NT022

TITLE: Post & Beam
ARTIST: Gavin Froome
CATALOGUE: NT022 - LP/CD
RELEASE: CANADA SEPT 25, US OCT 9, UK OCT 29

A follow-up to Gavin's hugely successful debut 'Mobile Villager'.
"Post&Beam" sees Gavin moving beyond the dancefloor; entering the living rooms of a new generation of discerning listeners.
Deep house, nu-jazz & downtempo from the lo-pro don of Vancouver dance music.

   
  Audio Samples for NT022: "Post&Beam"    
 
S.M.O.K.E.
   
 
Shade
 
 
Machinage
 
 
1980
 

    XLR8R #55 Dec 2001
Vancouver's best-loved house producer sticks with Luke McKeehan's stylish Nordic Trax imprint for this superb follow-up to his '99 album, Mobile Villager. Like many forward-thinking producers, Froome is no longer content to produce just one style, as evidenced by Post + Beam, which spanned organic jazz, sophisticated house, lazy downtempo and funky mid-tempo breaks. While some tracks are destined for the dancefloor, there's enough depth here for the home listener. It's pleasing to see that Froome has refined his sound even further with the kind of swanky house and slinky downtempo that could turn shit into sugar.
Luke Magnuson XLR8R # 55
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    MIX MAG Dec 2001
'Deep house to keep you warm' Like a mountie tickling a sleeping moose, Gavin Froome's second collection of tunes is as mischievously titillating as any deep house album you'll here this year, seemingly aimed at the moment that E-glow turns into a weary self-indulgent slump. 'Post + Beam' is a record riddled with a ongoing sense of melodic ease. And because of that, it's a pleasure.
4/5 Vicky Flats MIXMAG 12.01
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    DJ MAGAZINE 11.02.01
"Post + Beam" is an assured second venture into the sleeker side of house music from Canadian Gavin Froome. It won't shake the house foundations but it will tempt the good time groove lovers. Keep the volume low and downtempo tracks like "Shade" and "Piece" will accompany you into any kind of oblivion you fancy. Cane the bassbins and tracks like the mighty "1980" and it's New Jersey feel will lift the coldest of souls. " Post + Beam" isn't the most instant of albums. It takes two takes. At least. But once you're in the sleek house mind of Mr. Froome's you'll wanna stay. Layers of understated but fabulous house await the discerning listener. A must have.
4/5 Kate Wildblood, DJ MAGAZINE 11.02.01
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    "Keeping the house warm, this low-key producer has become a critical fave. His shimmering new Nordic Trax CD is easy, intelligent listening: disco for grownups, and the perfect soundtrack for our city."
Vancouver Magazine, SEPT 2001

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    EXCLAIM MAGAZINE-10.01
This second full-length from Gavin Froome finds the Vancouver native coming on strong and subtle. Froome's 1999 LP, Mobile Villager, drew critical acclaim from the likes of Mixmag, Straight No Chaser and DJ Laurent Garnier. It's nice to be reminded as to why. Post + Beam also sees Froome connecting the musical dots between sounds, though here he's traded in much of his disco loops, filters and funk for a more refined approach. This album is not all about dance floor, instead slowly and gently working its way to body parts that don't necessarily sway. This said, 'Stingray' is a late night dance floor classic in the making with gentle keys building to great, solid 4/4 beats and bumping bass. Froome is, in fact, an accomplished keyboardist with a distinct, jazzy and heavily delayed signature sound. "Concorde" becomes perfect dream-state material, thanks to a jazzy organ's blurring of boundaries. The hooky keys in "Assateague" pull us in, lending a classic feel as lovely little vocal bits drift over house beats. An appreciation for jazz is especially in the quirky, warm and rich broken beat piece "JC-120" and during the wonderfully textured "S.M.O.K.E." This percussive , Rhodes-spiced winner is smooth and easy on the ears-definitely a close your eyes on the dance floor kind of vibe. And of course Gavin wouldn't be Gavin without some deep tech-housegoods. "Deprive" sets us up for the super-sexy "Skunks," a masterful piece of work that swirls and soothes even as it beckons the body to move. Froome tours much of the country during late October through November; don't sleep on his live PA sets.
Denise Benson, EXCLAIM MAGAZINE-10.01 (feature review)
 
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  If you haven't discovered Gavin Froome, then you should. His debut Mobile Villager was accredited by Exclaim! magazine as one of the top 100 albums to own in the last decade, and I have to agree with their conclusion. From the vibrant underground house scene of Vancouver, Froome's newest treasure enlightens our sense by creatively playing with deep house grooves, jazzy undertones and jumpy bass lines. His dynamic skill to take listeners to another place, comparable to Jaffa, St. Germain, and Ben Watt, is definitely a display of a new mover at work. Post + Beam is a collection of harmonic landscapes that echo a vista worth visiting.
4/5 Malakki, OTTAWA XPRESS-10.01
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If people don't know about Gavin Froome yet then it's about time someone started spreading the word. Following on in the vain of his 99 debut album "Mobile Villager" Froome combines disco-edged house sounds like on "1980", with the tenderness of Boulevard-era St Germain ( "Stingray" and "Machineage "). Even then there's room for a few more understated gems in the form of the tinkering smoky jazz bliss of "S.M.O.K.E." and the synth-heavy funk of "Skunks" (do you think this guy buys a lot of Rizla?). Strong, yet considered and delicate, this really is a something special.
5/5 Steve McLay, 7 MAGAZINE
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As so much of Canada's dance/eletronica scene seems to be so centralized around Toronto and Montreal. It takes strong perseverance to steal the spotlight, in this instance, people like Tyler "T-Bone" Stadius and Gavin Froome. Both have made homes with Nordic Trax, perhaps Canada's finest and most sophisticated deep house label, with Tyler's contributions to the Necessary Pieces compilation series, and Gavin's second full length LP. Gavin released an EP in 97 and in 99 he debuted his sweet LP Mobile Villager, and here with Post + Beam he establishes a tradition of world class, intellectual house music. Remember your very first few parties. I mean real warehouse parties from the late 80's to early 90's when you first heard deep house? This album echoes softly, rippling guitars, warm keyboards and subtle, soothing vocals. Seeming Mellow at first but Gavin always slips in the perfect amount of energy and vibe without it ever sounding forced. This is it folks, it doesn't get any better....must be the air out there!
AZ KLUBLIFE MAGAZINE 10.01
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An interesting 13-tracker from Vancouver's Gavin Froome that again raises the old chestnut:Are house music albums any cop? Well, the answer to that is usually no, but this is one of them exceptions. Froome spans the house boards-from cool deep gear to downtempo to tech stuff and does it with style. Check the trad dad house on "1980", the minimal "Skunks" and the floorshakin "Machineage" and try not to nod yer head. Worth the effort.
B O'D, HOTPRESS
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There's definitely been an upsurge in the number of quality deep house albums released recently and this includes Gavin Froome's offering. The Canadian's 13 tracker is a gorgeous 120bpm ride over a predominantly 4/4 landscape with a few detours into downtempo breaks. Gavin's innovative but timeless classic production is a perfect blend: a dichotomy of a age and modernity. This is, in part, due to his exploration of spiky tech house. "Mobile Villager", his 1999 debut long player, was a strongly disco-inspired precedent to "Post + Beam": this album rings of Garage beginnings. Jazz and the subtle and spacey rare groove soul of the years surrounding 1980. The music is low key but oozes dignified confidence, with flowing synth keys, rising and falling flute bridges and deep heartfelt horns. If you feel deep house, background and positive; Gav's yer man. Genius.
JG, CMU 10.12.01
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  Gavin Froome Post + Beam (Nordic Trax)
Deep warm jazz dub house + controlled sparse open: as I sit and listen and watch to a world of madness, Gavin's album roots me to a melancholy rarely heard in today's beat-and-drinks driven house scene. Sitting and reflecting through my ears, I am attuned to a talent and a musical beauty that sifts time through sounds, deep awash basslines with no particular angst that carry me through reveries and remembrances.
When you hear poetry, when it filters through the shells fortified everyday in the ceaseless protection of the fragile human ego, it begs a response of the same. Gavin Froome, native Vancouverite, has returned with an album for the listener that does not ignore the feet. An album that spawns the dancefloor and the armchair and the discerning house and techno DJ alike. Emotional, complex, jazzy, downtempo, yet also at points thumping, Gavin's album is deserving of some true musical praise for its breadth and what it risks.
For whenever electronic music steps out onto that limb where it claims to be what traditionalists call "music"-representative of some facet of universal humanity-it risks coming off either as pretentious or as a cheap mimicry of some other "established" genre, such as jazz or funk. Such is not the case with Mr. Froome.
This is deep house music, and Gavin Froome has reinvented it all over again.
tobias v
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  FFWD Weekly (Calgary) - Nov 8, 2001 GAVIN FROOME
There's been a steady rise in the small but dedicated contingent of Canadian artists who have been gathering momentum in clubs outside the mainstream. Although names like Nick Holder or Gavin Froome won't soon adorn black-and-white baseball tees, they are names synonymous with a calibre of Canadian house music that has been slowly developing for the better part of a decade. Froome is one of Canada's finest up-and-coming house producers, and he is currently touring in support of Post and Beam, his latest venture on NordicTrax records. His second full-length release for the label, Post and Beam sees him broadening the range of his electronic formula. "I wanted this to be more of a listening album, something you can clean your house to," he says. More than listenable, it"s an album that showcases the emerging multi-faceted nature of Froome, who is widening his musical spectrum in order to appeal to a larger audience. Although the majority of media support for Froome and like-minded artists is rooted in Europe"s mondo-culture of clubs and record stores, inroads are being carved into the once barren permafrost of Canadian electronic culture. For reasons that could only be described as odd, Canada has not indulged in the electronic revolution with the same voracity as its Euro counterparts. In one respect, this lack of awareness allows Froome and other producers the opportunity to lay the groundwork for the masses, or to at least participate in setting Canadian standards. More lucratively, it emphasizes the great potential for Froome to capitalize, both within our national boundaries and globally that is, to make a living by tabling something that is unique to the spectrum of Canadiana, at least in the vast majority of our clubs. Although making a living is not the only reason for Froome to produce tracks, it is slowly becoming a possibility for artists of his ilk. As the road of beat opportunity stretches out before him and leads to gigs across Canada and abroad landing him a slot in Paris in December with fellow NordicTrax artist Luke McKeehan Froome is careful to keep thoughts of success in check and his commitment to his music at the fore. "It's just about doing your thing and doing it well, you can't really pay attention to whatever else is going on," he says. If his innovation as a producer doesn't soon propel him into the spotlight, his innovative approach to DJing might. He is one of the few DJs in North America to seamlessly combine a live public address element into a DJ performance, again showcasing the simple fact that Froome's ability and innovation is on par with other global beat merchants. The live element gives Froome a greater range, and it allows dancers a chance to participate in something that is constantly evolving as opposed to a set that is pre-programmed and delivered on cue, limited by a DJ's record box. "It's just fun the audience doesn't seem to notice the changeover and they get to hear something they might not hear every night." by Rob Faust