Lee Jones lived in London until 2002, where he was producing and remixing as the successful downtempo/ nu-jazz artist Hefner. After following his heart to Berlin, he was inspired by the music and clubs to move into a new production style over the past 6 years. Most recently he’s become known as the main creative force behind MyMy, whose debut album ‘Songs For The Gentle’ on Playhouse made waves across the globe. Since 2007 he’s released his beautiful solo works on Aus Music and Just, whilst also collaborating with Berlin local hero Daniel Dreier on releases for Upon You and releasing new MyMy material on Berlin’s illustrious Ostgut Ton imprint. Having recently returned from the US and Japan performing live dates with Nick Höppner as MyMy, he also has a busy DJing schedule around Europe and continues to promote the popular monthly clubnight at Watergate ‘MyMy and friends’. His debut solo album ‘Electronic Frank’ nearly never was after his apartment was burgled the week of mastering, but happily its been rescued and will be accompanied by two 12”s featuring remixes from Stimming and The Mole. ‘Electronic Frank’ is full of surprising and heart warming moments that open out unexpectedly from richly textured grooves. Every Click Matters - there’s no padding in Lee’s music. He pulls melody and harmony from the most abstract places and spaces, yet makes them work together like few producers can. His wistful melodies combined with his spacious programming allows you to drift off into your own thoughts, yet the detail in the sound design can snap you back to reality in a second. The first half of the album is a lush, rich intricate tapestry. Quirky and playful. Inviting and detailed. Full of real instrumentation and uplifting, yet introspective and often melancholic melody. The pace is gentle, the vibe relaxed. Individually sung words and vocal snippets lend a human touch and when layered with an imaginary orchestra full of opulent harps, sweeping strings, delicate pianos,

(LOUD): “ Album of the month Simply the most well-rounded LP I have heard all year. Its not what I would ever play out but as far as music to while away the summer is - anytime really - it is almost perfect. Sometimes deep, sometimes moving, even just downright fun, Lee Jones has raised the bar for an artist album with this. And not one filler in the whole CD... impressive release. ”

2000 and One (Intacto): “- for me this album really starts to groove from track 7 onwards ... well crafted and produced with lots of clever tricks and ticks ...nice !!! ”

3 Channels / Catz n' Dogz: “lee jones is one of my fav producers.. love the album great music! ”

Appleblim (skull disco/apple p: “lee has been one of my fave artists of recent times, i have been caning aria and as u like it out, and whilst the album on first listens sounds less immediate than those tracks, i guess lee wanted to explore a jazzier deeper side of his sound, an lp couldn’t just be made up of all the riffy numbers that i like so much from him. I will deffo be playing safari, roadwork and mdmazing both on radio and at gigs over the next few weeks...big up lee! ”

Groove Mag (GER): “Für seine Nujazz- und Neosoul-Produktionen unter dem Projektnamen Hefner wurde Lee Jones sehr verehrt. Nichtsdestotrotz stand für den Musiker 2002 eine elementare stilistische Neuorientierung an: Jones zog nach Berlin und gründete mit Nick Höppner und Carsten Kleemann MyMy. Nach zahlreichen housigen Afterhour-Tracks mit MyMy veröffentlicht Jones seit vergangenem Jahr auch Platten unter seinem bürgerlichen Namen. Nun erscheint das erste Album. Es ist beachtlich, wie eigenständig und unabhängig Jones’ Sichtweise auf den Afterhour-Sound ist: Er verschiebt ihn in einen ganz anderen emotionalen Kosmos. Wo die Tracks anderer Musiker psychedelisch, zerfahren oder unheimlich klingen, ist seine Musik lieblich und einschmeichelnd. So Afterhour-verzaubert die Stücke sind, so wenig lassen sie sich wirklich treiben: Ihnen liegt immer so etwas wie ein Song-Schema zugrunde. Jones erlebt die Afterhour-Erfahrung nicht als transgressives oder destruktives Zerfallsmoment. Für ihn sind es vielmehr bittersü?e, leicht melancholische Augenblicke – die dann zu ideenreichen, lieblichen Housetracks verarbeitet werden. AW No 3. In the Groove magazine album/compilation charts.”

jeff samuel (poker flat, trape: “nice deep LP. theme for frank is the big standout for me, really love this track! mdmamazing is also quite lush, and perfect to end the album (and my sets). also like tracks 4, 5 and 8. good work from lee!”

Kiki: “i like to listen to it as a whole! Charted at no.1 album in Groove”

Laurent Garnier (F-Com): “ pure ,clean ,musical ,atmospheric ; lovely deepness full support from me ”

Resident Advisor NET: “Probably one of the first things you'll notice about this record is the title of the closing track: "MDMAzing." It leaps out at you, seeming hilariously cheesy and out-of-place—until you listen to the track. And then you realise it's actually entirely fitting for this euphoric tune with its gradually lifting keyboard riffs, soft and sweet as candy floss, which create a dizzying sensation of weightlessness. These five minutes of dreamy Balearic house will leave you spellbound. We've come to expect this kind of sumptuousness from Lee Jones; releases such as "Hug the Scary," "There Comes a Time," "As You Like" and his remix of Sideshow's "Philly Soundworks" were perfectly crafted slices of peak-time dance floor bliss. And, as part of My My, he co-produced the 2006 longplayer Songs for the Gentle, a gorgeous record that developed gracefully towards a ecstatic close. So what's surprising about Electronic Frank, really, is how low-key it is (even granted the downbeat nature of Jones' other solo project, Hefner). There are few obvious peaks, and the tempo and tone are, for the most part, rather middling. On first listen, the drama of "MDMAzing" even seems to make the rest of the record sound a tad flat in comparison. But, on closer inspection, these tracks reveal a wonderful depth. Like the lovely picture of a red-striped zebra on the cover, the productions on Electronic Frank are delicate confections, wonderfully crafted and very hard to dislike. The first half of the album sounds like one very long build-up. "Theme for Frank" employs strings and vibraphone to create a subtle drama. Orchestral samples in techno can often sound jarringly contrived, but Jones' touch is light and the combination works. "Soon" is like a less lopsided version of Dinky's soupy minimal lounge sound, with a sultry female voice murmuring the title over cocktail-jazz piano tinkles and plinkety-plonk beats. The run of tracks that follows leaves me a bit cold. You can have too much of this kind of bubbling-under mid-tempo house with its vague sense of tension building; sooner or later you just want something to erupt. Things start to lift with "Kinder Country" and "Roadwork"—warm, spacey, gently chugging house that would no doubt sound fantastic as part of a DJ set; but after all that has come before I'm still left wanting a change of air. Echoing bass guitar and a foreboding atmosphere lend a John Barry feel to "Shoe Shine"; but it's not until the wonderful "The Secret" that Jones really hits his stride. Its sugar-coated synths and submarine basslines meander gracefully about each other; the effect is sweet and dreamy, bringing to mind the best moments of Ellen Allien and Apparat's Orchestra of Bubbles. The tracks that follow are denser, more intricate and involving: particularly worth a mention are "It Is, Isn't It," which manages to incorporate snatches of horns, brass, strings and woodwind, without sounding either crowded or corny; and "Safari," which weaves a whole menagerie into its restless groove. Jones has obviously exercised a lot of restraint in these productions—and perhaps not all the implications of this are positive. You get the sense that restraint is actually an easy fallback for producers nowadays, and that staying carefully within the bounds of accepted taste is ultimately less brave and interesting than defying them and giving full rein to the extravagance a producer like Jones is obviously capable of. But still, beneath their veil of subtlety, these tracks conceal a wealth of charms, a richness of textures and arrangements that unfolds further with every listen. ”

sebo k [mobilee]: “FANTASTIC !!! i love it. ”

Sian (Poker Flat/Karmarouge): “excellent,quirky and listenable album ”

Thomas Palermo/xlr8r: “ A brilliant album, full of subtlety and variety, There's a warmth and cohesiveness that runs throughout the entire work that binds these songs together. I like the cinematic qualities, it sounds as if a succinct narrative is unfolding. Now I wanna know, who's Frank? ”

UPDATE MAG: “ 5/5 and album of the week in Deeper than a mole’s stiffie, the echoes of classic New York house and contemporary electronic groove dismemberment runs riot in this latest excursion from Lee, who impressed last year as the force behind MyMy’s amazing Songs from The Gentle album before unleashing a welter of solo tackle on Aus Music and Just. Until 2002 he lived in London, creating Nu-Jazz chill-outings as Hefner but moving to Berlin had the inevitable effect of plugging him into the city’s remarkable electronic revolution of the 21st centaury. The myriad influences and undoubtedly countless eye-popping nights have taken their toll to delirious effect: his solo album is a pure delight from start to finish. Tracks like ‘Roadwork’ and ‘Kinder Country’ recall the NY house groove with deep pads and a special warmth of their own while ‘Shoe Shine’ brings in John Barry guitar. There’s even a track called ‘White Rabbit’ which had my favorite furry friend Strummer hopping in the air then kicking his legs, although it might have been the rabbit drops. Lee has another animal story called ‘Safari’ which follows Mental Overdrive’s placement of glorious elephant trumpeting over a barrage of woodwind, brass and hustling groove. ‘MDMAzing’ speaks for itself whipping up a lovely swirling deep house bubble bath confirming that the listener definitely comes out of this album a lot happier than they went in.”

www.4clubbers.ne/Guy Hornsby: “Artist albums come and artist albums go, and often the fanfares go to the ones that are bland and accessible, and praise to those that are outlandish and offbeat. But there are those that buck the trend. Music can be fantastic, and easy to digest, and come from someone that`s not part of the established coterie of `cool`. And at the end of this wilting this summer it`s Lee Jones` fantastic Electronic Frank. While the proportion of even heads-down clubbers that have heard his name may still be in the lower side of 50%, it should be much, much more than that. Slowly building an impressive array of tracks, mostly on Will Saul`s ever-reliable Aus Music, from As You Like It, and Aria to the Icetrain Cometh and Hug The Scary, his work oozes quality, and, it`s finally this autumn that Electronic Frank, his artist album, emerges. From the start it`s apparent that this isn`t about peaks, it`s about pace, and style, and judgement. While the obviously named Beginn kicks off in a wonderfully laid-back mood, it`s the slow and measured progression through the fourteen tracks that shows Jones` attention to detail and programming is as impressive as anything on this album. White Rabbit`s chocky electronica is a breezy delight, and Kinder Country is sumptuous, slow-burning classiness. From Roadwork`s brooding synths and The Secret`s deepness, there`s not a weak track, and the long-player finishes in a crescendo. It Is, Isn`t It, is a blend of horns that belies the electronic nature of the music, and Safari is up with his best tracks to date, but it`s MDMAzing that lifts the bar right at the end. Uplifting, and enough to remind of that first time. What you get is something that may take a few listens to make its mark, but you can guarantee it`ll still be around next year when other more showy, more crudely put-together works will have started to gather dust. Give it attention, and the rewards will be worth it. ”