Yesterday we presented the preferences of our readers from last year, now this is a list of 20 albums from 2019 that made an impression on us.
We have three pure electro albums from E.R.P., Jeremiah R. and Plant43 and the new electro-synthy album of veteran David Carretta, his first solo album for ten years. On the darker side of the synth palette we have two EBM/synth-pop albums from Boy Harsher and Years Of Denial, the debut album of Kris Baha, the third album of Greek producer June, a new one from Jason Letkiewicz aka Steve Summers under his new moniker Opposing Currents and two more industrial albums from Autumns and Colombian Filmmaker.
On the other had we have two acid gems from DimDJ and Paranoid London, the first ever Gladio album, the second album from Mannequin boss Alessandro Adriani and an experimental/ambient album from veteran Function on Tresor.
So, here it is compiled in chronological order.
After presenting last here the first E.R.P. album called “Afterimage”, Forgotten Future comes now with the second album from E.R.P aka Gerard Hanson. “Exomoon” inclused 8 deep Electro cuts from the man from Texas.
Under the E.R.P. alias, Gerard Hanson has been making some of the finest intergalactic electro known to humankind since the tail end of the 1990s. His catalogue is meaty and some of his older, out-of-press records are now frustratingly hard to find – hence this tidy double-pack from Frustrated Funk. It includes all three tracks from Hanson’s 2007 label debut, “Vox Automaton” – the body-popping brilliance of the title track, the Drexciya style underwater trip of “Nerve Play” and the deep electro lusciousness of “Parfume Persuasion” – as well as the trio of cuts originally released on the “Alsoran” from the same years. These are arguably even better, with the melodious, cinematic and futuristic title track, and wonderfully poignant “Irma” standing out.
Krasch Records returns in strong form with its second release, featuring two remixes by Gerard Hanson as Convextion and E.R.P.
Texan bandpass thrills and some harbour city sorrow on this split Frustrated Funk / DPX twelve. Frustrated Funk’s latest missive boasts cuts from two of electro’s most reliable artists: Convextion man Gerard Hanson (under the deep electro E.R.P. guise) and Rotterdam scene stalwarts Duplex. Hanson handles the A-side, delivering a punchy, club-ready electro workout rich in intergalactic electronics, Egyptian Lover style synth flourishes and restless drum machine cowbells. Interestingly, it’s a far bolder and retro-futurist affair than we’ve come to expect from the dreamy and emotion-rich E.R.P. project. Ironically, Duplex’s atmospheric and spacey “Molecular (Ovatow Reclock)” is undeniably deep and sumptuous, matching Hanson’s most melodious and evocative moments.
With just a few days from the current year left, I’ve compiled a list of 20 albums from 2018 that I enjoyed this year. Among these I have to highlight the much anticipated Mutant Beat Dance debut album, the first ever album from Gerard Hanson under the E.R.P. project, a new Gerald Donald project and a compilation of unreleased Heinrich Mueller remixes, a Silent Servant follow-up on Hospital Productions, a very interesting Fred Ventura compilation of unreleased house tracks, a new Lebanon Hanover, the beautiful debut album of Curses, the impressive Eindkrak album and the debut album of the Romanian producer Șerb.
The list is compiled in chronological order.
Eindkrak – Brullend Staal [Unknown Precept]
Convextion man Gerard Hanson may have been releasing spacey and atmospheric electro E.Ps as E.R.P. since 1996, but “Afterimage” is still the project’s first full-length outing. It is, of course, superb. Few can make this kind of deep, emotive and melodious electro quite as well as Hanson, and “Afterimage” arguably includes some of his finest material in this style. Highlights include the bustling rhythms, lilting chords and bubbly electronics of “Overcast”, the deep, slow and poignant bliss of “Wishing Still”, the deep space dancefloor shuffle of “Remembrance”, the crystalline melodies and hard-hitting drums of “Noetic” and the ultra-dreamy rhythmic ambient closing cut “Forlorn”. It is, though, all utterly beguiling.