U, Trikk & Erosion Flow - ManMakeMusic Edits Volume 1

 Label: ManMakeMusic

After a thunderous 2012 and a relatively quiet 2013, George Fitzgerald’s ManMakeMusic imprint is gearing back into action with a fresh series of edits. For this white label collection of bootlegs, two of the label’s stars and one fresh name take the reins of a trio of classic tunes, aiming for the party jugular in a variety of styles. The first flavour is the most authentic, as resident weirdo U (who you may remember from his strangely seductive debut EP) turns in a rough and ready rework of Dancemania classic House Nation. Rather than modernising (read: sanitising  the track, U’s rework focuses on looping the distorted percussive patterns, as razor-snares and sunken kicks are retextured with the appropriate grit and heft. Given the recent love for lofi house jams, U’s effort comes off as the most timely, and bodes well for his forthcoming sophomore EP for the label.

The second  classic to receive a rework is Crystal Waters’ Gypsy Woman, which MMM alumnus Trikk takes ‘back to the traxx’ on a beefy big-room number. It may be polished but the effort feels ultimately lacklustre: the Portugese producer heaps a big bassline over a powerful 4/4, but aside from the recognisable vocals and organ line this is identikit deep house. The surprise turn of the package comes from newcomer Erosion Flow, who spins Next’s RnB classic Too Close into a slinky bass burner. Still, it is hard to forget that this transformation of RnB into bassy house has been done before, and better, by the likes of Joy Orbison, Palace and Jacques Greene. Still, it remains a competent rework, as neon pads wash over skittering percussive tics and that timeless acappela. ManMakeMusic’s volume of edits is clearly aimed at the party crowd, but these bootlegs don't wholly convince: too close to the originals to be considered worthwhile re-interpretations, they feel like unnecessary updates for a trio of tracks which can still work their magic just fine. 

5/10

Laszlo Dancehall – Gave Up

Label: ManMakeMusic

Following the success of his superb Gold Language 12” on ManMakeMusic, Leon Vynehall makes a welcome return to George Fitzgerald’s tasteful imprint alongside collaborator A1 Bassline under the guise of Laszlo Dancehall. For their debut, the pair offer a set of crunchy house burners perfectly attuned to 2013’s lofi house trend. The title track is the winner here, as a colourful synth melody leaps ecstatically over a chugging kick-clap combo. It’s no wonder this number has turned up in a lot of DJ’s crates over the last few months; the clipped loops make for a restrained euphoria, never overstated, delighting in repetition alongside the delicate touches of clipped vocals and subtle filter play.

Second cut Ain’t No Time digs deeper, with an insistent whirring taking the place of melody, strung over propulsive claps and hi-hats. While it lacks the breathless hook of Gave Up, this track's propulsive energy would prove irresistible for the 4am crowd. Unfortunately final track Manley Harrison comes somewhat undone by its 8-minute runtime. The slo-mo percussion and low-key vocals make for a subtle ride that ultimately isn’t quite substantial enough to justify the track’s length. Yet still listeners are unlikely to feel let down by another on-point release from ManMakeMusic, and the joyous title track should be worth the asking price alone.

7/10

Natan H & Amy Jean – For Her

Label: ManMakeMusic

George Fitzgerald’s impeccably curated ManMakeMusic has, over the course of its 5 releases to date, acquired a special place in our hearts not just for great music, but also for an eerie knack for spotting new talent. Apart from the labelhead’s debut release, each slab of wax to date has been by a fresh face, and the choice has ranged from Trikk’s excellent techno hybrids to Leon Vynehall’s dusty house concoctions to the mysterious and experimental debut release from U. The one thing these varied releases had in common was their superb quality, so when we heard that MMM was putting out another debut, we were more than a little excited.

For Her / I Know / Rush

EP Clips

The label hasn’t disappointed, turning out a patient and nuanced set of deep house burners from the relatively-unknown pair. Title track For Her sets the stage nicely; a solid groove underpins bright, airy synthwork and an impressively textured percussive range. The opener’s half-heard vocal snips come to the fore in second tune For Her, where a locked melodic loop not miles away from The Field compliments subtle vocal manipulations and another steady 4/4. Closer Rush features New Zealand's Amy Jean, and just about lives up to its name, upping the energy levels with an addictive bassline and a spacious layout of synths and vocal cuts. For Her isn’t chock full of dancefloor killers, but instead MMM again sidesteps the club market and offers something interesting, a polished selection of immaculately produced burners that offer a pleasant sense of space alongside the irresistible grooves.

7/10

U – MMAKEU01

 Label: ManMakeMusic

After only a few month’s wait, the latest release from George Fitzgerald’s on-point label is a vinyl-only 10’ from newcomer U. George Fitzgerald's ManMakeMusic label is rapidly acquiring a reputation not only for quality releases, but also for scouting out fresh talent; issuing hot releases this year from up-and-comers  Leon Vynehall and Trikk. Here the on-point label continues to source new productions with U, whose debut marks the label’s first step away from the dancefloor. He assembles an interesting collection of genre-defying tunes that reflect not just dance music but the twisted memory of it, evoking nostalgia-tinted deconstructions that slip between the gaps of house, ambient and sample-crazed electronica, each drenched in heavy atmospherics and ethereal, lofi vibes.

Eah

On the A-side, main track Eah lurches into a powerful groove with stripped beats and dusty tape hiss. The pitchbent vocal takes the tune underwater before it rises back out with filtered synths and sharp snares; a warped house cut that eschews current trends to create an atmospheric cross-section of the groove. Evil Spirits has a more mournful tone, with twinkling pads setting off low-key percussive touches to moody effect.

Haunted is another strong cut that leads the B-side, setting a Boyz II Men sample against ghostly effects and a shuffling 4/4, while final tune Heaven is the most optimistic of the lot, with an upbeat melody contrasted with a sharp bass buzz that creates an uneasy tension. Unfortunately the track lengths prove a little irritating over repeated plays, despite the individual sound all of the tracks apart from the opener come off as a little sketchy.  Still, the unique and exciting voice of U shines through in all of these tracks, offering something different from the mainstream while still somehow commenting on it all, a rare and promising approach.

7/10

Leon Vynehall – Gold Language / Don’t Know Why

Label: ManMakeMusic

There have been a remarkable number of young producers entering the house game over the last couple of years, but with his sophomore release on George Fitzgerald’s ManMakeMusic imprint, Brighton-based Leon Vynehall is starting to pull further ahead of the pack. His debut EP, Mauve, on Well Rounded, was a likeable but somewhat predictable collection of house tracks referencing vintage sounds with acid sweeps and deep chords, but in final track Picture Frame there was a hint of something different and more interesting in the retro-fetishism. Relaxed vibes and a strong groove produced an intensely likeable and catchy tune, and here Vynehall has stepped his production up a notch, resulting in an utterly infectious and current take on the UK house scene.

 

EP Clips

These tracks are darker, dustier, and more unpredictable than those on Vynehall’s debut EP, and the A-side is the stunned here. Gold Language combines an unusual selection of melodic elements but pulls them off with unexpected style and class. Textured percussive clicks and twitches underlie mournful yet jazzy keys, before a venomous bass growl introduces the track-proper; a rich and tech-y field of different percussive effects that work together in a perfect, shuffling harmony. Add those deep chords and the back-and-forth synth sweeps that occupy the second half of the track and you’re left with a different and memorable tune that would fit snugly in all manner of DJ mixes and styles. Gang Colours takes a typically melodic, sensual approach to the remix; offering a new take richly textured with dusty piano melodies and woodblock percussion. It’s dreamy and effective, but unlikely to get too much playtime when compared to the ace original mix.

B-side Don’t Know Why is a straighter affair, with a pitched-down vocal taking centre stage over aching Rhodes chords and a bouncing bassline. Yet again it’s the details here which surprise and impress: the eerie whistling effect making an appearance just before the 2-minute mark, the subtle additions to the shifting drum patterns or the decayed sirens that clear out the soundfield. These nuanced additions result in an intriguing listen which, while not quite as necessary as the A-side, still proves a welcome addition. For anyone looking to put their finger directly on the pulse of the intersection between the current UK bass and house scenes, look no further than Leon Vynehall’s stellar second outing, an infectious pair of tunes that retain a rare class and style.

8/10

Trikk – Jointly / I Fall Down

Label: ManMakeMusic

George Fitzgerald’s ManMakeMusic is still just getting on its feet, but with this newest release, a debut from Portugese import Bruno Deodato, the label proves itself a real force to be reckoned with. Although you may not associate the darker fringes of Bass and Techno with Southern Europe, Trikk shows a lineage grounded in the last ten years of underground dance music, and these two tight tracks show off that heritage with style.

Jointly

Even though this is his debut, Trikk rapidly establishes a clear voice through his spare style, opening out A-side Jointly with a ferocious kick drum and skeletal clicks. The track would clearly be monstrous on the dancefloor, with a deep bassline paving the way for cut-up Garage vocals and searing old-school synths that are sequenced over the latter half of the track. These synths are particularly note-worthy, constantly shifting the track’s focus while taking nothing from its powerful groove.

I Fall Down

On the flipside I Fall Down is a more unusual 4-am cut, introducing itself with sampled applause and a full run-through of the vocal line that haunts the seasick synths underpinning the tune. Tight drum programming adds to the punch but it’s the details here that really count; a far-off sax cry, perfectly syncopated claps in the track’s second half, and that ungodly heart-in-mouth moment around the two-minute mark where the whole track drops out for four bars, springing back to life after a lethal bass stab. Although Trikk doesn’t tread any radically new ground on this release, his production chops are clearly strong, demonstrating an impressive grasp of space and timing, and his particular fusion of Techno, House and Bass music definitely cements him, along with the nascent label, as ones to watch this year.

8/10
Check out this review in its original form on Inverted Audio.