As the side-project of one of Ariel Pink's guitarists, big things were expected of The Samps, and they do not disappoint. Yes, we have the weird pop of Ariel Pink - this album sounds like the theme to an 80s cop movie, and that's no bad thing - but I also got a sense that these guys have been listening to as much Flying Lotus as they have their freak folk sensei.
To be honest, I'm pretty neutral when it comes to British Sea Power - I don't love them, I don't hate them, I just don't get them. Consequently, I've not even bothered to listen to this album; however, I've been reliably informed by friends who have that it's BSP at their very best.
Released while in his final year at the prestigious Goldsmiths in London (notable albumni include Blur and Damien Hirst), James Blake's second EP managed to seem fresh in a year that was aleady full of interesting and original electronic releases.

Could it have been anything else? This EP has dominated the ever-growing electronic scene this year, and shows a new direction for James Blake. Much more minimal and down-tempo that CMYK, Klavierwerke also introduces the prominent use of vocals, which sound like an auto-tuned Antony Hegarty, much to the album's credit.
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