Expect the unexpected. Repopulate Mars weren’t supposed to drop chopped-up, slung low music like this oozing more than vibrant, summertime relief. But then again who cares about rules as addictive melodies such as these drift across guitars which sing and sting, and all the while this downtempo treat fizzes with a gentle excitement that positively ripples. Rawthentic co-owner Nathan Barato then delivers upon the promise with a beefed-up remix lifting up the tempo while injecting a robust energy into its driving grooves, this time shimmering via heady, synthesized motifs.
The Sub Of Queen West EP
Toronto’s Nathan Barato’s debut release on Stacey Pullen’s imprint is so good it hurts. Good that is you like deep, pounding rhythms and dark atmospheres programmed with a serious amount of shade. Energetic snares and pulsating sub-bass power this as various vocal snippets ingratiate themselves firmly into the groove on the very aptly titled Can You Hear Me? The Mitchell Rhythm on the other hand demonstrates even more percussive ability with sassy cowbells and twisted voices all feeling uneasy, yet completely engaging at the same time.
Mike Dunn meets Victor Simonelli & Luis Radio
Nothing Stays The Same
Number three in Marc Romboy’s Lost Treasures series sees this tasty House cut from 1997 got a timely reworking. And when you listen to the original version it’s all the more impressive that this doesn’t simply copy and paste into 2012 but adds its own distinct flavour to Mike Dunn’s cool spoken vocal. F.E.X remixes with a striking array of toms and beats spelling out funk, while holding back the rewarding soulful keys right until the fifth minute. Next is Melon who adds juicier bass and cowbell to his Chicago inspired reworking which feels more retro than F.E.X but every bit as good.
Love the way this builds your sense of anticipation as it deftly develops the instrumentation into a peak around the half way mark. And then proceeds to do it all over again. It’s a combination of what sounds like reversed Brass and moody chords that feel spellbound and most addictive on Dusty. RICHKLAP on the other hand features delicious, bluesy vocals over heavier rhythms and stabs, and once again is hard to resist. Both the Jackmate and the Viola remixes replay the elements with the later adding Fiddle and big-time breaks to what is certainly a refreshing angle.
This is outstanding work from Vincent Kwok who ends the year on an all-time high with this latest release from Transport. In fact, this easily surpasses the feelings generated with joyous, shimmering synths and a feel good rhythm section that all add up to peak-time business. Plus, with generous hints of melody and constantly evolving keyboard flourishes it’s quite possibly his finest to date. The following It Goes Around version then strips it all down to reinvent the parts on what sounds like classic early nineties styled chords progressions.
Great to see and hear this raft of new producers so obviously inspired by House Music from decades ago, yet firing it up with their own take on the sound. Sometimes imitation is the best form of flattery, although in this case opening number What’s Going On has a very definite 2012/13 twist to it. Driven by head-nodding beats and accompanied by sparse organ chords plus classy vocals this does the job nicely. The title track then ironically sounds much fresher with pulsating basslines and deeper moods, while the remaining Raw Moves and the standout Feel The Vibe rework the formula very effectively indeed.
Perhaps not to surprisingly East End Dubs define a time and place with their emphasis pretty much all on the Dub aspect. Four relatively stripped back grooves go to make up this EP with the pounding title track and much darker Charlie Foxtrot being the most notable. It’s pretty much down to the strength, and quality, of the hard-hitting production that makes these minimal grooves sound so good. Play either at the right moment to ensure a fevered reaction.