Falty DL - All In The Place EP [2010]

"Unexpected delights from Drew Lustman aka Falty DL dropping four fat tracks of future electronics for Rush Hour's new Direct Current series. Following his varied assaults on Planet Mu and Ramp, Falty DL provides some of strongest material to date here. 'All In The Place' cross-breeds Chicago/NY style acid and electro house with his deft touch, followed by the fuzzy boogie house compressions of 'St. Marks', an absolute must for fans of Actress! On the flip 'Discoko' and 'Groove' remind of Luke Vibert's idiosyncratic approach to electronic disco with elements of hiphop, house and garage woven into a fresh and exciting blend."

- boomkat.com

i love this ep

Air - Premiers Symptomes [1997]

"It's usually just the collectors and obsessed fans that contend a band's first few singles are really their best work, far better than the material that ends up on their first album. With the French band Air, the collectors may just be right for once. Premiers Symptomes, a five-track EP boosted up to seven tracks for its eventual American issue on Astralwerks, features some of the most gorgeous moments in the duo's discography -- no small task considering the gems on their full-length debut, 1998's Moon Safari. Almost completely instrumental (except for what sounds like a robot crooning on "Le Soleil est Pres de Moi"), Premiers Symptomes offers a half-dozen tracks of beautiful, deliciously downtempo synth-pop. It's far more than just a compilation of substandard early material for collectors only; it takes its place right next to Moon Safari as another highlight of French electronica. [A limited-edition release of Premiers Symptomes included an enhanced track for the video accompanying "Le Soleil est Pres de Moi," with footage shot by Mike Mills.]"

- Allmusic.com, John Bush

clickclickclickclickclickclickclickclickclickclickclickclickclick

here

The Dukes Of Stratosphear - Psonic Psunspot [1987]

Just look at that album art...

"Anybody who heard the Dukes of Stratosphear's 1985 EP 25 O'Clock was left wanting more, so the full-length Psonic Psunspot sequel was welcomed warmly upon its 1987 release. Like most sequels, Psonic Psunspot pales slightly when compared to its predecessor, and not simply because the LP lacks the surprise of the EP. 25 O'Clock may have only been six tracks, but they were densely packed, containing enough studio tricks and allusions for a triple album. Psonic Psunspot doesn't play quite the same way: the tracks aren't as ornate and the songs aren't all necessarily patterned after specific '60s singles or artists, the way they were on the EP. All this gives Psonic Psunspot the feel of a slightly psychedelicized XTCpop album, never quite getting as far out as 25 O'Clock, but this is all relative, because compared to the pop of 1987, even the echoes out of the paisley underground, this is plenty trippy -- and plenty poppy, for that matter. There are exceptions to the allusion rule -- "Pale and Precious" is an unapologetic Beach Boys patchwork; "Have You Seen Jackie" is another salute to Syd Barrett; and Colin Moulding's "Vanishing Girl," arguably the best song here, refers to the Hollies -- but the album feels less like an homage and more like XTC playing heavily to their pop side, tossing off little sparkling gems like "Little Lighthouse," "Collideascope," and "Brainiac's Daughter" (although the single and standout "You're a Good Man Albert Brown [Curse You Red Barrel]" is unmistakably a music hall romp that fits the '60s concept). And whenever XTC play to their pop side, the results tend to be pretty hard to resist and that's the case here -- maybe it's not quite as epochal as 25 O'Clock, but it's a fine companion all the same."

- Allmusic.com, Stephen Thomas Erlewine

enter the stratosphear

Gui Boratto - Chromophobia [2007]

"If the title of Gui Boratto's debut full-length isn't intended to be farcical, it would be reasonable to assume that the 33-year Sao Pãolo native has either confronted his Pantone demons and emerged unscathed or been the recipient of a chromatic intervention. Chromophobia is not so much conflicted by shades and hues as it is positively seething with them, a spiral dance of cascading colors given musical voice by a multitude of mouths. The vividness of Boratto's music tempts the listener to envy the 35mm camera, with its ability to capture and contain frozen moments of electromagnetic radiation. But on Chromophobia, there is no pausing for still shots—it's a continuous pan across thickly-clustered see-sawing melodies, impudently dynamic synth tones and subtle drum loops that are shifted, rearranged and altered incessantly. This is the sound of fractious textures being sensually woven into a tapestry of almost inspirational complexity, stubbornly insisting on a delicate balance of light and dark, transparent and opaque, yellow and magenta and cyan, oh my! It is the sound of mounting the sunset and dancing amongst stars, the very instant when lightning is electrically converted into life and Dr. Frankenstein shouts his two most infamous words. "

- Stylusmagazine.com, Mallory O'Donnell

I think this is for you.

Trentemøller - The Last Resort [2006]

"--Now Trentemøller returns with his debut album on Poker Flat, ‘The Last Resort´ – a beautifully crafted, astonishing masterpiece that will leave you breathless. The 13 instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods, ‘The Last Resort´ without a doubt contains Trentemöller´s best work to date."

- [PS] progressive-sounds.com, Simon Jones

the next door to your right

Terre Thaemlitz - Midtown 120 Blues [2008]

Also known as 'DJ Sprinkles'

awesome house.

"House is not universal; house is hyper-specific… East Jersey, Loisaida, West Village, Brooklyn… places that conjure specific beats and sounds." So goes part of the two-minute monologue that opens DJ Sprinkles' album-length paean to early-‘90s deep house, Midtown 120 Blues. Sprinkles, an alias of multi-media producer and computer musician Terre Thaemlitz, is probably not a name that's familiar to most house heads; and with good reason, Thaemlitz's own relationship to the genre can best be described as "complicated." A former DJ at midtown Manhattan transsexual clubs, Thaemlitz was a first-hand witness to the stark urban contexts from which deep house first emerged -- sexual and gender crises, social stratification, HIV/AIDS, drug abuse -- an experience that clashes with the official script, the defining narrative arc of house as a collective, shared, and universally galvanizing experience. That's not to say Thaemlitz's critique hinges on his irreverence toward the subject; far from it. To casual listeners, Midtown 120 Blues may even come across as a celebration of all of the distinguishing hallmarks of the genre -- a notion that seems reasonable enough given the exquisitely crafted music on the disc."

- Allmusic.com, Dave Shim

...and here is your prescription

The Haunted - The Haunted [1967]

"One of Canada's most popular homegrown rock groups in the '60s, though they made no inroads to the rest of North America. From the English-speaking community of Montreal, the group was very explicit in their desire to emulate the Rolling Stones, and most of their 1966-1968 singles (as well as their sole LP, from 1967) were in a raunchy R&B/blues-rock style. As songwriters their range was pretty limited, and much of their material consisted of covers or thin rewrites of popular blues riffs. Their most successful single, "1-2-5," gained small fame when it was reissued on one of the first Pebbles compilations of garage singles in the '70s. All of their material was reissued in the '80s."

- Allmusic.com, Richie Unterberger

This is where you click