|
 |
 |
|
|
||||||||||
|
 |
|
|
|
|
|
|
|
 |
When it comes to House music (or indeed any other genre of dance), i’ve always found there are two distinct types. On the one hand, you have dancefloor targeted material that is overtly crafted to move a crowd. On the other, there’s intricate electronica that favours headphones as the medium with which it conveys its story. This new gem from Luis Junior falls firmly in the latter category. Part Progressive, part Techno, and part Ambient, it’s a beautiful yet melancholy voyage that stirs emotion throughout. It’s certainly the sort of record that will get Sasha & Digweed fans moist, and it’s no surprise that this effort has landed on Digweeds Bedrock label. My choice from the EP is the self-explanatory Third mix, due to the manner with which it retains all of the finer aspects of the production, yet strips things back to a simpler configuration, and (in my humble opinion) results in a track that is less intrusive than its remixed counterparts due to the pensive riff being allowed the space to breathe. Great end-of-mix music. |
|
|
|
|
|
Here at Kai-Zen HQ, we’re not too proud to indulge in a spot of self-appreciation. Zen master Roberto has been busying himself over the past year getting his productions released to the general public via the melodic fish tank that is Beatport. Although only boasting a modest collection of released work (check out EPs on Clubbed-Up and Grinimal), these early efforts relay a burgeoning talent that won’t be far off a release on a major label. Steve Rachmad and Samuel L Sessions have both been integrating some of his newer productions into their sets, and they’re not exactly the sort of authorities who would settle for mediocre beats. Amazon Calling is a forthcoming track, but one that really caught my ear through its clever utilisation of (you guessed it) tribal jungle samples. Much like the above-mentioned Colache, it’s quite a thoughtful number, but where Luis’ tune teeters on the edge of all-out ambience, Roberto’s keeps its feet firmly planted on the dancefloor with a swelling bassline and well-executed percussion. If Deep House or Tribal Techno are your persuasions, then keep your eyes peeled for this, you won’t be disappointed. click here for sample |
|
|
|
|
|
|
 |
It’s no secret that I possess more than a passing interest in Nathans work (as well as the Border Community stable as a whole), so when a new remix of his seminal anthem The Sky Was Pink lands on my lap, I always treat it with a degree of scepticism akin to your favourite film being given a Hollywood remake. Luckily for me however, the instigator of this particular remake is a certain Mr Kalkbrenner, a man who has blown me away with his production consistency of recent years, and one who’s music has never left the record box of James Holden. James’ remix is largely considered to be the best of the bunch (better even than Fake’s original live take), so it’s hard to envisage which direction Paul will take for an update. Shunning modesty like a teenage soapstar at an awards ceremony, Kalkbrenner opts for a full-on techno assault with a thundering lead bass and heavily vocodered vox (clearly Paul felt a touch of eeriness was lacking in the original version). It’s unlikely this remix will see a full release, but if you’ve got a bit of time on your hands, you could do worse than to scope this out, since there are numerous links online which offer it freely. Go forth and spread the noise... |
|
|
|
|
|
|
|
