Although Chez Damier’s recent projects have languished in semi-obscurity while Mojuba’s reissues of his work flew off the shelves, his latest effort as The Gathering has already attracted more attention than anything he’s done since his Prescription days.
anton
Hector, A.G.E. EP
June 21, 2010 – 10:01 PM
Both in execution and style, the three tracks of Hector’s A.G.E. EP most resemble the percussive build and release at the heart of so many 2000 And One tracks and their quality is similarly uneven.
Radio Slave, I Don’t Need A Cure For This
May 20, 2010 – 10:01 AM
It’s not entirely surprising REKIDS sat on I Don’t Need A Cure For This as it’s noticeably more subdued than Edwards’ usual club-clobbering fare, but it’s paired with the ethnic-sampling house varieties he’s helped popularize.
David Keno, Snatch001
April 27, 2010 – 10:01 PM
For a couple weeks now my friends and I have entertained ourselves on the cheap by playing stacks of 45s at 33, giving into the well worn truth that almost everything sounds better slowed down. Not surprisingly, producers reach for the technique regularly, whether to fit a sample into the groove or in efforts to impart an androgynous “soul” sound unachievable at full speed. On the off chance it’s done well, it can transform whole tracks into something worth hearing time and time again. David Keno tried his hand at the Slowed Vocal Slot Machine for “Upside Down” on his new EP; and while it’s certain to be popular I’m less sure about its playback value.
V/A, Halal Prepared Vol. 1
April 20, 2010 – 10:01 PM
In Islamic parlance, food that’s been prepared in accordance with Sharia law is designated as halal, similar to the Jewish distinction of kosher foods. So by naming its seventh release Halal Prepared Vol.1 London-based Boe Recordings sends a strong signal regarding the level of respect it affords to house music’s underground fore-bearers and traditions. Yet the three tracks on offer here from KiNK, Iron Curtis and Ladzinski are reverent rather than than obedient — clearly influenced by seminal house releases but more than devotional works of blind faith. It’s likely the critical difference that could earn this EP a place in record buyers’ baskets while its strictly traditional peers huddle on the shelves.
Marino Berardi, Best Intention EP
April 8, 2010 – 11:09 PM
Marino Berardi’s first claim to fame was being among the first Belgian-based producers to be licensed by a notable American house label when his Expression In E-Dub single was picked up by Wave Music. But that was in 2000; and despite a string of solid if not stellar singles for Ovum, Fresh Fruit and more — not to mention that MB Recordings was built to host his tracks — dance music buyers let past accomplishments recede into back catalogs without a second thought. Berardi has since begun the second act in his musical career with a few tracks for Phil Dairmount’s surprisingly underrated Room With A View label. This renewed push is accompanied by a noticeable shift in Berardi’s sound, moving away from the sometimes bland palette which dulled his often rigorous arrangements. Collaborations with Dairmount on RoomWAV comps Perspectives 01 and 03 suggested an interest in orchestral source material; and on the Best Intention EP, Berardi’s first solo release since 2007, his examination of this inspiration yields what’s sure to be another career highlight. It’s also backed by remixes from Pezzner and Christo.
Tensnake, Coma Cat
March 18, 2010 – 10:01 AM
Despite what seems like a rapid ascent for Hamburg’s Marco Niemerski, the man best known as Tensnake has been honing his craft for over a decade. His breakout Keep Believin’ EP for Endless Flight and 2009 smash hit, In The End (I Want You To Cry) on Running Back sounded so fully realized because he’d worked out the kinks on one-off singles for smaller labels like Trax of Interest, Various Delight Recordings, and Players Paradise, as well as releases on his own Mirau imprint. With the Coma Cat EP, released by nu-disco hotspot Permanent Vacation, it appears Niemerski’s sound has crystalized even further around the neon tone palatte and taut arrangements that brought him many plaudits on In The End.
Nico Purman, Rhapsodies
February 16, 2010 – 11:01 PM
When evaluating music it’s not uncommon for music critics such as myself to overemphasize innovative sounds and structures and overlook the artists who work well inside the dimensions of established forms. Novel thrills get rarer with each year of new releases, with each new software edition, so by setting the bar inordinately high we discount some still worthy releases that are a bit more familiar, especially within dance music. Yet you would be hard pressed to find a full dance floor that expects aural alchemy from its DJs, or a DJ who resists all but the most revelatory records — it’s just not how things work away from our computers. Rhapsodies, a late 2009 release from Argentinian producer Nico Purman was my latest reminder of where my head should be at. Although he’s best known for his tenebrous tech-house on Modelisme, Curle Recordings and Vakant, this record finds Purman unexpectedly tossing his hat into deep and ethnic house rings. His outsider’s perspective lends a lot to these well worn paths, making this one of his most enjoyable EPs.
Roni Nachum, Guest Service Shalom
January 26, 2010 – 11:01 AM
The Hebrew word “shalom” means peace, but it’s also a greeting and sometimes a goodbye. For Roni Nachum, a young producer from Jerusalem, “Guest Service Shalom” is one hell of a hello. His vinyl debut, which so skillfully walks between deep house moods and techno’s edges, arrives care of the shrewd A&R work of Nitzan at Fine Art Recordings. It’s also backed by a superb, decompressing remix by Mark E.
Nina Kraviz, Pain In The Ass
January 6, 2010 – 11:01 PM
Although hip-house is no longer a genre many dancers think about, its demise has not halted the dozens of house tracks whose schtick involves ranting, loosely scripted spoken vocals. Sometimes the master of ceremonies is trying to make a point, othertimes it’s more like being a fly on the wall. I’ve rarely bought into the concept that producers’ conversational prattle is much more interesting than my own; whether it was Villalobos enjoying sushi on “Andruic & Japan,” Diddy pleading for longer tracks on “The DJ,” or the vulgar boasts of Pimp Jackson, these diatribes often seem more distracting than helpful to dancers’ attempts to get into the groove. Nina Kraviz, who was one 2009’s big gainers and affiated with others as part of the Underground Quality stable, has proven not to be immune from the appeal of chatter, as evinced on “Pain In The Ass.” First appearing on REKIDS owner Matt Edwards’ Fabric mix, the flippant track has been paired with “I’m Gonna Get You” for Kraviz’s solo REKIDS debut.