Imogen Heap’s new record is out, which is great, but she has also included instrumental versions of each track. I’ll say it again in case it didn’t sink in: Instrumental versions of each track. For an extra few dollars, you get 13 amazing glimpses into what she does so well. It’s safe to say she’s at the top of her game- as a writer, musician and artist. This new record is no exception- the tracks are a bit more minimal than previous projects, which in theory means the elements that are there are perfect. I have to say, I’m not thrilled with the mix of the new record; the vocals are LOUD. On the other hand, I could listen to her voice for days without growing weary of it. Perhaps the combination of instrumental tracks and vocal up mixes make for a perfectly balanced release, but whatever the case may be, it’s a wonderful release. If you create electronic music, or any music for that matter, Imogen’s records are a must-have.

Phil Stacey’s new record hits shelves and sites today- give it a listen. Phil’s got a wonderful voice and the record was produced by super-producer Brown Bannister; I did most of the programming and keys. It’s a pop record- I did lots of drum and synth layers and some string work. Drum sounds are from my own samples, Operator, and perhaps something I recorded on the spot to use inside of Impulse. Synths and pads are from Thor, Absynth, Pro53, Ultra Analog, and the MO8. I was working on it right before Live 8 was released, so all but one track was done in version 7. There was a last-minute addition that gave me a chance to use 8; I think it was the first real work I did using 8. I used the Collision instrument and some of the new effects in a song called “Hard To Get”. It turned out wonderfully and Collision has become a go-to source for anything from soft mallets to crazy craziness.