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White Noise: January 2012

Monday, 30 January 2012

123Mrk – Refined Madness EP

Label: Squelch and Clap


Don’t be fooled by the juvenile cover or title to this release, French up-and-comer 123Mrk has got some very grown-up production chops, although admittedly he lets more than a little of his playful side show on his new EP for Sheffield-based label Squelch and Clap. These three tracks are awash with choppy vocals, sparkling glitchy synthwork and meaty basslines, and offer a hard shot of fun to a Dance scene that seems largely populated mostly by dark, threatening UK tunes.

The EP kicks off with its strongest cut in the form of Untroubled, which introduces itself with a background of hissing synth washes reminiscent of Disclosure, as warm as they are vibrant. An expertly applied chopped vocal line imposes another melodic layer upon the tune before the bass skids dazzlingly to a halt, filtering with a precise instability beneath stuttering synth blips and vocal cries. By midway through the track settles into a choppy groove which is effortlessly enjoyable in its hyperactivity, switching up and rising to a great second drop reminiscent of that in Mount Kimbie’s Mayor, while always keeping a strong dance thrust at the forefront of proceedings. Second cut Weird is another strong production, although unfortunately the powerful impact of hearing these elements for the first time is an experience that can’t be repeated. It’s a harder dance number, with a faster synth-bed tumbling over itself to form a percussive bass, and the same lightning-fast vocal and effect switches accent the tune. The track is also given a double remix treatment on this release, the first a much darker take by Borussia, who pushes the mutating synths to a deeper bass territory, accompanied by twitching synth streaks. Kastle takes the tune in a different direction, bringing the vocals to the front of the mix and dialling down the near-overwhelming pace of the original. This remix is definitely the stronger, introducing a meaty bassline and a fantastic breakdown that results in probably the best dance track on here besides Untroubled.

The third original cut is Thrill, which is essentially more of the same, so good news if you love 123Mrk’s sound, bad if you were looking for some radical variation. It’s a slower track with more attention given to space, the familiar moody vocals now accompanied by only soft synths and the sound of running water in the sparse breakdown. It’s a good track, showing that the producer doesn’t need to cram his tunes full of elements for them to sound good, and the skipping 2step beat is an especially nice touch.  Refined Madness is an undeniably skilful production, but when the magical effect of hearing these sounds for the first time wears off, it’s a little tiresome to see the exact same basic elements used on every track. Still, it’s great to see a new producer with such a distinctive sound in an early release, and there are a few ace tracks here alongside hints at a very promising future for the French producer.


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Friday, 27 January 2012

Various Artists – Post Summer Sampler

Label: Hot Creations


Dance With Me

There is no season except summer to associate with Hot Creations’ smooth, sunny output, which would probably explain the name of this label sampler despite its mid-winter release. Although this small but well-formed collection isn’t going to challenge anyone’s perceptions of Jamie Jones and Lee Foss' label and its sultry beach-party vibes, a couple of tracks here are perfect examples of what makes their sound just so intoxicating and effective.

The set kicks off with its best track in the form of Infinity Ink’s Games. Sun-bleached synth tones and low-key percussion introduce the label’s ever-present killer sound; a huge, bouncing bassline guaranteed to get anyone moving. This is House at an extreme of both softness and depth, with Ali Love’s plaintive lover’s vocals gliding fluidly over its surface sheen. The track marries a washed-out palette with a deep groove and sexy vocal tones to great effect, and the inclusion of a few soulful pop tropes makes it a very addictive number. The other track of the three that really stands out is Bubba’s EP closer Dance With Me; which is a slightly more unusual cut of Deep House in the classic Virgo Four tradition. Here sharp piano samples and double-tracked vocal lines annotate a chunky bassline and whirling, slightly nervous strings employed to fantastic effect. When the bass comes back in with a stomp midway through the track and introduces a clean and bouncy synthline, the listener gets a sense of how much atmosphere and danceability is created with a few warm and well-chosen layers.

Manik’s contribution Body High which sits in between is a little different, and not necessarily better for it. Reverb-drenched vocals overlay a simple bassline and squiggly synth melodies with a clear vintage flavour to the sounds. While it has the makings of a decent tune, compared to the tracks that bookend it Body High doesn’t really stand out, lacking the addictive hooks that the other cuts here have in spades. Essentially on this Sampler we’re given a gauge of just where Hot Creations are at the moment, and while it’s nowhere surprising their brand of sunny laziness is just as inviting and effective as ever, even if you might need to wait until next summer to really feel like you’re getting the most out of it.


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Wednesday, 25 January 2012

Locked Groove – Rooted

Label: Hotflush




Most people’s introduction to Belgian producer Locked Groove, aka Tim Van de Muetter, will have been in the form of his track Drowning, which was one of the standouts of Scuba’s great DJ-Kicks mix from last year. The arresting Techno number was also what got Locked Groove signed to the always on-point Hotflush imprint, and on his debut release it is joined by two deviations into other dance genres, and although there’s nothing here to break any moulds, each track is a perfectly composed addition to Hotflush’s admirable canon. Everyone in the dance world is always on the lookout for new sounds and the next big thing, but when you can re-interpret classic sounds and structures as well as this new producer, there’s not really any reason to look elsewhere.

Stomping centrepiece Drowning is an intense affair purpose-built for peak time dancefloors, layering finely tuned textures before dropping out impressively a minute in, only to return with an extraordinary piston kick, pulling the track clearly into Berghain territory. The 4/4 kick recedes and emerges from focus across the track, complimented by sharp snares and Shed-like synth streaks. It’s an absolutely monstrous tune, and the only real surprise is that it doesn’t dwarf Muetter’s other two offerings on the EP. Next to Drowning, title track Rooted more than holds its own, as a warmer cut paying homage to classic Detroit sounds. Placid and melancholic pads lead a long introduction to a less prominent 4/4 thud, resulting in a tune that presents more of a journey than the central track. Midway through we move into acid territories with a squiggly bassline and vintage synths, and while it’s not a surprising turn of events, it’s put into action perfectly.

Final cut Change is the most unassuming track here, but it also threatens to be the most interesting, offering a clarity and personality more immediately than the other cuts. An unsettled synth-bed soon gives way to a fine techy groove, and the choice vocal sample sounds as much a personal mission statement as it does a crowd-pleasing touch of humanity. It’s impressive how mature these tunes feel for a debut release, and even though Locked Groove hasn’t brought any game-changing styles to the table, this fine collection is more than deserving of repeated spins and a place in any forward-thinking DJ’s set.


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Monday, 23 January 2012

Kowton v Dusk – Kowton v Dusk EP

Label: Keysound


Looking At You

For the latest in a long running series of worthy collaborations between the UK dance hubs of London and Bristol, here Kowton marks his Keysound debut alongside joint label-head Dusk, who steps away from production partner and Rinse co-DJ Blackdown here for his first solo release. Each offers an on-point dissection of the UK’s current dance climate, with notable references to Dubstep, Garage and UK Funky across the course of the release.

Dusk’s cut Fraction shows him gunning full-throttle for menacing 2step vibes, with lightning-fast toms and an unstable bass wobble contrasting perfectly with eerie synth atmospherics. The tune sets up a great sound early on and holds it without any radical variation, but a tension-building synth pattern in the breakdown and the iridescent melody that follows it is more than enough to make this tune a success that could sit perfectly next to the productions of label-mate Sully or Breach. On the remix, Kowton ramps up the tension with a long atmospheric intro and creepy samples of children’s laughter, reinterpreting the tune as slow, skittish House to great effect.

Whichever way you look at it, the real standout here is Kowton’s contribution, Looking At You. Touching on UK Funky vibes and a fantastic Garage-style vocal line cut up and spread across the track. The beats are comprised of tight, skipping clicks and a harsh metallic clank, but what really draws you in here is the soft synths that compose the core of the track, shifting notes with precision and adding the finishing touch to the understated groove. Keysound had a great 2011 with fantastic releases by LV, Sully and Damu to name a few, and if this is a mission statement for 2012 then I’m very excited about what the future holds.


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Friday, 20 January 2012

Machinedrum – SXLND

Label: Lucky Me


Van Vogue


Travis Stewart had a 2011 that anyone would envy. As well as performing a series of brilliant DJ sets with his unique bassy-footwork style, he put out a series of top releases with Braille as Sepalcure, and even managed to squeeze in producing what was unanimously one of last year’s greatest albums, Room(s), which was in White Noise’s top 5 albums of the year. After all this, no one was more excited than me to receive his new EP for on-point Glasgow label Lucky Me, and on the basis of SXLND’s great quality tunes, it’s clear that 2011 wasn’t a fluke for Stewart; he’s here to stay.

Given the utter brilliance of his last LP, it’s not really a surprise that SXLND is great. What is a surprise is just how different these tunes feel, with open space replacing Room(s)’ busy compositions and a straight-cut Dance focus contrasting with the heady tunes on the album. Don’t get me wrong, these are still dense, sophisticated productions, but here the elements never feel in danger of eclipsing each other. The brief, beatless opener Take Good Care could in a way be seen as a bridge between the two styles, with a deeply textured ambient soundfield setting the scene for lost vocal snatches and an all-consuming synth roar. The title track which follows could hardly sound more different. SXLND (which forms the backing track for Azealia Banks’ latest single) fields a crystal-clear melodic vocal line that worms its way into your brain within seconds, twinned with sharp, gratifying kicks. Although he still uses Kimbie-esque tiny samples to populate his sound, the song sets the clear and airy tone for the whole EP, where every sound is given space to breathe and be enjoyed to its full extent. But always a restless producer, Stewart doesn’t just leave it there for the excellent title track, with its bitty groove breaking down as the vocal line is dramatically distended over atmospheric beats to great effect.

It’s a very strong start, and not for a second does the quality let up across the rest of the release. No Respect builds slowly to a lilting stomper, with the introduction of a deep bass growl grounding a staccato synth crash overlain with percussive footwork clicks and iridescent synthwork. It’s the busiest track here, but none the worse for it. Stewart cannily keeps the two standout tunes for the end here, starting with penultimate track Van Vogue which has been floating around in mixes since the summer. It begins as a sparse affair with flitting synths and quick vocal snatches; a one-word sample, a dog barking and what sounds like a whistle. Before long the synths come in louder, each clipped vocal punctuating the sound at the perfect time, before the track drops into a deep rattling sub-bass and a more extended vocal line, twinned with those same synths to create absolute perfection. Final cut DDD also sounds quite familiar from earlier in the year, with a simple synth progression ruling over snipped vocals and sharp beats. It’s the best example (along with the title track) of how much space Stewart’s allowing these new compositions, and it shows how, when their elements are stripped down and laid bare, he still sounds absolutely fantastic.

SXLND marks a real landmark for Stewart, because it’s often forgotten that however difficult it is to create a sublime album, it’s also pretty challenging to follow that up: to retain a high quality, a sense of your own unique sound, and conflictingly show that you’re looking in new directions for new sounds. Here each of these boxes is more than ticked, and I’d recommend SXLND to anyone from the most detail-focused home listeners to the DJs who will get a great set of dance tunes that’ll fit perfectly into more mixes than you can shake a stick at.

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Wednesday, 18 January 2012

Cuthead – Brother

Label: Uncanny Valley



Seram Lembah

I hadn’t heard of German producer Cuthead, aka Robert Arnold, until this release, but with this great collection of five tracks ranging from House to Hip Hop he’s placed himself firmly on my radar. The Brother EP is an admirably varied collection, with a very consistent high quality throughout, and it’s all tied together by a lo-fi analogue sound with Cuthead combining vintage synths and a keen eye for beats to great effect again and again.
The EP divides fairly easily into three dance tracks and two Hip Hop pieces, but each tune is of a high enough standard to deserve repeated listens. First cut Vibratin’  is a low-key introduction to these dance numbers, with a spoken-word vocal intoning musico-cosmic jargon to pleasing effect. Musically the song layers fantastically textured percussive tracks over a deep analogue hum, and it’d be enough to make you fall in love even before the 303 adds some gorgeous acid flavours to the mix. Title track Brother is a heavier assault on the senses, with strong beats introducing a moody vocal line slowly phased into existence throughout the first minute and a half. Before you know it the track is in full glorious swing, with dreamy pads and a deep bassline lending the tune a distinctly funky touch. Towards the end a muted synthline spirals disconcertingly downward, dragging the song underwater before it comes back out grooving. It’s a great dance tune with a unique flavour to it, and the only real competition for its dancefloor prowess is third cut Transgressions. Here sharp finger clicks replace claps and a throaty bass bounce heralds the entrance of woozy pitchbent synths that lie dormant until midway through the track, all coming together in an immersive and moody dance piece.

After this point the Hip Hop inflections of the previous three tracks come fully to the fore, with Seram Lembah a full-on assault of instrumental Hip Hop; sharp beats and an enormous bassline that follows the beats at a slight remove, all overlain with a sublime East Asian vocal line. While this track is a little reminiscent of Onra (but better), final cut Heartless brings to mind the East Coast beat stylings of Teebs, with a Three Dog Night’s sample emoting over dreamy percussive textures and a feel-good bassline guaranteed to get your head bobbing. While perhaps a little unassuming at first, each of these five tunes is perfectly crafted and deeply atmospheric, showcasing a producer with not just a unique sound to call his own, but also a real ability to dramatically vary his style across a single EP.


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Monday, 16 January 2012

Boddika & Joy Orbison – Swims

Label: Swamp81


If you haven’t already heard Boddika and Joy Orbison’s 2011 anthem Swims by now, you probably must have been making a conscious effort to avoid it. This massive tune blew up over the summer, and it’s still as satisfying and vaguely ridiculous as it was when you first heard it. Sparse percussive sequences follow one after the other under a jittery acid bassline, introducing the vocal you all know already – Walk for me, walk for me, walk for me, SERVE, walk for me etcetera. The vocal is sampled from Tronco Traxx’s Walk For Me, as are a few percussive elements, but Boddika’s distinct acid touches and the impressive breakdown featuring a perfectly incongruous cowbell ensure the comparisons stop there. On the B-side is an Alternative Mix which is largely unchanged save for a more melodic bent with big swooping chords arriving in after the breakdown, the most recognisable Joy O touch on the whole release. The only real problem here is that Swamp81 have taken so long to release it that there’s the potential for it to sound a tad dated, but the irresistible fun of this anthemic tune erases such worries as soon as you start playing it again.


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Friday, 13 January 2012

Maya Jane Coles – Don’t Put Me In Your Box

Label: Hypercolour

Parallel Worlds

Something In The Air

Cutting It Fine

Since bursting onto the scene in 2010, Maya Jane Coles quickly dismissed the novelty of a genuinely talented female producer with a slew of great EPs on a range of labels, showcasing a real range within her distinct style; from stellar anthems like What They Say to the slow-mo sensuality of Senseless. She’s carved out a highly individual sound, frequently using clipped synth melodies and moody vocal samples to deadly effect. If I have any criticism of Coles’ sound, it’s that it can occasionally feel weightless in its smoothness and precision, with not an ounce of grit or darkness in her sleek productions. This EP won’t change my mind, because despite the defensive title it is business as usual for Coles, but yet again the sheer quality of these tunes wins you over, sucking you into their sultry grooves over repeated spins until they defiantly won’t leave your head.

The EP divides fairly easily into straight-cut dance numbers and slightly more deviant experiments, but all four of these tracks are pulled off with her trademark polished finesse. Standout opener Parallel Worlds is an explosive start to the set, with a three-chord bassline and tight percussion creating a strong groove from the off. Murky dancefloor vibes abound as it builds to an irresistable heads-down stomper with all the confidence and nuance that made Coles’ name. The EP is bookended with the other straight dance cut in the form of Cutting It Fine, which is an exquisite piece of moody Tech-House marrying sophisticated percussive patterns with a melodic vocal wail that shifts notes to brilliant effect. This is all before those hard, untreated synths dominate a lucid breakdown before being incorporated seamlessly into the main track.

Having used both ends of the EP to yet again prove her dance chops, Coles uses the central two cuts to experiment a little, and the first example, Something In The Air, is a rousing success. The subdued and sexy cut uses soft twinkling synths and low-key percussion to simmer up a dangerous sensuality, topped off by the clear vocal line and moans half-drowned in the mix. Third cut Dub Child is a stab at the difficult world of Dub Techno,  with percussive and melodic lines layered slowly to create a nice tune that still feels a little insubstantial compared to its more overtly impressive preceding tracks.

Coles’ sounds creep under your skin until the grooves feel like they’re running through your veins, and her subtle use of complex melodic combinations is incredibly impressive, but I still can’t help but feel a little weight or an unpolished edge would really help ground her tunes. Disregarding my personal take on her sound, this is another example of Maya Jane Coles at her very best, creating note-perfect tunes purpose built for moody dancefloors. She continues to prove herself an exciting and varied producer, and the outlook looks very promising for her debut LP out later this year.


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Wednesday, 11 January 2012

XI – Immunity / Squeeze

Label: Orca



Canadian producer XI’s recent move to Berlin shouldn’t really come as a surprise to anyone because it’s where all the cool kids are heading at the moment, but his latest release on Orca (who’ve been a label to watch since they released XXXY’s massive Open Your Eyes last summer) not only takes in German but also UK influences in these two sparse and atmospheric tracks. They’re both very tasty slices of fractured Garage incorporating clipped samples and a muted but effective palette, and signal another stellar release for the label.

Both tunes here present a dramatic shift towards the minimal and reduced compared to his previous bright and busy Gamma Rain release for Orca. A-side Immunity is a slow cut of brooding 2step, with sharp beats and a massive low-end bass throb, taking in detailed percussive samples and great details throughout. What’s most impressive is that XI creates a strong groove even while no single effect is allowed to continue unmanipulated; vocals, synths and beats are crisp and expertly applied but even wider atmospheric noises such as the fuzzy ambient wash that enters midway through the track are subjected to a stop-start motion and tonal changes, always keeping the listener on their feet. He does so much with so few carefully chosen elements, and it results in a powerful track in line with both the dark UK garage of Sully and the deeply atmospheric slow-mo DnB of Synkro.

Not content to leave it there, the B-side Squeeze is almost more impressive, taking the same reduced elements to an extreme and upping the tempo. This time a main vocal line is introduced, but when the violently clipped sample is introduced it’s anything but expected; sounding more like a flat death rattle than the soulful lines used by a lot of the dance producers releasing today. All humanity seems to be sucked from the voice, turning it into a semi-mechanical texture that shifts notes in line with the staccato drum pattern to fantastic effect. As with the first track, layers are continually added and removed, with a surprisingly bright synth melody entering the fray as well as a skipping snare. All the effects used here are carefully tailored to keep the sounds unstable and menacing, somehow establishing a solid danceability while giving the listener almost nothing to hold onto. Definitely a great release, with both sides deserving a lot of playtime both on and off the dancefloor, and announcing XI now more than ever as one to watch.


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Monday, 9 January 2012

EQD – Equalized #111




I recently had the chance to see Berlin-based producer Shed, who has released this collection under his EQD moniker, perform a live DJ set here in Paris. He followed the unique and technically astounding future-footwork of Machinedrum, whose contrasting melodies and lightning-fast percussive changes sounded almost unstable in their intensity, but his set couldn’t have been more different. Shed, aka Rene Pawlowitz, flicked a single switch and an enormous 4/4 kick filled the room, and then remained stationary for a few long moments. Gradually people started to feel the groove, their dancing taking on a curiously introverted quality. After a hypnotic minute or so, Shed made a single movement and a crisp snare entered the field, perfectly on time. I’m not sure I’ve ever seen a crowd go so wild with whooping and applause. For the first time I felt the raw power of Techno, of a huge crowd entering as one into a single groove, and devoting their minds and bodies so completely to the sound that the tiniest addition causes a seismic shift in the experience. It is the same power that characterises Minimal and Deep House, where you lose yourself utterly and dance just as much with your mind as with your body.

It was after this enlightening experience that I picked up this LP, a retrospective collection of the best of Shed’s 12” releases as EQD. I’d heard a few of them over the last year as singles and occasionally dropped in the sets of my favourite DJs, but with new ears I approached these precise and hard-bodied compositions, imagining them booming out in a vast dancefloor where the crowd moved as one to these mechanical noises. I think ‘mechanical’ is a key word here as the uniform nature of how these sounds are selected and introduced makes one feel a part of something too precise and perfect to be entirely human, added to the obvious fact that the noises themselves sound like the inner workings of countless dark, hulking machines. Here we are offered ten fantastic examples of how Techno and its deviant forms sound at their best, and a great insight into the rapidly rising star of Berlin’s murky dance scene.

Of course, all this music and dance theory would be for nothing if the tracks themselves weren’t up to scratch, but thankfully this is far from the case. These tunes are not only composed with exquisite timing and fantastic effects that make you itch for the dancefloor, but they are also chock full of rewarding micro-edits and clever details that show a true master at the height of his game. I’ve seen more than one DJ say in interview that they don’t go anywhere without at least one Shed (/Wax / EQD) track in their bag, and it’s easy to see why. Take for example the dusty groove of 06, which like all the other tracks here offers a long DJ-friendly build-up, before introducing a muted skipping synth-line which twins with the crackling ambient effect to superb effect. It’s a great sound that Shed rightly allows to take centre stage, but just at the four-minute mark threatens to emerge more brightly from the ether, before swiftly receding to its previous position. It’s a minute detail, but when each track contains so few elements every detail is immediately noticeable and intensely satisfying.

The tunes here follow a formula, but this won’t be a surprise or a criticism for any Techno fans. Generally after a long build with a complex but unchanging percussive loop and a deep analogue hiss, Shed slowly incorporates one of his seemingly infinite amount of fantastic effects, all treated with the same harsh mechanical tweaking to lend the sound a strong coherence. At some point in the track he introduces a show-stopping sound; the woozy elastic synths of 01, the fantastic knife-sharp melodic line in 05, or the tumbling hard-nosed percussion of 04 combined perfectly with its squiggly synth-line. These centrepiece sounds aren’t always at the forefront of the track, for example on 08 the most impressive layer is the rapidly changing synth tones that lend the track a nerve-tweaking instability. The appeal of this winning formula is clear; it builds a heady anticipation where the build-up is of a very high quality in itself, before delivering just what the listener wants: something special to hold onto while they dance. But even after discovering the technique, Shed doesn’t universally apply it;  02 has a muted synth sequence duelling a serrated mechanical effect throughout its runtime to stellar effect, while on 10 rushing filtered synths overpower proceedings to create a phenomenal intensity.

For a casual home listener this is a formidable collection of Techno stompers, but that would be to ignore what this release is; a retrospective collating some of the very best dance tunes from one of the genre’s top producers. Every track on this album is confident and strong, and more than anything purpose-built for the dancefloor. I can’t imagine any LP more deserving to be in the collection of today’s Techno DJs.


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Friday, 6 January 2012

George Fitzgerald – Shackled EP


Feel Like

Over the last year, George Fitzgerald has more than made a name for himself trading in soulful Garage and Bass tunes, releasing stellar singles for Hotflush and Aus amongst other esteemed labels. More than anything, he has shown himself to be consistent, with every release and remix bringing another slice of RnB-tinged excellence to the table. On the other hand, his output has been a touch one-note up until now, not always sounding identical but regularly mining the same emotional and technical territories. Does his latest single sound any different? And does it matter anyway when the productions are so consistently fantastic?

The title track makes this a difficult question to answer, because while it sounds exactly like a George Fitzgerald track, it also represents to me the greatest track the producer has ever put out. Expertly assembled, crisp snares and an atmospheric pitchbent synth loop rise to prominence with a fantastic clipped vocal sample, showcasing Fitzgerald’s comfort and mastery over the genre by the sheer quality of the build-up. After anticipation reaches fever pitch, all these sounds drop away to a single-note synth tone and rattling sub-bass, and by the time it all comes together and the second drop comes closer you’ll already be in love. The track feels more culmination than iteration; a producer who knows exactly what he’s doing making note-perfect dance music.

The B-side gratifyingly shows Fitzgerald moving away from familiar territory, but does so to varying degrees of success. Feel Like mines classic House sounds; a sharp organ melody, an emotive vocal sample and crisp kicks and snares, but it manages to keep the formula interesting. Fitzgerald’s great knack for timing partly plays into this, with the tune building flawlessly from the second breakdown, but the tune also works in the respect that it never quite takes off, building up tension and then offering a rest rather than an explosion, a great technique that feels slightly neglected in today’s dance climate. Final track Friends In High Places slows it down all the way, with lush accumulative pads building in Techno fashion over a sophisticated drum pattern and hushed vocals and clicks. It’s a pleasant enough tune, but is nowhere near as distinctive as its sibling tracks; feeling a tad unnecessary rather than overtly disappointing.

I can’t imagine anyone disputing that Fitzgerald is a master of his own corner of the dance world, and the first two tracks here will  without a doubt set pulses racing on the dancefloor. It’s gratifying to hear him extend his reach to other styles, and Feel Like is a clear success, but I’m going to wait for his next release before deciding whether he’s a brilliant and varied producer or just really great at what he does.


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Wednesday, 4 January 2012

December Roundup

The dance world slows down a great deal in December, but that’s not to say that nothing of any value came out last month. So while I prepare White Noise to get up and running in the new year have a listen to some of the best dance releases from last month. Enjoy!

Infinity Ink – Games
George Fitzgerald – Shackled
Seiji – Frustratin
Linkwood – Secret Value
Maceo Plex – Under the Sheets
Throwing Snow – Pyre
Boddika – Up and Dance
Gavin Herlihy – Endless Feeling

Look out for reviews of some of these EPs coming over the next week.

PS #1 – Get that Boddika track for free here.
PS #2 – I know that George Fitzgerald track came out late November but better late than never eh?

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