ARTICLE
2006 10 Favourite Labels

ALBUMS
aMute
Art Ensemble of Chicago
Asphalt Jungle
Joseph Auer
Avia Gardner
Tommi Bass
Caural
Cdatakill
Christ.
Conjoint
Contriva
Cursor Minor
DJ Soul Slinger
DJ Wally/DJ Willie Ross
DoF
Electric Penguins
Encre
Flashbulb
Fuckpony
Funckarma
Cedric Gervais
Eglantine Gouzy
Greater Than One
Greg Haines
François Houle
Housemeister
Jan Jelinek
Eleni Karaindrou
Kode9 + Spaceape
Takagi Masakatsu
Mini
Move D
The New Law
Nuuro
Qwel & Meaty Ogre
Rant
Max Richter
Janek Schaefer
Svarte Greiner
Thighpaulsandra
Unwed Sailor
Geoff White
Wilt
Yellow6
Jesse Zubot

COMPILATIONS/MIXES
4 Women No Cry Vol. 2
Analog for Architecture
Assemblage Sessions
Jimmy Van M
King Unique/Nubreed
Monza Club Ibiza
Pop Ambient 2007
Rub-N-Tug
Thankful
The Rorschach Suite

3"/7"/10"/12"/EPs
Baseheadz
Big Toe
Franco Cangelli
Richard Chartier
Deadbeat/Monolake
Depth Affect
Diebombshelters
DJ Koze
Eltron
Johan Fotmeijer
Hellothisisalex
Mitsuaki Komamura
Múm
Ozka
Seekers Who Are Lovers
Strategy
Tandem 5
Andi Teichmann
The Twilight Sad
Ray Valioso

VA: Pop Ambient 2007
Kompakt

Kompakt's Pop Ambient series makes its annual showing with the 2007 model. The concept—contemplative ambient settings so hypnotically deep one could drown in them—remains unchanged though not the mix of contributors: in addition to series veterans Markus Guentner, Gas, Triola, Ulf Lohmann, and Klimek, new names like The Field and Popnoname appear.

The always-reliable Guentner swells orchestral waves into surging masses on “Altocomulus Opacus” while “Nach 1912” weds Wolfgang Voigt's trademark Gas propulsion with cavernous orchestral resonance; it's captivating to hear his strings rise and fall over the driving mass below, and how the miniscule clicks and flute-like whorls ride the wave too. Subtle hints of dub and schaffel also work their way into Thomas Fehlmann's otherwise hazy “Next to the Field,” and, given the entrancing character of Les Fleurs and Herbstlaub, it's surprising that “Ou la nostalgie habite” represents Marsen Jules' maiden Pop Ambient appearance rather than his third or fourth.

The collection isn't flawless: The Field's “Kappsta” is a two-tiered set of repeatedly looped voices that's hypnotic, yes, but exasperating in its repetitiveness too, and Klimek's “Ruined in a Day (Buenos Aires)” is a decent example of shuddering guitar ambiance but it's wholly indistinguishable from the pieces on the Milk & Honey and Music to Fall Asleep full-lengths (in Sebastian Meissner's defense, the same criticism could be levied against Gas and Marsen Jules too). In short, those enamoured of the previous chapters will have no trouble cozying up to this one either, but those anticipating an even modest evolution in direction or style shouldn't get their hopes up.

December 2006