What begins as a seemingly simple arrangement of drums and pulsating bass quickly establishes itself into something altogether more intriguing via the addition of dark undulating chords which lend this an addictive edge. That and the occasional touch of vocal alongside some sassy use of percussive elements fully demand your attention. Remixes come from the tougher Tribal beats of Moliner and the cool shuffling funkiness of Danzoo Shem completing another good release from this exciting Madrid based label.
Sharing the same name as the Debussy classic but bearing little resemblance this rework from The Molly Guys does however still sound captivating and excellent, floating yet strident. Driven by unrelenting beats and capped by some particularly striking synth notes this also joins the words brooding and commanding together too. Expanding over the course of ten minutes this is underpinned by a commanding repetitive atmosphere that carries your attention right up until the very last moment.
Paul Hardy & McKai
Baker Street Recordings
It’s all about the bassline here. Not squelchy and warped but hard-hitting with a twist of faint melody. Accompanied by razor sharp beats this, put simply, plants a smile on your face. Released just ahead of their full EP for Baker Street Go Deep can only be the promise of yet more good times ahead.
This is excellent. Carlos Marí Pérez a.k.a. The Natural has three brand new three tracks for Bulgaria’s Cloning Sound which kicks off with the Balearic infused guitar of the EP’s first rate title track. But it’s not just Flamenco flourishes for sure as the guitar is played alongside a sequence of very heavy-duty rhythms that are inescapably breathtaking. Simple, direct and ideal. Red Light District comes next with continuing pounding beats and deep bass this time accompanied by seductive Organ, fiery percussion and atmospheric voices. Constitution, then completes on a more Tech tip though never loses sight of soul and feeling.
Azari & III
‘Azari & III’
Loose Lips Records
If anyone tries to tell you that ‘Things aren’t as good as they used to be’ they obviously haven’t had the positive pleasure of experiencing Azari & III. As an attitude to dullness the album plays like a dream touching on all points from the more Soulful to the blatantly Techno inspired, this selection of music relishes the extremes. While current single, Restless (With Your Love) and with previous ones are included the air of familiarity is offset by the albums now U.K release. Tracks such as the acid infused Tunnel Vision and the mechanically charged Indigo simmer with tension as the production values are never less than dazzling throughout – although not always pretty such as on the deliciously sinister, Manhooker. Sweet dreams are made of this. 10
Tony Lionni returns the serve with this typically striking production which sees him trace the lines between Techno and House and then blur them. Higher Ground loops a vocal snippet, works it to death over splashing hats and insistent organ with sumptuously deep synth acting as the pay-off – an inspired touch of Jazz. Moomin provides an excellent remix with funky rhythms blending together with a selection of treated instruments. And, if that isn’t enough then the final the e.p’s finale certainly will be. Forever Is A Long Time… begins with Disco drums and ends up reliving a series of classic Deep House moments with exquisite piano and swirling pads: Spine-tingling. 9
Murray Richardson ‘Memory Loss’ Baker Street Recordings
The story of House continues with this excellent bass driven production from Murray Richardson. Many of you will be overtly familiar with Baker Street by now but if not then title track Memory Loss is the reason to get acquainted. Bass lines like this are hard to beat and coupled with rattling hats and Detroit stabs this invigorating groove pushes all the right buttons at Magazine Sixty. The curious Sometime Sweet Susan continues by adding up various old-school elements and sounding vital. Remixes of Memory, are from the first-rate Paul Hardy & McKai who not surprisingly retain the B line but spice up the drums and top end to compliment the original, and a hypnotic Gareth Whitehead whose sub is suitably s**t hot! 8
Memoria Recordings’ own Lilith plays with numbers on this hard-hitting and deeply involving E.P. Opening track 22, produced along with Timothy Watt, sets hissing 909 hats against moody stabs, weird voices and funky tech rhythms and does nothing if not leave an indelible impression on your mind. Freak You does as the title suggests with menacing sounds and techno attitude. 44 follows the progression with deeper tones and stylish snares, while Circoloco’s Andrew Grant explores yet more tense atmospheres and drum textures on his excellent remix. The Filsonik remix of Freak You rounds off in jackin’ Chicago mode teasing you with its bassline and shuffling percussion. 8
If you like music that challenges your imagination then Mexico City’s Signal Deluxe are most definitely for you. The led track is somewhat epic clocking in at nearly eleven and a half minutes, but don’t let that bother you at this develops a sequence of completely intriguing sounds and vocal treatments all at its own pace – feeling almost ambient at times but with a deadly serious undercurrent too. Or to put that into other words, it’s a stunning piece of electronic music. But then so is the Derek Marin Remix who twists nasty stabs together with trippy vocals and slower beats. The Craft Remix lifts the tempo techno time for its unrelenting version, while the Deepak Sharma & Dieter Krause Remix stretches everything out into sonic extremes and might be something you would like to experience in a dark room (though perhaps not alone!) Again you could use the word exceptional. 9
Sandy Barber ‘The Best Is Yet To Come’ BBE Records
Sandra Barber was the lead vocalist on Rare Pleasure’s classic ‘Let me Down Easy’ after which she branched out with producer Clyde Otis as a solo artist to release her debut album in 1977. It’s all too easy to review The Best Is Yet To come because you are immediately enveloped in soaring emotive melodies the way only Soul music seems to truly do. The album contains its fair share of down tempo ballads such as the gorgeous I’ll Belong To You/ Yea Baby but also mid-tempo Disco shuffles and even hot boogie action too. Try, I Think I Think I’ll Do Some Stepping (On My Own) which comes with excellent reworkings from John Morales and Al Kent as well as the somewhat suggestive I’ve Got something Good (Come And Get It) for size. You won’t be dissatisfied. 8
The second in this series highlighting the labels’ prowess sees Glaswegian Dominic Martin select fourteen tracks to mix. You’d be surprised if I didn’t reassure you the music contains the key word, Deep although rarely do the energy levels dip below that required to party. The album contains a handful of new productions along with a couple of notable remixes from Giom, Milton Jackson and Johnny Fiasco who all deliver typically punchy selections. What the tracks do have in likeness is a common bond in the use of funky stabs, warm pads and always crisp beats. Also well worth noting are the smoky down-tempo numbers: New Context and the tastefully Jazzy ‘Last Exit’ which serve to break up the beats and the mix in an extra layer of intrigue. 8