skelton
Slow Six
Sone Institute
Sousa & Correia
Stanislav Vdovin
Viridian Sun
Christian Zanési

Compilations / Mixes
Erased Tapes Collection II
Hammann & Janson
Leaves of Life
Music Grows On Trees
Quit Having Fun
Thesis Vol. 1

Be Maledetto Now!
Mr Cloudy
Damon McU
Morning Factory
M. Ostermeier
R&J emp
Stanislav Vdovin

Ernest Gonzales: Been Meaning to Tell You
FoF Music

Kind of funny, isn't it. Whereas Ernest Gonzales's Exponential label often issues instrumental hip-hop of one kind of another, his second full-length often plays like an affectionate homage to New Wave and ‘80s electro-pop (in actual fact, the album's designed to be a love letter to his wife, Devyn, that expresses all of the words, thoughts, and emotions he feels for her). The disc's thirteen high-energy cuts overflow with day-glo synths, fulminating breakbeats, and lead guitar and bass melodies that intertwine like some New Order tribute band. It's rambunctious, high-spirited, and fun, and feels rather old-school in its production approach with Gonzales's careful layering of instruments doing its best to approximate a live band feel. The San Antonio, Texas-based music producer's trump card is melody, as pretty much every one of the tracks distinguishes itself on such grounds first and foremost, with candy-coloured arrangements following close behind.

Many of the songs are three-minute jewels teeming with joyous synth and guitar weaves (such as the opener, “Dancing in the Snow,” with its pretty pealing guitar and glockenspiel melodies, beat-boxing, and breakbeat skitter), and lovely tunes abound (e.g., “Upon the 49th Day”), whether they be uptempo (“Opening a Lost Sacred Door,” where the loose slam of a garage band marches assertively through said door) or trippy (“Psychedelic Bellhop,” where 8-bit melodies jitter before the six-string explosion sets in). A marriage of jubilation and melancholy, “Falling Asleep to the Glow of the Television” rides arcade melodies and glistening guitar shadings over a hiccupping wave of hyperactive drumming. Three minutes of shoegaze-dreampop swoon, “We Can Live in the Forest” rides a front line of New Order bass lines and chiming guitar melodies. Note as well that the jam-packed release includes the album itself plus two supplements: a sixteen-track remix album (featuring contributions by Aether, CYNE, Daedelus, Mexicans with Guns, Pollination, Take, and others) and a full-colour digital art book (available in digital and physical form) that includes notes by Gonzales about each song as well as illustrations by international artists.

February 2010