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15 of 17 people found the following review helpful:
4.0 out of 5 stars
Outstanding miminal debut, April 15, 2007
Although plenty of people loved it, the recent double-disc compilation Total 7 on Kompakt left me wondering whether I was truly tiring of the whole Kompakt sound or whether the batch of tracks themselves simply weren't quite as exciting as they had been in past years. On that release, there was both a great solo Gui Boratto track, as well as a stellar Superpitcher remix of a track by Boratto that stood out as excellent.
It turns out that the excitement based on those two tracks was warranted, because this debut full-length album from Brazilian Gui Boratto is easily one of the most exciting albums that I've heard in some time on the stalwart label. Like the best of releases on Kompakt, the thirteen track album moves in shifty ways, sounding at times like it could fuel movement on the dancefloor while at others floating in near ambient realms. The fine line separating good, or even decent dance music from great dance music is a fine one, but Chromophobia has those nearly unexplainable intangibles that make it such an interesting listen.
"Scene 1" sets the stage with some repeated arpeggios and big bass strokes that build a sense of urgency without breaking into something that really cracks a sweat. "Mr. Decay" follows and it's ups the ante quite a bit with some hollow, rattling beats and an almost acid-tinged melody that's tweaked and tugged throughout the track while counter melodies swoop in and around before building into a fuzzy blowout.
The album is sturdy throughout, but really seems to pick up the pace about halfway through with the album-titled "Chromophobia." After opening with some juicy synth pads and static-crackled beats, the track morphs into a stunning piece with dextrous, rhythmic bass, and haunting drifts of what sounds like filtered strings. "The Blessing" is even better, launching into one of the fastest BPMs on the release, with spitfire beat programming that rattle around the stereo headspace like pinballs as a relentless bass arpeggio keeps pace underneath it all.
Boratto isn't above trying a few new things either, and "Xilo" is one of the more poppy songs on the release with almost western-sounding guitar strums and string synths while "Beautiful Life" introduces some subtle female vocals into the mix. With only a very few soft spots and so many high-points that it's hard to even touch on them on all in a short review, Chromophobia is a rare release that actually gets stronger as it goes on. It's one of the more vital dance releases that I've heard in some time and one of the best things that Kompakt has put out in a couple years. Joyous.
(from almost cool music reviews)
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
A future techno classic, July 3, 2008
Gui Boratto's "Chromophobia" is easily one of the greatest full-length albums from the Kompakt label. For the most part, it stays true to the Kompakt formula, while venturing off in new directions melodically. Boratto has always demonstrated a gift for combining lush harmonic material with his minimal techno beats - here I'm thinking of the Atol 12" - and "Chromophobia" provides many opportunities for him to showcase this.
There is a nice variety here. We've got melodic tracks such as "Scene 1", which opens the album with a dramatic flourish; we've got straight-forward techno tunes, such as the infectious "Shebang"; and we've even got an uplifting vocal piece ("Beautiful Life"). These various styles all cohere around Boratto's excellent beats. The percussive sounds fit his usual model of tight, defined sounds, often with a swung 16th note groove. If you're familiar with his other music, you know what to expect.
When an artist who usually releases 12" singles finally puts out an LP, you have to wonder what you're going to hear. Will it be four strong tracks surrounded by b-side-grade filler? Will it be more of a compilation of singles? In this case, the material is all new and, with a couple exceptions, all the tracks are very strong on their own. The album has nice pacing and even though it IS minimal techno, there's enough variety to maintain interest purely for listening.
Techno fans should check this out, as should anyone who likes Matthew Dear. It definitely reminds me of the best moments from "Leave Luck to Heaven". This album is sure to become a classic in its genre. I highly recommend it.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Headphone Commute Review, December 7, 2007
Guilherme Boratto is a Brazilian producer used to laying out minimal tech house twelve inchers for prominent German labels like Plastic City, Harthouse, and of course Kompakt's offshoots K2, Kompakt Pop and Kompakt Extra. Hailing from São Paulo, Gui was approached to contribute a remix to the City of God soundtrack. Chromophobia is a light and refreshing take on over-used building blocks of the style. Familiar beats, simple melodies, and straight to the point approach remind me of the feeling I experienced when I first heard Benny Benassi (before he exploded all over the charts). Listening to the album, a smile creeps upon my lips, being happy for the fact that techno continues to survive and evolve in an over-saturated scene. A unique and memorable sound.
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