M. Ostermeier - Lakefront (2010). M. Ostermeier’s solo debut "Percolate" (2010) featured fragile Rhodes and acoustic piano melodies atop minimal downtempo electronics and Labradford-esque guitar tones. Here on the seven-track mini-album "Lakefront" (2010), the skeletal acoustic piano remains, but the minimal beats have evaporated and we are left with something more organic, more haunting. Harold Budd is still an apt reference for the piano fragments, but the infusion of acoustic recordings and darker guitar and electronics bring to mind Deaf Center and Library Tapes. The melancholic mood that builds throughout Lakefront evokes feelings of nostalgia and regret. The songs remind us that the passing of time necessarily brings uncertainty to one’s recollection of the past - an uncertainty that has its own poignancy…
It was hardly a surprise that the follow-up to M's debut album didn't contain a song as groundbreaking as "Pop Muzik" – or a tune that was anywhere near as big a hit as his one and only global chart-topper. Instead of trying to duplicate that near-perfect slice of electro, M (aka Robin Scott) veered off in several directions, exploring a slightly rockier sound as well as a fair amount of experimental noodling.
This early 90's anthology packs a lot of Quincy Jones' many hits, from various eras up to the mid-80's. It is notable for being the only way to obtain "Midnight Soul Patrol" from his 1976 album "I Heard That" which for some reason was only released in CD format in Japan circa 1986 and now commands a stratospheric price on the second-hand market when it can even be found.
Intriguingly this disc documents three violin concertos all of which are noted in tonality. Within that broad highway the Vasks is the most original and prone to use of avant-garde technique, the Arutiunian is most emotionally ordered and controlled and the Bronner unashamed of heart worn on the sleeve.