For a while there it was hard to believe that dance music existed beyond the chart topping pop-house EDM shit produced by the likes of Avicii and David Guetta or the copious amounts of Ministry of Sound collated ‘Deep House’ compilations that seem to appear in every fucking advert. Even Joey Essex seems to be getting in on the act. God help us.
So with that in mind you can understand the big sigh of relief that came out of Gigslutz towers when the long awaited debut by Norwegian producer Todd Terje cropped up on the radar. The album has hit down this week with expected hype, and it’s easy to see why. The man behind the moniker, who somehow stuck his tongue out at the while industry by nodding to Todd Terry without anyone actually realising, didn’t exactly rush the album out to please the masses. It’s been some 10 years since the Norweigen appeared on the scene and has carefully crafted a sound through edits, remixes and the odd EP along the way whilst still keeping a heap of credibility in an era where dance music was in danger of losing the ideals for which it once stood.
The title itself pokes fun at the amount of time it has taken and the heavy expectation this has led to. ‘It’s Album Time’ whisks and wanders it’s way through 12 individually produced tracks managing to keep a consistent and tactful sound. It’s easy to dissect this early on and label it ‘samey’ or ‘dull’ thus making it unpalatable for those who will be seen raving on the Commons up and down the country to the aforementioned stars of EDM. However those with a more inquisitive ear will further research and continue to listen and realise that the album is full of character, warmth and detracts it’s influences to more than just a thumping base kick and trance riff which is ever so familiar on MTV.
The summer is fast approaching and this is the soundtrack to it. Terje mixes ambient waves of pads and piano with exquisite use of hats and highs to craft a funky, melodic, unconventional nod to disc and 80’s electro. The already well known ‘Inspector Norse’ (taken from 2012 EP ‘It’s The Arps’) and ‘Strandbar’ are two obvious highlights whilst ‘Oh Joy’ and it’s Get Carter riff needs to be heard. A further reassurance of what makes this man tick is the use of Roxy music legend, Bryan Ferry, on a cver of Robert Palmer’s ‘Johnny and Mary’. A tale of a rocky relationship between the 2, played out in such a way that won’t make you feel guilty for dancing along.
The effortless sound of this album could sometimes be confused with laziness and on some tracks you may find yourself gently swaying along rather reaching for the lasers and then on others you will want to buy a cocktail, don an over sized unbuttoned shirt and walk along a Miami beach wearing white loafers. If you’re not sure what that sounds like give it a listen and reach for the shades. It manages to ooze cool without ever taking itself too seriously or sounding pretentious which has been the secret key to Terje’s success over the years.