[Our Circula Sound]

With the boundaries of dubstep still wide open to new interpretations, Sigha has pursued novel ideas and embraced varying influences in a manner that’s similarly difficult hard to categorize. His tracks encompass elements similar to the brackish, sub-aquatic tones of Norman Nodge, reflect common ground with the minimal-esque production of Ben Klock and draw intense parallels with the SCB project of Sigha’s sort of mentor, Scuba. Sigha’s Rawww EP was one of 2009’s the standout records, even drawing some comparisons with Berlin’s half step, future funk auteur Shed without seeming too sensational. His latest, which arrives on the artists’ newly launched Our Circula Sound imprint, builds on the attention grabbing yet keenly subtle sound he’s developed across several records for home base Hotflush Recordings and Immerse Records.

“Over the Edge,” though, has a relatively straightforward layout: overworked 4/4 beats are relentless from the onset, together with tough tubular and slightly nautical tones that add up to a brooding, almost industrial grade atmosphere. Many of Sigha’s tracks feature a moody droning backdrop — much like the hauntingly delicate drone that pervades this track — contrasting perfectly with deftly chosen instruments he selects, such as strong finger snapping snares and retro cymbal bursts reminiscent of early Detroit techno. It’s the latest of his 2010 work to find him peaking into techno and abstract minimalism. Sigha’s “Early Morning Lights” made its only appearance so far on Scuba’s Sub:Stance mix CD for Ostgut Ton, a favor that’s paid back by Marcel Dettmann who remixes the track on this record’s B-side. Dettmann kept busy over the last year, releasing his debut album and remixing handfuls of tracks without dipping in quality. This rework is among this best, crunching to life with metallic percussion and locomotive puffs while kick drum triplets that add real impetus. Hi-hats swirl and sweep dizzily around the track, pulling along melancholic drones and Doppler-panned plucks that take the track to a new, disorienting level. Those who have criticized Dettmann for being too one dimensional and orthodox in his productions will have nothing to moan about here, except if they’re moaning in delight. All in all a powerful release that makes a persuasive case for Sigha’s new label and the continued admiration of his work.