The title track from Mario Franca’s brand new EP for Brise contains the kind of bassline you want to live in. It envelopes you in a warm glow of deepness which is only enhanced by evolving pads and the gentle shimmer of marimba. By the breakdown grittier synth lines introduce themselves but these are soon resolved when the arrangement continues to pulse with a transcendent light on this excellent production. The Helmut Dubnitzky remix adds extra edge with punctuating drums and stabs providing a notable alternative, while second original Oceano has a bouncier quality to its sassy groove.
Unison Wax main man debuts on the label with three equally quality productions that could just set the dancefloor on fire. The title track opens with crunchy drums but soon develops its emotions with tasteful keys complimenting the tough House rhythms perfectly. Manitu, then adds more movement to the percussion to provide addictive listening, while Dreams completes the release with a combination of creative synths and more heavy-duty drums on the deepest but also possibly most compelling of the trio.
Excellent new release from the ever impressive Brise with the title track from the EP sequencing sassy congo breaks together with warm, expanding chords and tech stabs alongside welcome human voices. A funky combination for sure, but also a deep and moody one with more than a twist of invention to the production. The Nightshift Remix then takes it up a gear with rolling bass adding heavier vibes to the darker elements of the original. Next, Serpente fuses break-beats with treated vocals and pulsating piano to again produce another imaginative arrangement of sounds. Label boss Helmut Dubnitzky provides a remix which adds fierce bass to a much moodier and excellent reworking.
Two fresh new tracks from Neapolitan producer Pasquale Gargiulo aka Misfa Stereo go to make up this latest from La Pitti with the later F Is To Forget being the standout courtesy of the punchy beats and basslines adding tension to the organ punctuated grooves. The former, Something is Wrong feels less frantic with crisp snare hits and moody keys adding extra atmosphere. A remix comes care of Share Records’ Helder Teixeira who adds a more off kilter edge to the production via contrasting soulful vocals.
Expect the unexpected. So I don’t quite know why I was surprised to see that Van Helden’s three CD compilation for the Ministry series were titled: The Loft, Yacht Rock Don’t Stop, and Freestyle Forever. For obvious reasons it’s the first CD and its selection of House classics (I use the word advisedly) complete with Masters At Work, Earth People and Logic’s timely ‘The Warning’ that all provide reasons to acquaint yourself thoroughly with the mix. The Freestyle collection is then highlighted by the more obvious Lisa Lisa & Cult Jam ‘I Wonder If I Take You Home’ and Joyce Sims anthem ‘(You Are My) All And All’ and I guess it’s a pre-House sound you either love or not. And so to the Yacht Rock selection which, let’s face it, contains a number of breezy, uplifting classics (though also a fair share of cringe) despite the terrible genre name attached to them now. Consequently if Toto, Chicago, and The Doobie Brothers sound like your idea of heaven then you’re in luck…
It doesn’t come much better than this blistering Acid attack from Full Intention in the form of ‘Meteor Man’. Indeed, they have always seemingly had one finger on the pulse, much as they did back in the mid 90’s with the Disco infused ‘America (I Love America)’, which coincidently I reviewed for DMC (Mixmag Update) way back then. Those familiar with 1988 may recognize where the inspiration comes from but none the less the stripped back but devastatingly effective drums and Roland 303 sound epic placed in any decade – PLAY LOUD. Next, ‘Upside Down’ applies moody electronic basslines to yet more first-rate drums, while final track ‘Walk Away’ adds a techier sheen to warmer chords and Penny. F’s breathy vocals amid, what has to be said is, a very tasty breakdown of events.
Katzer & Meffert concoct this strange but very satisfying brew with the title track MG166 combing intense, almost jazzy drums, and moody pads plus occasional vocal snippets to stunning effect. The remaining tracks: Nada Brahma, Shulgain and Zapta all reinforce intricate drumming across their rhythms, alongside atmospheric backdrops and twisted voices. An intriguing bunch of productions for sure, each coming with their very own merit and more than a touch of individuality, although the cinematic moments and evolving percussion of ‘Shulgain’ are particularly hard to resist.
Flexing bassline muscles and plugging directly into the electronic mainframe is this explosive new release from Graeme L. The remix of ‘Give It A Chance’ sets the agenda with hard to miss bottom end attacking the senses along with insistent percussion and spot-on beats lending it all a breathless edginess. The Original Mix then follows in deeper fashion, though no less subdued, with whirring sound effects joining in with the commanding vocals again most effectively.
Love this. Stunning production from Helmut Dubnitzky whose carefully crafted arrangements are nothing short of spectacular. ‘Think About’ starts with repetitive rhythms that require repeat investigation as the music develops with subtle, and so no subtle effects, until the x factor breakdown kicks in. ‘Clouds In The Sky’ then plays like pure bliss with more tasteful percussion accompanying the organ pulses, leaving the grittier Techno of ‘Come On’ to end with more than one surprise.