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Dazed Albums of the Month May 2014

Albums of the month

Your essentials for May: Todd Terje's glittering disco, Tirzah's glow-in-the-dark vocals and Future's star studded second LP


Is this the most fun record to ever bear the techno tag? The Norwegian producer's It’s Album Time is disco music to play games to, preferably while wearing the album cover's swishy flared lounge suit. It sidles up and whispers pranks into your ear, encourages you to lurk the streets in imaginary spy garb, then flings you into space, before landing you into the midst of a raucous, Miami dancefloor. Exceptionally well-made, make-believe music.


Sohn’s debut album is a collection of heartwarming, electronic ruminations on emotional turbulence. Among intricately crafted synth and acoustic arrangements, his vocals soar as they brim with heartfelt sentiments. It's a record that requires nothing other than an urge to feel a little more human for a short while.


Following his Supernatural EP for Abeano, Malaysian electro-pop maestro Idris Vicuña brings us a whole mixtape of heady, aural confectionary. He takes us on a long, eerie trip into an iridescent wonderland, daring latent synaesthesia to awaken. Download here.


The Atlanta hip hop artist proves he’s worthy of the superstar mantel by delivering a categorisation-deflecting second full length album. Between this and 2012's Pluto, he's jumped on tracks with NickiRi Ri and Ci Ci, and it's even more satisfying to find out where he feels artistically at home. As well as Future’s own markedly improved singing and rapping, Honest features verses from Pharrell Williams, Kanye West, Drake and hometown hero Andre 3000 amongst others, while beats come from DetailBoi-1da as well as longtime collaborator Mike WiLL Made It.


The exhilarating new EP from the skewed pop singer is a delight. No Romance sees Tirzah once again paired with close friend Mica Levi on the production front, a relationship that's founded on an IRL font of inspiration. There's a sparkling surfeit of ideas tested here (mostly successfully), as Tirzah’s luminous vocals whip over an equally vibrant sonic tapestry.


NYC rap crew Ratking's debut shoots you directly into the centre of the hustling throngs on New York's streets. It rushes by in a blaze of classic references and avant-garde tricks from producer Sporting Life, bound tight by taut lyrical delivery from band members Wiki and Hak. The collective’s infectious energy makes it impossible not to pay close mind to every expertly-thrown word and pounded-out beat.


All the talk in the press about Kelis' ace new soul record – and there has deservedly been a lot – dwells upon the actual food in Kelis’ life. The music produced by Dave Sitek doesn’t seem to be something that the powers that be feel demands too much discussion, what with Kelis' sauce range, cooking series and food truck to discuss. The soulful album doesn't require too much talk though – and it’s also a lovely LP to cook along to.


Erika M Anderson’s second record finds her tackling the icky mess of feels aroused by our web-selves, as well as global surveillance issues. It’s a powerful album, as EMA binds the shifts in sonics as we move from the ominous crackle of “Satellites”, through the 90s guitar rock of “Blondes” to forlorn synth ballad “3Jane” and onward. The Future's Void was mostly recorded in EMA's basement, and sees her utilising electronics for the first time. It was heavily improvised with first takes committed to, errors left intact.


Tourist’s new EP comes courtesy of Disclosure’s Method Records, so you'll love it or loathe it. There aren’t any surprises to be found – it's astutely crafted house music in a pop guise – but if you’re after a new batch of feel-good dance floor fillers for those long, summer nights ahead, get stuck in.


You might remember Zhu as the guy that got the internet riled up a couple of months ago with his house-y mashup of Outkast – this is his first official release. Here, he pulls from R&B, house and trap, but makes discerning moves within these genres. Along the way, he distils an original voice where other pop producers regularly deliver bland radio fodder.