Convivial

Rate It! Avg: 4.0 (54 ratings)
ALBUM INFORMATION

Total Tracks: 9   Total Length: 66:51

Write a Review5 Member Reviews

Please log in before you review a release. Log in

user avatar

Impressed

eJDL

Enjoyed this so much more than 'Selected MP3s.' Had this on the iPod for weeks during a lengthy business trip.

user avatar

c'mon with the moby

EMUSIC-01C9A151

The most overrated artist of all time. Own it? He doesnt even rent a mailbox. The most vapid, emotionally obvious garbage afloat on the Hudson..

user avatar

90s revival anyone?

Britster

This record is difficult to hate (sorry robotunderground, the Moby comparison is especially egregious). You will probably love it, if you hanker after an 90s deep house sound, with liquid honey vocals. The comparison that springs to mind is some of Matthew Herbert's work.

user avatar

awesome

differance3n9ine

great album! great sounds! This is why Mr. Ripatti has been a signature figure in electronic music since 2000.

user avatar

Not awesome

robotunderground

Same beat with exception to the 'Dying' track and the last track. Moby doesn't own electronic music but he might as well if this passes for it.

Recommended Albums

They Say All Media Guide

Just before entering a seemingly inescapable cul-de-sac after 2006′s Paper Tigers, Sasu Ripatti evades it by throwing Luomo into reverse. Convivial, however, is not quite a revisitation of Vocal City or The Present Lover, two of the most seismic house albums released during the decade. It’s the most song-oriented Luomo album, with the lyrical and vocal contributions expanded from Paper Tigers’ featured voice, Johanna Iivanainen, to include fellow Europeans Cassy, Sascha Ring, Sue Cie, and an “anonymous” gent named Chubbs, as well as Americans Robert Owens and Scissor Sister Jake Shears. While this varied mix of voices suggests diffuse results, the two least likely collaborators — Shears and Owens — are kept, respectively, to tongue-twisting whispers and a series of low-key cut-ups. For its lack of rush-inducing highs and novel sounds, the album is immensely pleasurable, with fleet keyboard vamps and percussive effects that stab and flick ricocheting off pliant, bounding basslines. The only slip is “Nothing Goes Away,” damp and squishy 21st century Euro-hip-house that wouldn’t stimulate much more in instrumental form. – Andy Kellman

more »