Lyam Vinyl, CD & Tape 5 Items

For the imprint’s latest release, Last Year in Marienbad is pleased to welcome French producer Moonee back into the fold, who brings to the table an EP filled to the brim with his signature blend of euphoric and emotive grooves…

Moonee’s music, one of François Lefevre’s main aliases, touches upon the airer side of dance music, tapping into the feeling of inner reflection and escapism. His ability to create impactful but softly spoken songs leaves impressions on those who come across it, and his records are deep dives into these carefully constructed sonic experiences. Originally focusing on deep house, Lefevre has taken Moonee on recent releases into a number of new spaces, perhaps best demonstrated on the LP ‘Sandquest’ which came out on parent label Oath last year. The manner in which Moonee curated that experience helped expand his musical universe immensely, and when it comes to palettes of sound, there isn’t much better than his finely tuned discography. Finding spaces in-between is a joy on his records, with the attention to detail and emphasis on the free flows and intuitive make repeat listens all the more enjoyable.

‘Brotherhood’ is his latest offering, and it is perhaps his most finely packed and delicately poised record to date. As soon as the ‘Glitched’ version of the title track begins, there is a sense of latent urgency but also a story found within waiting to be told. The steppin’ garage beat acts as a pivot between the lo-fi vocal sample up top and the intensely deep low-end bass and kicks, with the listener bouncing along within the mids to great effect. ‘Existenz’ comes next, and this takes the 4 to the floor energy to new heights. The kicks provide the core for hi end rhythmic elements to offer texture, with focus drawn to the emerging melodic palette, that feels almost orchestral in its depth and reach. One to drift into, for sure.

‘Panorama’ builds on some of the key motifs from the opening two tracks, almost rounding off that chapter of the EP to great effect. The skipping vocal samples shift around up top whilst an upbeat bass line drifts up and down beneath the drums. A playful and joyous track, this one feels like mid-morning wrapped up with late night all at once – one to soundtrack that late-night voyage through the city. Finally, fellow Oath affiliate Moomin is brought on board to remix the title track, and he brings a slice of electro to proceedings. Whilst the original is presented with a gloss of high energy, this version is more understated and laid back, butt this focus on rolling provides an excellent counterpoint. Slowly building, quietly shifting, it is a mini-masterclass in allowing energy to build and release – a perfect ender to this EP.

If enriching grooves, enticing melodies and warmth are what you wish for in life, then ‘Brotherhood’ has you covered. Trailblazing across the electronic slipstreams, gathering energy at canters then gallops, this EP has a bit of everything – press play, and dive right in….

Mosso, originally from Argentina but currently based in Berlin, has since 2002 released a plethora of records that has over time showcased his sound and craft as one of profoundness and emotional dexterity. Mosso has aligned himself within the threshold between House, minimal, tribal and experimental music, with a firm eye on creating razor sharp sounds and highly immersive audial palettes. This curiosity stems from Mosso’s range of compositional and technical skills, with a degree in Sound Studies and Sonic Arts highlighting his fascination with the look and feel of what can be heard and touched upon with music. His live performances epitomise his approach to his craft, and have been highly received around the world, no matter the space. Mosso’s discography is littered with releases on some of the best labels going, including the likes of Hivern Discs, Third Ear, LumineresLaNuit, and his own imprint Mosso – a real journey throughout the electronic music cosmos.

On their latest excursion, Last Year At Maienbad proudly invites you into the gloriously breezy, beautifully put-together world of Retromigration, who’s melodic abilities have put him firmly within everyone’s passenger seat as they shoot down a sun-kissed highway…

There are a number of artists within the present day whose names remain constantly on the tongues of music lovers, and Retromigration’s name has been there so consistently of late for a number of reasons. His music represents the nucleus of what dance music means to so many, a form of music that channels the soul, chimes deep within the mind, and makes the listener escape into the depths of their emotional palette. His songs have an ever present Jazz presence to them, but his sound has numerous components to it, with rhythmic feel being right at the heart of proceedings. Retromigration always finds a way to feel himself out within his records, covering an enormity of ground and allowing each track to interact with the next. This makes his tracks at ease with the listener, forging a vital connection that works with mood and the concept of listening intently – and feeling very content about it. The instrumental approach he makes is certainly something, and channels into the notion that his music can come alive in any context, swaying to the rhythm of life rather than the confines of space. With excellent releases on labels such as Wolf, Handy and previously on Last Year at Marienbad to name but a few, Retromigration has traversed the plains of human expressionism and conjured up some pure magic within his music, not least with this latest effort of his…..

2022 was a busy year for the producer, overseeing four releases including ‘Kush Calls’, which featured some truly exquisite and memorable cuts that lingered long in the memory. ‘Dead Tech’ sees Retromigration shift over into more clubby territory, but many of the motifs we all know and love him for make some notable appearances as we shift from track to track. Playful, emotively porous and ever-searching are perhaps some key features of the first two tracks, ‘bo’ and ‘Lapras’, which represent Retromigration doing a house in such a refined and considered manner. Powerful swaying rhythm sections interweave themselves with melodic excellence, including an inspired flute line that rides high within the EP’s opener. The intro then flows into a groove like no other, with the flute featuring prominently once again, with particular emphasis placed upon the breakdown, which dips the listener in such a glorious mood. The vocals that move in and around the groove are inspired, providing an additional level of narrative in which to dive deep within.

The title track anchors the album in the mid-section, and it takes the mood down to a softly speaking space. Effortless in its approach, the tune takes all the time it needs to saunter along, with a groove to ride upon and a collection of melodic layers that are so easy on the ear and the heart too. ‘Half Pure’ arrives next, and this one kicks the tempo up a few notches to the energies that persisted in the opening cuts. The vocals make more of a visible presence here, with the repeating vocal working very well indeed with the solid chordal arrangement. The melodies are once again handled with care and attention, their floating feel merging superbly with the rhythm as the listener is allowed to rise higher and higher. To wrap up proceedings, we have Da Poet on remix duties of ‘Half Pure’, and this one complements what has come before wonderfully. The additional glassy chords do wonders to the soul, with the bass line adding power and purpose to the groove. It’s a fitting end to a record that carries the listener along, showcasing all it has to offer from up high but also on the ground, with feelings reverberating from top to bottom – always shifting, searching and moving, no matter what.

Artists who remain on people’s lips are worth talking about for a reason, and with this latest effort, Retromigration continues his presence at the forefront of dance music in general. A record that is sophisticated technically, with the production second to none, but it’s the centre of the tunes that make it magical. The soul is laid bare in its various guises, from the up-tempo right through to the slow and steady, there is so much here to feel with and grow alongside, and for that we can all be pleased for this to pass through our mind. So go on, take a gander, breathe, and immerse yourself……

The wax is hot. The tunes are massive. Oath’s sub-label, Last Year at Marienbad, dispenses a foursome of punchy house tracks for its fifth release, lovingly crafted by some of the genre’s finest producers.

As we stumble into 2023, Oath sub-label Last Year At Marienbad stands tall with this wondrous new mini-album from the multi-faceted and talented Ben Hauke, with a collection of tracks that make the head turn and the soul yearn.