Alex Rigaud mixes electronic music and jazz on his debut album, Transformation. The multi-instrumentalist, who hails from Paris, France, uses analogue synths and reed instruments such as sax and flute, which he often manipulates to create his original sound. Red and white coloured vinyl or CD on n5MD.
LP £20.99 MD268LP
Limited edition red with white coloured vinyl LP on n5MD.
- Shipping cost: £3.15 ?
- Coloured vinyl
- Limited edition
- Only 1 copy left
CD £12.49 MD268
CD on n5MD.
- Shipping cost: £1.00 ?
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Aaah, ambient music… Today’s blissful slice of (mostly) ambient comes from that reliable source in Oakland, California: n5MD (long since no-longer MiniDiscs; CD and vinyl only -- a shame, but necessary of course). For his debut full-length ‘Transformation’, Paris-based musician Axel Rigaud employs his full range of instrumentation tuned to ‘maximum seduction’ mode. Lustrous analogue synths combine with gorgeous reedy textures courtesy of saxophone and flute, atop some shuffling drums and subterranean bass drops.
This is some seriously ear-caressing stuff, really; OK I know what you’re thinking, sax and flutes and synth -- sounds a bit New Age, mate -- but clever ol’ Axel manages to avoid such cliché and pitfall by meticulous layering and sheer lusciousness of sound over some very nice beats; admittedly supremely chilled beats. Among the highlights, then is the third track ‘Dare’, with its spot-on drum programming -- almost a mid-paced house track, would slip nicely into a Balearic set all you DJs out there -- and the synth / flute interplay is magically light and airy. Not unlike the new Joseph Shabason record.
There are plenty of electro beats on this album; ‘Direct Future’ reminds me of John Tejada’s work on the Kompakt label. Tracks like ‘Solitude’ and the closing track ‘Unexpected Victory’ are more introspective; the former track showing off Rigaud’s meditative style on sax -- not unlike something you might hear on an ECM Scandi-jazz release -- and the latter dusts down the spacey synths once more. Beautiful.
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