Thursday, 9 August 2018

DF Tram 'Serenitay Infinity' Review

Artist: DF Tram

Album: Serenitay Infinity

Label: Liquid Sound Design

Released: 24th of August

Dylan Yanez A.K.A. DF Tram is a D.J./Producer from San Francisco who has recently relocated to Malta. His D.J. sets combine a selection of crate digging rarities ranging fromambient, jazz and world music, which are infused with sampled dialogue from film, documentaries, adverts and cartoons. He goes further at times playing alongside film clips in what he calls a Movie Mix. His first album ‘Illegal Lingo’ was released on Subatomic UK and reflected the style of his mixes somewhat and also had a slightly different feel to the other sunset Balearic releases of that label. Dylan has made no secret that he is overjoyed that this release, which he produced in San Francisco was then mastered by Youth with re-mixes from his musical hero’s the Orb and the Irresistible Force. There are also vocal inclusions from Coppe Sweetrice (who appeared on Illegal Lingo) and Lina Fouro, piano from Clifford Borg and bass from Youth himself.

Now to get to the nitty gritty what is the new album like? The opener ‘Lounge Lagarto’ begins like a TV show and quickly moves into a dub fusion of the Middle East bazaar, which sounds like it could be plucked from an old movie rather than a newly produced piece. The track is over-layered with short samples of duck hunting and horse riding, which may not appeal to some depending on your stance of the subject matter. This is followed by the Orb’s Bravo Foxhole re-mix of ‘Lovers Radio’, which begins beatless and very much in the style of the early 90’s ambient dub, eventually a plodding four by four bassline is utilised alongside a vocal sample that I imagine relates to the bunkers used in the Vietnam war. Next up is the title track ‘Serenitay Infinity’ a slow burner overlapped with poetry, that you could imagine springing up in a beatnik bar of 60’s San Francisco. ‘Eagles Shield’ takes a funky turn, filled with samples and orchestral sounds that remind me of old movies, that is bridged with more of a country music feel. This would fit easily alongside releases from Coldcut or the Jurassic 5.

The album takes another turn with ‘A Thousand Knives’, where gentle piano leads to distorted vocals that provide a slight 80’s New Romantic undertone, before sampled psychedelic themed dialogue and a dubbier bassline join the throng. This is followed by ‘Body Fizz’ which again has an ambient dub feel, where the samples sound like they have been plucked from a story not too dissimilar to Alice in Wonderland and the vocals have an early 70’s pop feel. The album then moves on to ‘Stellar by Starlight’ the title employed to a movie mix, recently aired in Malta and this years Bestival in the U.K. The piece itself is very ambient accompanied by faint harmonic voices from Coppe which rise and fall in a gentle sleepy manner. The mood then gets initially darker on ‘Honeycomb where a deep dark bass gets us underway with vocal samples, before lighter tones juxtapose and sultry half spoken vocals and vocoder voices (initially reminiscent of Newcleus) are employed. Which are possibly a combination of Coppe and Lina?

The album continues once again with Beatnik like poetry, distorted fx, old Arcade game sounds and half sung vocals on ‘Broken’. While ‘Dawn is Breaking’ another slow burner which begins with lush analogue sounding synths and vocal dialogue samples, the track builds into something reminiscent of classic Tangerine Dream before calming once more. The final track of the album is the Irresistible Force re-mix of ‘Sandcastles’, a haunting piece of synthesized ambience which once again initially has a somewhat retro feel to it (in this case Berlin School) before the beat comes in and it morphs into a dubbier affair.

To summarise I’ve always found Dylan’s mixes to be a creative journey and this album reflects that more so than ‘Illegal Lingo’ the change of label may also open his productions to a whole new audience. Admittedly with it’s wider palette of sounds it may not appeal to those who strictly love the dub reggae but it’s definitely dubby and definitely psychedelic. I for one would certainly bag this for my collection.

Review by Woodzee

This album is available to pre-order via Liquid Sound Designs bandcamp page

Tuesday, 17 January 2017

Terra Nine 'Heart of the Matter' Review

Artist: Terra Nine

Title: Heart of the Matter

Label: Iboga Records

Released: 13th January

This will be the last review on the blog for the foreseeable future. I simply don’t have the time or the enthusiasm to build new connections and keep the blog as fresh as it should be. I’ve wound down the interviews for a good while now as I feel there are only so many questions you can ask. I’d like to thank all the artists, djs and labels who’ve contributed over the years and will continue to host the Chill Out Sessions show every last Sunday of the month on

I first came across Mike Wescott A.K.A. Terra Nine on the Ajana compilation ‘A Magical Journey’ since then I have enjoyed many of his productions and promoted two nights where they have played as Terra Nine and their progressive trance side project Sirius Music. Mike uses a self built electric viola to trigger synths sounds on software very much in the fashion of Steve Hillage in System 7 with the guitar. The end result is a heavenly fusion of classical, dub, ambient trance and psychedelic breaks complimented live by vj Intelliki.

This new release begins in the stereotypical Terra Nine fashion with ‘Waveforms Out The Window’ where the electric viola is blanketed over skippy percussion and a growling low frequency synth voice. This is followed by 'The Present Moment' which features less stereotypical Terra Nine spoken samples, plucked viola amongst a dubby ambient feel. At this point we reach the title track a chilled and summery piece with glitchy psychedelic fx and stuttered drum rolls before it really takes off with choice spiritual spoken samples over Arabian influenced psy-dub! I have to say this track is right up there in my opinion as one of Mike’s best productions.

After the last track I suspected it could only go downhill here on in. However, the next track ‘One Da Da Da’ continues with the Spiritual spoken samples but with more of a dreamy feel, piano and little tweaks of the violin and only falls slightly short as a contender to the title piece. The final track ‘Flying’ has more of an ambient trance feel to it and combined with the electric viola creates an ethereal feeling that is apt to it’s chosen title.

Overall this is a strong release and it’s definitely the last three tracks that work for me. Especially, the title track which is a bit of a change of direction for Terra Nine and a welcome one in this instance as it’s such a good track.

Reviewed by Woodzee


Tuesday, 27 December 2016

Pitch Black 'Dub Smoke' Review


Pitch Black


Dub Smoke


Dubmission Records


6th January

This release is the 3rd single of the recent ‘Filtered Senses’ album featuring two fresh re-mixes from David Harrow under his Ochio guise and Tripswitch.

The original is a slow paced electronic piece of dub with touches of melodica and packed with bottom end bass that will test your speakers bass bins.

The Ochio BigBadMix takes none of that bottom end bass away from the original. David adds more percussion and melody which initially enhances the piece nicely. However, I felt a few more switches in the track could have been applied as it failed to keep my interest throughout.

Nick has increasing moved his Tripswitch productions more towards the progressive house of his dj roots in recent years while still maintaining his unique stamp. This is the direction he takes with this re-mix adding a bounce and instantly making it more dance floor friendly yet keeping plenty of the dub fx. This is definitely the pick of the bunch for me.

Reviewed by Woodzee.

Tuesday, 29 November 2016

Xspance 'Melodyheart' Review

Artist: Xspance

Title: Melodyheart

Label: Section Records

Released: 5th Dec

Influenced by artists such as Jon Hopkins, Tycho, Apparat, M83 and Ulrich Schnauss, Myles Webb A.K.A. Xspance has released under his own steam through bandcamp as well as re-mixing tracks for Echaskech which lead to his debut release on the Stripped sub-label Hype Muzik, the sultry 'Disappear With Me'. He also has a track titled 'The Last Sunrise' on the beautiful compilation release from Just Music 'Ambient Zone 2'. Xspance’s sound has also caught the interest of other well established labels, such as Stellar Fountain Records and John Johnson’s Hydrogen and NYLO labels. Collaborations with Section label artists Joey Fehrehbach and Audioglider followed and naturally he caught the attention of label boss Nick Brennan.

The album commences with ‘Sunlight Song’ ‘is a slow paced piece of ambient electronica which layers lovely melodic synth voices and piano over shuffling field recordings that provides a nice opener to the album. As the album progresses it’s filled with intricate melodies and angelic voices at times the bassline is more attacking notably in the intro to ‘Pass Me By’ while others begin in a classical fashion such as ‘The Reef’. However, although there’s comparable themes and certainly synth voices employed throughout, each track is a little journey of it’s own that grabs the attention and lifts the spirits (in many respects like Jon Hopkins and Ulrich Schnauss have before him).

For me this Myles is a talent I’m glad to be introduced to and a worthy addition to the Section Records catalogue. This collection has somewhat of a wintery feel to it and the release is timed right for the Christmas stockings as a worthy alternative to those cheesy best of ambient collections.

Reviewed by Woodzee.


Sunday, 23 October 2016

Pete Ardron 'Unexpected Pleasures' Review


Pete Ardron


Unexpected Pleasures


Pink Hampster

Release Date:

4th November

Pete Ardron the brain-child behind the band Orchid-Star has pooled together a collection of previously unreleased tracks featuring collaborations with artists and friends (which in many cases have shared his home) for this album. Additionally, there is a launch party at London’s Café Cairo this coming Friday with DJ support from Liquid Lounge & Sean Spindrift. So if you’re in the area and enjoy a melting pot of global, psychedelic and ambient sounds you may as well head over as it’s free entry too.

Those of you familiar with Orchid-Star will already be acquainted with Samantha Ray, an Australian whose operatic background works wonderfully when layered over dubbed acoustics on the opening piece ‘Beauty’. The following track ‘Vignette’ is an uplifting and melodic number featuring alluring Indian vocals (which I suspect are also provided by Samantha) and bamboo flute and appealed to me instantly. The album changes direction somewhat with ‘Bridges’ an ambient drum and bass hybrid featuring the spaced out electro-jazz of Onyx Ashanti (a American who is experimenting with future music technology who once called himself a musical cyborg) and the vocals of Myo (another long term member of Orchid-Star and former member of 80’s act True Life Confessions).

Next in line is the title track a lovely ambient piece awash with birdsong, flutes and the voice of Helen Francis (the first inclusion of someone whose not a professional artist) that would fit in well with any of the big ambient compilations such as Café Del Mar or Buddha Bar. Psibindi adds the vocals to ‘Mera Dil’ an exotic dub where at times the vocal sounds like a Sufi style and at others more like an Indian Dhrupad. The next track ‘Dhow’ begins with a sequence not a million miles away from Pink Floyd’s ‘On The Run’ amongst the waves it then slows down and the looped strings, flutes, synth fx and Indian vocals take over.

The album continues with ‘Hasya’ a collaboration with singer/songwriter Teresa Gabriel (who has also collaborated with Sergio Walgood and warmed up for Beth Gibbons of Portishead fame) and flautist Harmony Yemanya. The piece itself is another ambient track focusing on the flute and dubbed out vocals with a bit of reggae underbelly in places. Then we come to the second track which includes a friend rather than a professional, where Sayak Mitra provides the vocal on a cover of a Bengali pop song ‘Ami Tar Thikana Rakhini’ and it works for me.

Teresa Gabriel makes another appearance on ‘Blue Sky Dreams’ where her dreamy vocals really can take your mind to the sky and drift away. The final track on the album ‘Baniyan’ retains the flutes and Indian vocal that are a common feature throughout this album but there’s more of a classical feel to the piece with an operatic vocal added to the melting pot.

The talent Pete has brought in for these collaborations is high quality and he continues to produce a unique fusion of world music, ambient, psychedelic, dub and classical sounds. This album will definitely appeal to fans of Orchid-Star and if your unfamiliar perhaps it’s time you enlightened yourself.

Reviewed by Woodzee


Note: Unexpected Pleasures is now available on CD for pre-order in the shop for the specially discounted price of £7.50 + p&p till Nov 3rd only (when it will go up to 9 or 10). CDs will be sent first class on the 3rd. BUT, if you come to the Unexpected Pleasures Album Launch Party you will get it even cheaper!

Thursday, 29 September 2016

Douglas Deep 'Cytokinesis' Review

Artist: Douglas Deep

Title: Cytokinesis

Label: Self Release

Released: 23rd Sept

Steve Kelly has been airing his show ‘The Shed Collective’ under the pseudonym Douglas Deep on on Monday nights ever since I joined the station. I’d never got around to listening to the show and wrongly assumed it was all about Deep House.

I spoke to Steve at the station meet up at the Hoxton in Shoreditch earlier this year and he informed me his show wasn’t placing the focus on Deep House but mostly Electronica, I.D.M, Minimal & Ambient Techno with influences such as Autchere, Plaid and Aphex Twin. While earlier his musical background was listening to metal and hip-hop. In fact his show next Monday focuses on U.K. hip-hop between the years of 88 to 93.

Since then I’ve tuned into a couple of shows and found that Steve’s tastes do cross certain parallels with my own. This release like his show is a bit of a mixed bag ranging from Ambient Electronica to Minimal Techno so it partially fits the criteria of this blog.

The album begins with ‘Don’t Talk About It’ a springy tech number with the compulsory snares and featuring spoken samples about electronic music fitting to the title before an old skool sounding sequence joins in and the piece ticks all the boxes required. The following track ‘Andyou’ drops the mood with ambient synth voices and short cropped vocal samples layered over crisp I.D.M. style beats again there’s somewhat of a retro feel.

The title piece ‘Cytokinesis’ begins with a melancholic piano but lifts the pace slightly with the beat. Whilst dropping little samples and fx throughout and the overall the accumulated sound works for me. Following on is ‘Fortunate’ a minimal techno number I don’t really review this type of music and confess I don’t really know where to start.  All I can say is although this may not be on the play lists of the superstar D.J.’s, However, I do hear plenty of this music, it has the right bounce and wouldn’t go amiss in  the sets my friends play.

Moving on the next piece ‘Titan Juice’ begins with an atmospheric field recording of background chatter (possibly recorded in a vape store), to me the volume of the chatter was a tad high compared to the music but the overall mood works well and soon after a beat is employed to accompany the track. This is followed by ‘Fathers Day’ which begins with a fusion atmospheric synths, a low volume wub and crisp beats. Angelic voices, minimal piano and a sample of a child announcing ‘electronic music’ join the assemblage.

Heading towards the close of the album ‘Plastic’ begins in a soothing ambient electronica fashion and is soon accompanied by a trip-hop style beat. Rather than continuing to glide downwards to conclude the album the pace lifts again with ‘Your Mum’ which reminds me somewhat of early Underworld.

I have no idea how long Steve has been making music but he’s putting together some reasonably good replications of the music he loves and inputs a bit of retro feel to his productions at times. Furthermore it’s a snip at only £4 so there’s nothing to lose in having a listen.

Reviewed by Woodzee


Wednesday, 28 September 2016

Andrew Heath 'Europa' Review

Artist: Andrew Heath

Title: Europa

Label: Disco Gecko

Released: 4th November

Andrew’s productions appealed to me immediately and I’m always keen to listening to further pieces of his work. What I found interesting is the excerpt from his web-site below as I can recall watching this program possibly repeated as a child myself.

I look to create sonic textures and lower case music. A point when music and sound hang in the air, particles and elements in constant agitation around a theme or half-remembered thought.

I remember as a small boy, watching a film about an artist who had made a sculptural piece of work that involved hanging large pieces of metal and wood inside an old barn. When one piece was moved it made contact with another until ever so gradually, the whole building was filled with random motion and sounds. I was fascinated by the serendipitous nature of this creation.

This new release begins with ‘The Railcar Attendant’ which combines bird song field recordings with melodic tones layered over the sound of a distant locomotive. This is occasionally interrupted by a more piercing tone which conjures up the image of the train braking here and there. As the piece continues occasional piano keys join the accompaniment as well as theremin like sounds and indistinct voices providing an overall feeling of blissful calm. This is followed by ‘Requiem’ which sets me in mind of sunbathing in the garden with low background noises capturing your attention, soon after a mellow piano joins a plodding almost clock like ticking once again providing a musical symbol of calm.

The intro to ‘Prussian Blue’ sets me in mind of a bizarre melting pot of fog horn, whale song and flute which works a treat this is interspersed once again with mellow piano keys and at points joined by synth notes, plucked strings and winding clocks. The album continues in this fashion somewhat more eerily with the intro to ‘Lunz’ with chimes, chants and piercing tones rising and falling in volume over a mellow drone.

Crackles lead into sequenced tones sounding like a cross between a bird and a heart-rate monitor alongside mellow piano keys and a selection of other synthesized voices in ‘Sputnik/Little Earth’. While ‘Larks Under Lowland Skies’ once again employs a similar approach to it’s predecessors on this release and I am coming to the conclusion that this is the album where Andrew has found his sound. Admittedly, there are plenty of ambient artists using field recordings, chimes and piano’s but what stands out with Andrew is he appears to have mastered this sound somewhat akin to the sculptor but in a production fashion. 

I absolutely adore this album so far it really does create a soothing and relaxing atmosphere. However, it’s also proving very hard to do a track by track analysis. So, just before the title track I’m going to close with saying although the pieces all have their subtle differences there is no significant changes going forward. In my view this works far better with this type of music than many others, after all you enter to relax and for me Andrew achieves this in a splendid fashion.

Reviewed by Woodzee