A homage to both Dozzy's family and the Adriatic Sea, 'Magda' is a smoldering, kosmische sprawl that submerges its clubwise thumps in billowing synths and trance-addled, psychedelic sequences at the intersection of Klaus Schulze, Newworldaquarium and James Holden.
Donato Dozzy's a tough artist to pin down - his last solo album, 2019's '12H' was an architecturally inspired, minimalist sound installation, and before that he'd taken a quick detour into squelchy acid on the Tresor-released 'Filo Loves The Acid'. If there's one thread that connects his entire output its the Italian producer's love of melody, and 'Magda' might be his most melodic, and most unashamedly emotional full-length yet. It's named after his aunt, who Dozzy calls one of the strongest women in his life, and inspired by the Adriatic Sea that touches Bari, where he grew up. And over the course of six predictably substantial tracks, Dozzy pokes at the stars, combining the ambient-adjacent, dubbed-out cosmic synthwork that's become his signature over the last couple of decades with tranquillizing rhythms that whirr comfortably somewhere in the background.
Opener 'Velluto' is a perfect proof of concept, featuring a kick drum so illusory it sounds like wet cardboard being caressed in a nearby room. The crucial element here is the synth sequences, that churn around the inverted bump like sea foam while somnolent, twinkling drones surf the gentle waves. The title track takes a similar approach, anchoring its momentum around a central theme that slowly and subtly evolves, passing through ambient mists before being met by a drowned 4/4 thud. It's not far from trance, but Dozzy smartly avoids bombast at every turn: on 'Magda', a warm, hopeful bassline is his most lavish extravagance. A smarter comparison would be the Berlin school of kosmische music, but Dozzy interrupts the hazy calm with his discreet, clubwise sensibilities - this isn't pure, listless ambience, we've got too much of that already.
On 'Le Chaser' he blends a dilatory 90BPM knock with serpentine modular shapes that careen towards euphoria, and 'Santa Cunegonda', one of the album's clear stand-outs, is endearingly sturdy, warping fractal, clipped arpeggios around a plangent kick and fleet-footed hats. It's not a million miles from Newworldaquarium's enduring 'The Dead Bears' flux, but Dozzy's scientific fusion isn't for sooty back rooms or afterparties, it's been primed for outdoor raves and reflective waterfront experiences. If you can imagine Durrës off in the distance, you'll get the mood completely.
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A homage to both Dozzy's family and the Adriatic Sea, 'Magda' is a smoldering, kosmische sprawl that submerges its clubwise thumps in billowing synths and trance-addled, psychedelic sequences at the intersection of Klaus Schulze, Newworldaquarium and James Holden.
Donato Dozzy's a tough artist to pin down - his last solo album, 2019's '12H' was an architecturally inspired, minimalist sound installation, and before that he'd taken a quick detour into squelchy acid on the Tresor-released 'Filo Loves The Acid'. If there's one thread that connects his entire output its the Italian producer's love of melody, and 'Magda' might be his most melodic, and most unashamedly emotional full-length yet. It's named after his aunt, who Dozzy calls one of the strongest women in his life, and inspired by the Adriatic Sea that touches Bari, where he grew up. And over the course of six predictably substantial tracks, Dozzy pokes at the stars, combining the ambient-adjacent, dubbed-out cosmic synthwork that's become his signature over the last couple of decades with tranquillizing rhythms that whirr comfortably somewhere in the background.
Opener 'Velluto' is a perfect proof of concept, featuring a kick drum so illusory it sounds like wet cardboard being caressed in a nearby room. The crucial element here is the synth sequences, that churn around the inverted bump like sea foam while somnolent, twinkling drones surf the gentle waves. The title track takes a similar approach, anchoring its momentum around a central theme that slowly and subtly evolves, passing through ambient mists before being met by a drowned 4/4 thud. It's not far from trance, but Dozzy smartly avoids bombast at every turn: on 'Magda', a warm, hopeful bassline is his most lavish extravagance. A smarter comparison would be the Berlin school of kosmische music, but Dozzy interrupts the hazy calm with his discreet, clubwise sensibilities - this isn't pure, listless ambience, we've got too much of that already.
On 'Le Chaser' he blends a dilatory 90BPM knock with serpentine modular shapes that careen towards euphoria, and 'Santa Cunegonda', one of the album's clear stand-outs, is endearingly sturdy, warping fractal, clipped arpeggios around a plangent kick and fleet-footed hats. It's not a million miles from Newworldaquarium's enduring 'The Dead Bears' flux, but Dozzy's scientific fusion isn't for sooty back rooms or afterparties, it's been primed for outdoor raves and reflective waterfront experiences. If you can imagine Durrës off in the distance, you'll get the mood completely.
A homage to both Dozzy's family and the Adriatic Sea, 'Magda' is a smoldering, kosmische sprawl that submerges its clubwise thumps in billowing synths and trance-addled, psychedelic sequences at the intersection of Klaus Schulze, Newworldaquarium and James Holden.
Donato Dozzy's a tough artist to pin down - his last solo album, 2019's '12H' was an architecturally inspired, minimalist sound installation, and before that he'd taken a quick detour into squelchy acid on the Tresor-released 'Filo Loves The Acid'. If there's one thread that connects his entire output its the Italian producer's love of melody, and 'Magda' might be his most melodic, and most unashamedly emotional full-length yet. It's named after his aunt, who Dozzy calls one of the strongest women in his life, and inspired by the Adriatic Sea that touches Bari, where he grew up. And over the course of six predictably substantial tracks, Dozzy pokes at the stars, combining the ambient-adjacent, dubbed-out cosmic synthwork that's become his signature over the last couple of decades with tranquillizing rhythms that whirr comfortably somewhere in the background.
Opener 'Velluto' is a perfect proof of concept, featuring a kick drum so illusory it sounds like wet cardboard being caressed in a nearby room. The crucial element here is the synth sequences, that churn around the inverted bump like sea foam while somnolent, twinkling drones surf the gentle waves. The title track takes a similar approach, anchoring its momentum around a central theme that slowly and subtly evolves, passing through ambient mists before being met by a drowned 4/4 thud. It's not far from trance, but Dozzy smartly avoids bombast at every turn: on 'Magda', a warm, hopeful bassline is his most lavish extravagance. A smarter comparison would be the Berlin school of kosmische music, but Dozzy interrupts the hazy calm with his discreet, clubwise sensibilities - this isn't pure, listless ambience, we've got too much of that already.
On 'Le Chaser' he blends a dilatory 90BPM knock with serpentine modular shapes that careen towards euphoria, and 'Santa Cunegonda', one of the album's clear stand-outs, is endearingly sturdy, warping fractal, clipped arpeggios around a plangent kick and fleet-footed hats. It's not a million miles from Newworldaquarium's enduring 'The Dead Bears' flux, but Dozzy's scientific fusion isn't for sooty back rooms or afterparties, it's been primed for outdoor raves and reflective waterfront experiences. If you can imagine Durrës off in the distance, you'll get the mood completely.
A homage to both Dozzy's family and the Adriatic Sea, 'Magda' is a smoldering, kosmische sprawl that submerges its clubwise thumps in billowing synths and trance-addled, psychedelic sequences at the intersection of Klaus Schulze, Newworldaquarium and James Holden.
Donato Dozzy's a tough artist to pin down - his last solo album, 2019's '12H' was an architecturally inspired, minimalist sound installation, and before that he'd taken a quick detour into squelchy acid on the Tresor-released 'Filo Loves The Acid'. If there's one thread that connects his entire output its the Italian producer's love of melody, and 'Magda' might be his most melodic, and most unashamedly emotional full-length yet. It's named after his aunt, who Dozzy calls one of the strongest women in his life, and inspired by the Adriatic Sea that touches Bari, where he grew up. And over the course of six predictably substantial tracks, Dozzy pokes at the stars, combining the ambient-adjacent, dubbed-out cosmic synthwork that's become his signature over the last couple of decades with tranquillizing rhythms that whirr comfortably somewhere in the background.
Opener 'Velluto' is a perfect proof of concept, featuring a kick drum so illusory it sounds like wet cardboard being caressed in a nearby room. The crucial element here is the synth sequences, that churn around the inverted bump like sea foam while somnolent, twinkling drones surf the gentle waves. The title track takes a similar approach, anchoring its momentum around a central theme that slowly and subtly evolves, passing through ambient mists before being met by a drowned 4/4 thud. It's not far from trance, but Dozzy smartly avoids bombast at every turn: on 'Magda', a warm, hopeful bassline is his most lavish extravagance. A smarter comparison would be the Berlin school of kosmische music, but Dozzy interrupts the hazy calm with his discreet, clubwise sensibilities - this isn't pure, listless ambience, we've got too much of that already.
On 'Le Chaser' he blends a dilatory 90BPM knock with serpentine modular shapes that careen towards euphoria, and 'Santa Cunegonda', one of the album's clear stand-outs, is endearingly sturdy, warping fractal, clipped arpeggios around a plangent kick and fleet-footed hats. It's not a million miles from Newworldaquarium's enduring 'The Dead Bears' flux, but Dozzy's scientific fusion isn't for sooty back rooms or afterparties, it's been primed for outdoor raves and reflective waterfront experiences. If you can imagine Durrës off in the distance, you'll get the mood completely.
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A homage to both Dozzy's family and the Adriatic Sea, 'Magda' is a smoldering, kosmische sprawl that submerges its clubwise thumps in billowing synths and trance-addled, psychedelic sequences at the intersection of Klaus Schulze, Newworldaquarium and James Holden.
Donato Dozzy's a tough artist to pin down - his last solo album, 2019's '12H' was an architecturally inspired, minimalist sound installation, and before that he'd taken a quick detour into squelchy acid on the Tresor-released 'Filo Loves The Acid'. If there's one thread that connects his entire output its the Italian producer's love of melody, and 'Magda' might be his most melodic, and most unashamedly emotional full-length yet. It's named after his aunt, who Dozzy calls one of the strongest women in his life, and inspired by the Adriatic Sea that touches Bari, where he grew up. And over the course of six predictably substantial tracks, Dozzy pokes at the stars, combining the ambient-adjacent, dubbed-out cosmic synthwork that's become his signature over the last couple of decades with tranquillizing rhythms that whirr comfortably somewhere in the background.
Opener 'Velluto' is a perfect proof of concept, featuring a kick drum so illusory it sounds like wet cardboard being caressed in a nearby room. The crucial element here is the synth sequences, that churn around the inverted bump like sea foam while somnolent, twinkling drones surf the gentle waves. The title track takes a similar approach, anchoring its momentum around a central theme that slowly and subtly evolves, passing through ambient mists before being met by a drowned 4/4 thud. It's not far from trance, but Dozzy smartly avoids bombast at every turn: on 'Magda', a warm, hopeful bassline is his most lavish extravagance. A smarter comparison would be the Berlin school of kosmische music, but Dozzy interrupts the hazy calm with his discreet, clubwise sensibilities - this isn't pure, listless ambience, we've got too much of that already.
On 'Le Chaser' he blends a dilatory 90BPM knock with serpentine modular shapes that careen towards euphoria, and 'Santa Cunegonda', one of the album's clear stand-outs, is endearingly sturdy, warping fractal, clipped arpeggios around a plangent kick and fleet-footed hats. It's not a million miles from Newworldaquarium's enduring 'The Dead Bears' flux, but Dozzy's scientific fusion isn't for sooty back rooms or afterparties, it's been primed for outdoor raves and reflective waterfront experiences. If you can imagine Durrës off in the distance, you'll get the mood completely.