REVIEWS: Donor / Vakula / Puffer

scntst puffer

Some reviews from February for DJBroadcast International.

Donor – Against All 

After years of releasing tracks and EPs on labels like Stroboscopic Artefacts and Truss Trax, Donor finally presents his debut LP. On Against All, Donor continues to create a space for travelling within your mind, as oppose to moving your body on the dancefloor. But being of a dystopian nature, this travel isn’t cheerful for one second.

Those who are into dark, slow and experimental techno have probably already heard about Donor. Apart from his fundamental contribution to Stroboscopic Artefacts, Greg Schappert is also known for his ongoing transatlantic collaborations with Truss as well as a series of solo releases on Semanthica Records, Prosthetic Pressings and his own netlabel Miniscule.

Even though he’s lived in cities like Barcelona, Madrid or Tokyo, his musical inspiration originates from the sounds of Birmingham, Berlin and Detroit. On his debut long-player, Donor adds the sounds of New York City to the list, a city often portrayed as the central point of attacks or World destruction in dystopian sci-fi blockbusters. Ironically, apart of John Carpenter, he’s not so much into science fiction. He prefers to create it himself with his abstract, minimalistic techno.

On Against All, Donor continues to rank himself among the producers who do not take an optimistic approach towards the future. But unlike some of his peers (colleagues from Stroboscopic Artefacts and Perc Trax), he doesn’t mirror or criticise the pre-apocalyptic present, but outlines the atmosphere of the dystopian future using sounds of the present – primarily field recordings. Alongside these, he also uses the Roland TR-909 and his iPad.

Nevertheless, Donor operates with his sound arsenal in an unorthodox way: instead of leaving his field recordings to be heard as they are, he transforms them into alien signal transmissions (‘Hands On’, ‘In Your Place’) or chops them into staccato sound patterns (‘Station A14’, ‘Fault Is Found’). When using synths, he preferes to go for their rhythmical arpeggio effects or eerie atonal layers than for tones or melodies. In ‘Menace is Mine’, he creates brilliant but unsettling sounds, similar to that of a mechanical creature breathing heavily while destroying anything human that crosses its path.

Against All is permeated with hopeless, anxious feelings and a dreary atmosphere of wandering around desolate, ravaged cities or landscapes. Acording to Donor himself, ‘Calling’ is supposed to symbolise frustration, ‘Own Exile’ “the aftermath or total destruction” and ‘Menace’, a “desperate attempt to communicate with the unknown”. Although not every single track has a sophisticated conceptual idea behind it, each evokes a vivid, dark and doomy atmosphere. All except for the last track ‘In Your Place’, which is reminiscent of Lucy’s ‘Falling’ from last year’s LP, which soothes the listener after the series of uncompromising apocalyptic vision, giving you hope as well as serving as a requiem, praying for the salvation of all dead souls.

SCNTST – Puffer

Bryan Müller is a Munich-based producer who keeps astonishing music fans as well as critics with his outstanding talent of blending various styles in an innovative and bracing, genuine way. On his second LP, Müller has matured sonically and found himself in a more serene position without losing playfulness or desire.

Born in ‘93, Müller has been musically active since a young age, with an interest nurtured by his father who let him play drums in his band at the age of only ten. Müller still derives inspiration from being involved in the skateboarding scene – not only through his love for hip-hop, but also through the making of cut and skate videos. Up until the present day he still works with sounds recorded with a video camera: “It’s always interesting to record different ‘noises’ and edit them until you have a groove,“ he explains.

This experimental approach is pronounced in SCNTST’s music. The sounds and beats aren’t designed to be crystal clear and computer-like perfect; Müller prefers to play around with sounds and genres he simply likes. His debut Self Therapy bounces from electronica and broken beats to techno and hip-hop. His track ‚Jah Wut Dub‘ for the Miami Noize 5 compilation naturally switches from reggae and dub to techno and back again. Puffer, Müller’s second album is more complex and yet calmer. The tracks are often ambient, coated in hazy layers of sounds with only a few moments of techno (‚UV Houzz‘, ‚Generated‘, ‚Mondquelle‘).

After the slow starter ‚Render For peace‘, Müller unfolds his characteristic filtered, rich synth sounds along deep dub-techno beats in ‚Life of Ares‘, which turns out to be one of the strongest tracks of the album. Similarly in ‚Sers‘, he combines mellow techno with dreamy synthesisers that resemble sunlight reflecting off the water. ‚Zuge‘ (i.e. trains) is based on iridescent foggy synth pads and echoed vocals that pour with fluctuating intensity. More chilled out electronica or broken beats can be heard on the glittery ‚Kristall Edition‘ and ‚H8 Drop‘, the closing and possibly, most outstanding track on the record.

On Puffer, Müller proves to be very patient and mature for a 21 year old. He doesn’t rush with frenetic beats and surfeit of sounds, but slowly builds up atmospheric, sometimes almost cinematic pieces (‚Gletscherspalte‘, ‚Ice‘, ‚Zuge‘, ‚Render For Peace‘, ‚Hendy‘) while not taking things too seriously, with a playfulness sticking out here and there. Take ‚Ice‘ for example, its semi-improvisational, light-hearted approach is combined with alien-like, experimental sounds. Moreover, the album starts by greeting listeners with a “Yo“; a solitary reference to SCNTST’s beloved hip-hop.

It’s not for sure from how many tracks Müller had to choose from for Puffer (for his debut, it was around 200). The result definitely holds together better, both sound- and atmosphere-wise and shows us that SCNTST isn’t only able to master dance floor bangers, but also mellow and introverted pieces for a concentrated listening.Puffer is indeed one of the albums that deserves to be listened to while doing nothing else apart of letting your mind being carried away.

Vakula – A Voyage to Arcturus

With his new cinematic album, Vakula extends his rich prolific discography. On A Voyage To Arcturus, an album created according to a book published in the 20s, Vakula takes us on a fantastic journey through music genres, philosophical systems and alien atmospheres.

Mikhaylo Vityk (Vakula / Vedomir / V) is a Ukrainian wonder with a unique style of both DJing and musical production. Vityk is known for being a driving force of modern house music and also for his two record labels: Bandura, where Vityk focuses on combining Detroit sound and deep, space out house, and Leleka, where he releases his experiments with melodies, ethnic elements and music from the mid 60s, 70s and beginning of 80s. Apart of that, Vityk is also inspired by sci-fi and fantasy as well as the mythology of the land from where he comes. Even the moniker Vakula comes from Vityk’s desire “to create a national hero Vakula, like in old Ukrainian fairy tales.”

Although Vityk’s inspiration by myths and science fiction has been quite obvious within his career, he brings it to a whole new level on his new LP. A Voyage To Arcturus is the imagined soundtrack to the book of the same title. Written by novelist David Lindsay it combines sci-fi, exploration of human nature and mind, philosophy, belief in God and existence. In the story, a man called Maskull leaves his life on Earth and sets out an interstellar journey to Tormance, an imaginary planet orbiting a double star system called Arcturus. During his stay on the planet, he explores many alien worlds which represent various philosophical systems.

Vakula joins the exploration of vastness, confusion and imagination of the human mind and follows Maskull’s fantastic quest through metaphorical landscapes. Many tracks are named after the chapters in the novel. In the opening track ‘The Seance’, Vakula used ethereal ambient background and quoted a part of the first chapter, where the host of the séance explained to his audience the procedure of materialisation. Those are the only words on the whole album. Primarily built around percussion and synthesisers, there are also funky guitar jams, flutes and choirs – everything recorded live.

In the chapter ‘The Wombflash Forrest’, Lindsay described a drumbeat in the forest: “The drum beats had this peculiarity – though odd and mystical, there was nothing awe-inspiring in them, but on the contrary they reminded him of some place and some life with which he was perfectly familiar.“ That’s how Vakula’s music on the whole album appears; mystical, but at the same time familiar, because Vakula travels through both time and space with his music. Nevertheless, those who are fans of Vakula’s deep house music may not be satisfied, since only ‘New Sensations’ evolves into a graceful house beat. Otherwise, A Voyage To Arcturus sounds like an old technicolour journey through all the mystical, pleasant and odd places on the earth, from a bar in Miami to an elevator in the 30s; from a Mexican street to African ritual music with a Krautrock concert and an 80s hotel lounge inbetween.

But not all the tracks on A Voyage To Arcturus are full of funky beats and naive melodies. In ‘Surtur’s Sounds’, Vakula embodies the dramatic drum beats that spread around the Wombflash Forrest in the book. In ‘Matter Play’, Vakula masterly depicted playing the lake as an instrument, which “was full of lively motion”, as it’s described in the novel. The track goes on with gurgling synth sounds ranging from wobbly and mystical depths to sneaky noises with a very peculiar atmosphere similar to experiments in music concréte from the 50s. A Voyage To Arcturus is a fascinating audio adaptation of an even more fascinating novel and has proved that Vakula is capable of creating complex, yet diverse musical pieces beyond genres and trends.

Interview with Lucy

Newest interview for Secret Thirteen with the mastermind behind Stroboscopic Artefacts.

Lucy Sky Wire

Sicilian born Luca Mortellaro (aka Lucy) is a mastermind behind Stroboscopic Artefacts label, which explores the eerie and impossible landscapes behind the borders of techno. Creating a platform for like-minded musicians like Kangding Ray, Dadub, Rrose or Xhin, Stroboscopic Artefacts has established as one of the most favoured labels in the deep waters of abstract dance music. Apart from the label, Lucy’s activities include solo production and performance of his musical artistry underlayed with serious concepts, or collaborations with Speedy J as Zeitgeber. Probably because of his writer’s past, Lucy talks in bracelets and uses surprising examples while explaining creative processes within the label as well as its creation, inspirational sources and why does he feel like a contemporary shaman.

You will release Chapter 3 from 5 EP compilation series for Stroboscopic Artefacts 5th birthday. How are the chapters outlined, is there some evolution in sound referring to each year, or does the whole series have some concept?

What I wanted for this “5 years edition” is something different than what we did for other series, like Monad or Stellate. I wanted a real wild celebration. So this time, unlike before, there wasn’t such a conceptual background behind it. I remember that when we were building up the Stellate, it was very intense – all the discussion and relationship with each artist, when it’s like “That’s what we’d like to do, that’s how we’d like you to behave in the studio.” While this time, it was one shot one kill, so one track per artist in 5 releases, which symbolise the 5 years. So I didn’t want to be involved or manipulate the output too much. I was in a mode of acceptance meaning “All the people from the tracklist have shaped our label during these 5 year, so this time, my trust is 100%, because I also want to understand, what do we actually are.” This is only possible when you take your hands away, let them do their thing, collect the results, put them in a nice order, and after that just listen to what’s happened in those 5 years (even myself as a label owner).

It was all released on 12“, which is usually dedicated to the dancefloor output. So this time I asked the artists to just go wild in that direction. That’s what it’s about – celebration. Celebrating that after 5 years in a very tough underground industry, we are still alive and we can economically survive. And all these people have been hugely important to us. That’s why I wanted to give them my full trust this time. Because normally, the process of a musical output for Stroboscopic Artefacts includes a lot of talking.

And do you have to say the final word in those cases?

No, it doesn’t work this way. It’s a dialectic process, back and forth. Sometimes, the most interesting things came actually from fights (laughs). I still remember that making the Dadub’s album was an insane process, we almost lost our minds discussing and fighting about it. But in the end, it becomes a final product, then it gets pacified, and nobody can touch it anymore. So this “let it be” kind of experience is both new and not new – not new because the same feeling was happening with the very first releases, when you had nothing to lose. So that’s why I wanted to close this circle with the same attitude.

So were the whole 5 years series made for the dancefloor, including your own track which will be released on the 5th chapter? I ask because quite often the music released on Stroboscopic Artefacts challenges one’s dancing skills with its changing rhythms and spaces…

Yes. Mainly because it doesn’t always have to be beautiful. I don’t believe in “beauty” as a concept (meaning well done, well treated, well mixed) in general. It’s really important to have the knowledge to do a proper work. But then it’s up to your artistic will of expressing yourself to decide how to treat that knowledge and how to even deform it to something that can be hard to be listened to… But it is a statement.

Apart from this musical approach, Stroboscopic Artefacts is also significant for its visual aesthetic. You’re a part of Oblivious Artefacts collective which is responsible for SA covers and visuals. Do you also create visuals for your own releases?

I cooperate, but the Oblivious Collective is run by my brother Ignazio, who’s really in charge of the actual visual creation. He and the collective are responsible for giving a graphic shape to whatever we’re trying to do. And I have to say that it has been so powerful, that it works also the other way around. Slowly, through that graphic shape, my mind also got into a certain place. I almost subconsciously started looking for things that could reflect those visuals.

So do you have favourite visual artists or movies where you take the inspiration from?

Well, in this case I can talk for the collective. For example what we did for the Monad series. Ignazio and his colleagues started to reworking old handwritings of biological particles. They found some beautiful old handmade studies from 19th Century and they adapted them to Monad series.

Monad is something self-related, that doesn’t have so many connections to the outside world. For an artist, it’s an uncompromising vision, therefore the release is like a mini-album made of four tracks. That’s the concept of Monad. In this space, you can go to extremes, dare to do things you wouldn’t normally do. That’s why at the beginning, we wanted to be only digital, because I didn’t want to restrain it in any way or to think about how many copies do we have to sell to at least be even. It has been interesting to see how all those artists give their best, when you give them this kind of freedom. They did something that’s typically them, but at the same time typically us. That’s the constant interchange, which is what I was describing with Oblivious Artefacts.

Of course I’m very lucky, because Ignazio is my brother and therefore we have a certain kind of a very deep connection, we barely need to talk. We both know what’s going on. That’s why I wanted focused on the same person – from the artwork and the flyers to the website or even a newsletter. Everything comes from “artefacting” process, meaning a handmade process. That’s my relationship with them.

That’s what I think is also significant for the label – that anything I listen to sounds like a carefully made piece of art, an artefact. Do you have certain criteria by which you choose the tracks or artists for the label?

Yes. You don’t use shapes and forms and boxes, you try to avoid them. Because, as an artist, you know that this particular label is a space of freedom for you. But that doesn’t mean that you have to be completely anarchic. There is also a process of discipline. For me, freedom in its absolute is a very stupid and nonsense concept. There are always lines you have to work with, which I call “archetypes” – Karl Gustav Jung was talking about the way our mind works with archetypes, which are these basic forms, that are ancient, ancestral, rooted deeply inside us. They kind of move your perception. But you can never move outside of the archetypes, because you wouldn’t be human. It works similarly like this with music. For example, why do people call us a techno label? We aren’t really a techno label, most of the albums aren’t even suitable for dancing.

Well, people need labels to orientate themselves.

Yeah. We give people a chance to do that by playing with those archetypes, with those basic shapes that make you conceive and perceive something as techno. But the real creativity comes in when you deform these archetypes to your own will. Taking it to the nerd level, it’s like when you’re working with reverbs in production – reverbs are nothing else than imaginary rooms. It’s one pure sound that gets affected by the space around it. When you play with reverbs in a certain way which you wouldn’t be able to implement in a real world, you create impossible shapes in the room. But still, there are walls, it it still a room and there are walls resonating in this room, so that’s what I mean with discipline. To respect those archetypes.

So let’s say that you’re doing something similar to what M. C. Escher was doing visually? The results are impossible in reality, but he also used shapes, lines, objects…

Yes, exactly. But I have something to add: You just said “in reality”. But I think that that reality has the same dignity of reality of the everyday reality (smiles). I mean, for me it is a reality. It’s not like when we make music, it’s something else. It is another reality with all its dignity. That thing exists, it makes me feel in a certain way, and those things exist as well as the fact that I’m hungry and I’m gonna eat a dish. It’s the same level. It’s just that, sadly, in this particular Western civilisation, we are too grounded to the everyday horizontal rhythm of life. This is not something that has been in many other cultures, it doesn’t have to be that way. For example, I do practice a lot of meditation and yoga, and those places, where you find yourself, are real. Same goes for the music.

Do you plan something new for Stroboscopic Artefacts after releasing the final 5th chapter in March 2015?

Yes, there are some plans which I’d like to keep secret for now, but there will be some interesting collaborations going on.

Going back to you saying that you practice yoga and meditation. When was the last time when you felt like shaman while performing in a club?

The most recent time was in Poland, I had a gig in Poznań. That was one of those moments when the magic happens and I felt kind of like a shaman. By shaman, I mean the state of mind when your “real” fades away and it’s not yourself with your conscious mind mixing and choosing the tracks and modeling the music, but it’s just a big wave of energy coming in and you feel like you’ve been used by something else.

Like a medium.

Yeah, like a medium. It’s a very beautiful experience. It’s actually a reason why I do all this.

Do you see a connection between disconnected or virtually connected Western world living anonymously in cities and the popularity of clubbing, where people can connect on a deeper level together and they can experience a reciprocal process of giving and receiving energy?

Totally. And you’re actually saying the reason why I think a huge development in techno is happening at the moment, which is very different from the roots of techno. I see a lot of artists who are just kind of nostalgic and repeat paradigmas, that were already there in 1991, over and over again. But what is very different? When you hear first releases of Jeff Mills for example, he’s like: “That was the sound of my CD, that was the techno-logy going on.”

What’s happening now (and what I’m also trying to do) is to give it another meaning, which is this deeper connection, restoring the ritual sense on the dancefloor. Because it’s a hugely important social ritual. That’s why people are getting so interested in it in a slightly different way than previously, I think. At least in places which I like and I like to play in, there’s kind of a respect to these processes. It’s not just about expecting the next hit. It’s more a “treat me” attitude, like you’d be on a healing therapy. And that’s when the extended sets make a total sense. It’s something that people often maybe don’t even realise, and that’s the beauty of it. They don’t know that they’re so attracted to getting lost in a club. And mainly, the clubs that are more appreciated at the moment are those where you can be on your own and have your own experience. I’m talking about Berghain for example, where I found myself getting lost few times. It’s also a very lonely and introspective experience, but that loneliness and that sense of freedom is only possible when you are in that ritual. Because if you’d be really, physically alone, you wouldn’t act that way for sure.

Read the whole interview here.

5 Things found out on Arca and Jesse Kanda’s show


Arca‚s music isn’t only characteristic for its anxious and aggresive synth sounds, but especially for deconstructing of our understanding of music in time and space. Thanks to his twisted playfullness and a touching story behind, he streches and distorts music particles to express his extraordinary nature and builds up volatil melodic and rhytmical patterns, that can vanish as fast as they appear.

His LP Xen is a big success and tonight’s Berghain was full to bursting. While enjoying the audiovisual show of Arca and his inseperable friend Jesse Kanda who’s responsible for the visual part, I noticed several things about the whole thing:

1. Arca’s a solid rapper. 

Although his music on debut LP Xen or &&&&& mixtape is mostly instrumental, he’s not afraid of the microphone and live he can both sing aetheral soprano vocals or rap with a fiery urge.

2. He’s into latino rhythms. 

Alejandro Ghersi comes from Venezuela and allows his roots to unobtrusively grow into his music. In tracks like Sisters, Slit Thru or Thievery, swaying percussive rhythms keep the tracks to stick together and not fragment in 1 000 different pieces that all head opposite directions.

3. He’s the next level queer

From Arca’s promo pictures, we can notice he’s into high boots and SM aesthetics (or not only aesthetics?!). But the whole live performance, including the screening, indicates that he’s partly Xen – a sexy but epicene female who transforms into a baby face of his borned alterego, partly a party queen who likes wearing skirts and party a young boy who started to feel confident in his own body and mind.

Photo: Arianna Power
Photo: Arianna Power

4. He’s mentally connected with Jesse Kanda,

whose stroboscopic phantasmagories embody Arca’s ambivalent feelings about his identity, and visually describe his music so vividly and accurately, that Arca’s abstract, yet evokative music sometimes feels like a soundtrack to those sick videos.

5. He likes to smell his arm pit. 

Arca can be a progressive, extraordinary and skilled musician, but he’s a diva on stage. Even while rapping, he rahther puts his arm straight up in the air than makes characteristic broad gestures. Other times, he poses like a model from your uncle’s poster that he had in the toilet in the 80s.

PS: Here’s great text on Arca and his music approaches / contributions as well as a reaction on Britt Brown’s retro review of Xen:

Interview with Franck Vigroux for Secret Thirteen

Another interview for S13, this time with black magician of electronic music Franck Vigroux.

Franck Vigroux Sky Wire Blog

Franck Vigroux is a French musician, instrumentalist, composer, turntablist and movie director, who covers wide musical range from avantgarde and improvisational music to experimental and extreme kinds of electronic music. He uses both classic instruments such as a guitar as well as analogue electronic devices. Vigroux records and performs by himself or in terms of collaborative projects and live acts with artists like Mika Vainio, Ben Miller, Reinhold Friedl and other artists such as dancers, visual artists or directors. In 2003, he founded his own label D’Autres Cordes Records and 5 years later started the Company D’autres cordes, dedicated to performing arts. For Secret Thirteen, he shares his creative strategies and approaches, talks about his various projects as well as his attitude towards the future.

You are a virtuoso on guitar, worked with instrumental ensembles, use a lot of different electronic devices and are a turntablist… Yet on your new album Climent, you brought your guitar back to life with simply playing tones and overtones. How your approach of making music changed during the years?

Guitar is my first instrument, I still play it, but not that much. After years and years of practice and hundreds of concerts, I was looking for something else, new musical experiences. So at the beginning of the 2000’s I started to use turntables and samplers, making live collages, cut-ups, improvisations. That’s how I also came to composition and particularly electroacoustic music.

I have neglected the guitar for the last three years, I was totally focused on my electronic instruments and my work in terms of performing art or audiovisual projects. But last spring I found again that old 50€ guitar my mother bought me when I was 16. Strings haven’t been changed since probably 15 years, the instrument really needs to be repaired, but… It was an instrument dedicated to play with a bottleneck actually, I have to say I was a blues fanatic at that time, I was particularly into the delta blues… The roots.

So I recorded Ciment while I was making the music for Centaure EP. Both recordings are based on two very different instrumental approaches, but at the same time, they both are something very natural for me. And esthetically, they’re not that far away from each other, even though one has clearly blues influences (Climent) and the other has industrial noise influences. But for me, it’s something natural, it looks like my musician route.

What kind of feelings or impressions do you like to leave in listeners’ minds with your music on Climent? Or is it more a study of the guitar and overtones themselves?

There are many things to comment on your question. When I compose music, I don’t think about listeners, I don’t think about the others, I just think about the music and the ideas I try to reach with the few musical skills I have. Otherwise, you probably know that recently U2’s album was in all iTunes upgrade, that was just the worst thing Apple has ever done at such scale, what’s next ? A book obliged to be read? We are almost there, real dystopia.

For Ciment I wanted to avoid any kind of virtuosity, I tried to make something slow and open, no chord resolution, ghost melodies, silence… There may be something melancholic in that music, something appeased, while in Centaure the sound is massive and brutal, made of beats, noises, drones. But both albums are very complementary and if you want to know my music, I think it’s interesting to listen to both of them!

Do you study sounds more from their physical, metaphorical or biological perspective? Which aspects of sound do you examine recently?

Physically for sure. It’s something I like to explore – the volume, extremely low and high frequencies. But I can say I particularly explore all kind of distortion combinations with digital and analogue, fuzz, overdrive, bit crusher etc.

You search for new sounds mainly in your studio. Apart of the guitar, which instruments have you been using lately? And where do you get your inspiration for sound exploration, apart of your studio?

I try to invent my own instrument with combination of several electronics devices. The last set up I’m working on is a combination of a Buchla synth and Revox reel to reel tape recorder, plus two “freeze” pedals. That’s an example. Usually, I have 4 or 5 sets of that kind for live performances.

In studio, I like to explore analogue electronics like synths or filters and acoustic sounds I record by myself. These sounds are already very inspiring, their nature is so rich… My inspiration also comes from everywhere – the music I listen to of course. And all I see and hear on a daily basis is inspiring.

Read the whole interview on Secret Thirteen.

Lemonade – Minus Tide


Recenze ze začátků září.

Lemonade – Lepší než šuměnka

Nová deska brooklynské trojice zní jako plynulé pokračování předchozího dlouhohrajícího alba Diver. Kromě výraznějšího kýče rocku a disca osmdesátých let se daleko neposunuli a pouze vybrušují specifický synth-popový zvuk s etno prvky. Přesto na albu Minus Tide nabízí příjemné letní osvěžení a výlet k vodě bez nutnosti kupovat letenky.

Přestože kapela Lemonade vznikla v San Franciscu, již delší dobu sídlí v Brooklynu a do tamější hudební scény jsou její členové namočení i jinak – bubeník Alex Pasternak je DJ, baskytarista Ben Steidel zase majitel obchodu s deskami. V projektu Lemonade nicméně trojice zachovala slunečnou atmosféru pobřeží Frisca, kterou kříží s chillwavovým sněním Delorean a starými melodiemi vlny balearic disca.

I na novince Lemonade pokračují ve specifickém synth-popovém zvuku. Kombinují osmdesátkovou nostalgii a taneční rytmy s uvolněným zpěvem a prvky world music, jako jsou zvuky indiánských flétniček, marimba nebo hojně používané perkuse. Ačkoli si kapela drží současný zvuk, na tomto albu je osmá dekáda 20. století ještě výraznější, než na předchozí dlouhohrající desce Diver – syntezátory jsou diskotékovější, vokálové echo roztahanější. Občas se objeví i klouzavé vybrnkávání elektrické kytary jako v rockových baladách a jednou dokonce zavyje i barový saxofon.

I když první nahrávky Lemonade jsou stylově jinde a i po prvním výrazném singlu Lifted se hledali, ve svém současném zvuku melodických písní s vrstvenými strukturami se za poslední 4 roky usadili pevně. A to natolik, že Minus Tide zní jako třetí a čtvrtá strana Diver. Bohužel na novince chybí hity typu Ice Water nebo Vivid a při poslechu celého alba se málokterá píseň samostatně vryje do paměti. Stejně jako u předchozího dlouhohrajícího počinu si Minus Tide budete víc užívat až po několika posleších, kdy začnete jednotlivé písně rozeznávat od prvních tónů.

Album plyne jako řeka, v horkém počasí zchladí lépe než šuměnka a stejně tak bude příjemným společníkem na procházkách za posledními slunečními paprsky. Atmosféra hudby Lemonade se opakuje ve skladbách znovu a znovu dokola, a ztrácí tak občas na síle a podmanivosti, kapela přesto dokáže nezaměnitelným stylem evokovat vláčné letní dny a západy slunce na pláži. Jen škoda, že album nevyšlo alespoň o měsíc dřív – mohlo se stát jedním z letošních soundtracků k létu.

65 %

Lemonade – Minus Tide (Cascine, 2014), 43:35.