I don’t often blog about music on here, which is ironic considering my sideline/hobby/’profession’, but sometimes music needs shouting about, and March is the release of an album by a personal favourite producer of mine, Anthony Collins. He’s been laying down amazing tracks since his first came out in 2006, balancing the modern European sound with an often afro-centric flair that gives a really old-school feel while sitting firmly in 2009. It’s hard to single out a highlight, as every one of the ten is brilliant in its own way, but the epic 13-minute Prism is a joy to listen to. If there’s any justice, this will catapult him into the stratosphere.
It’s out in April on Freak’n’Chic. Buy it. Simple.
It’s been a while since I’ve written about music or an artist, but there’s an album out now that’s worthy of praise, and it’s nothing flashy, glitchy, minimal, but just 14 tracks of beautifully prepared, groovy, perfectly-crafted house. Who is it? It’s Lee Jones. You may not have heard of him, but you deserve to have. He’s been slowly building a catalogue of fantastic records over the last few months: As You Like It, The Icetrain Cometh, Aria, but this is the confirmation of his talent.
Some may find it on the slow-paced side, but it’s clear that the detail and attention paid to the oft-neglected songcraft. Every track is so well put-together, and it builds slowly through the measured pleasure of Soon and Roadwork, through the whimsical and wonderful It Is, Isn’t it. But the highlight is the daftly and brilliantly-named MDMAzing. It’s a fitting end to a great record. It won’t get the fanfare, or the press it deserves, but it should, because it’s brilliant. Listen.