http://www.rhapsody.com/goto?rcid=art.37912&rws=%2Fjimpster%2Fmusic-videos.rssJimpster, aka Jamie Odell, has weathered his share of dance-music shifts since he began releasing records in the mid '90s. <I>Martian Arts</I>, a collection of his first singles, offered reliable, jazzy drum'n'bass in the vein of LTJ Bukem; 1999's <I>Messages from the Hub</I>, his first proper solo album, retained the references to Herbie Hancock, Miles Davis and Stevie Wonder, but it varied the pace from bleepy, slo-mo synthesizer soul and dubby downtempo in the vein of Kruder and Dorfmeister to mid-tempo jams with the lurch of West London's broken beat scene. Released in 2002, <I>Domestic Science</I> found Jimpster moving into the realm of house music, but it still showed unusual attention to detail in crystalline sound design, inventively funky rhythms and emotive, jazz-inflected chord changes. In 2006, he released <I>Amour</I>, his most accomplished album yet, for the Japanese label Village Again; the U.K.'s Freerange, his longtime home base, picked it up for worldwide release. <I>Amour</I> shared the precision percussion of European minimal techno and the plus sonics of house revivalists like Ame and Dixon. But in its scope and its sensuality, it remained pure Jimpster. - Philip SherburneElectronica/Danceen720Sun, 27 Dec 2009 22:29:04 -0800 http://static.realone.com/rotw/images/logo_rhapsody_113x22.gif http://www.rhapsody.com/goto?rcid=art.37912&rws=%2Fjimpster%2Fmusic-videos.rss Jimpster, aka Jamie Odell, has weathered his share of dance-music shifts since he began releasing records in the mid '90s. <I>Martian Arts</I>, a collection of his first singles, offered reliable, jazzy drum'n'bass in the vein of LTJ Bukem; 1999's <I>Messages from the Hub</I>, his first proper solo album, retained the references to Herbie Hancock, Miles Davis and Stevie Wonder, but it varied the pace from bleepy, slo-mo synthesizer soul and dubby downtempo in the vein of Kruder and Dorfmeister to mid-tempo jams with the lurch of West London's broken beat scene. Released in 2002, <I>Domestic Science</I> found Jimpster moving into the realm of house music, but it still showed unusual attention to detail in crystalline sound design, inventively funky rhythms and emotive, jazz-inflected chord changes. In 2006, he released <I>Amour</I>, his most accomplished album yet, for the Japanese label Village Again; the U.K.'s Freerange, his longtime home base, picked it up for worldwide release. <I>Amour</I> shared the precision percussion of European minimal techno and the plus sonics of house revivalists like Ame and Dixon. But in its scope and its sensuality, it remained pure Jimpster. - Philip Sherburne