Chris Mitchell is back on Anunnaki Cartel with a three track 12″ that features strong drum programming with a dystopian feel. Mitchell is pushing the worried and anxious sound, apparently he thinks house and techno is not always roses and peaches. The Remnants EP features three tunes with the mechanical feelings of cyborgs running around in industrial areas creating dance music.
Remnants///Panning arp lines, boxy percussion, with long bass notes that double as a melody begin this 12″. Later the beats become chunky as the toms strike and shimmering sustained crashes appear. The tune remain crunchy until its conclusion as the dystopian feeling is prevalent.
Opinions Are Prisons///A full palette of sounds begins the B side of the wax. A voice in the background states something that is not recognizable. An arp line is the main focus with long bass notes serving as a complimentary line. The voice modulates as the percussion moves along. A melody line comes in to add depth. The elements continue to change as the vocals ring out until the end.
Succubi///A sub kick begins the end as a voice and synth slowly gain steam and volume. The pulsating kick leads us into percussion which is a change from the first two tracks. The vocal moves around as two synth lines play off each other with slow modulations. A melody line appears to cause an emotive feel as all the elements progress to their peak. The synth lines become a bit more fuzzier as a filter also becomes audible which leads a listener right to the break.
New Dutch label called Another Earth is debuting now with a split EP as its first release. Esther Duijn is the label owner and she is also featured on the B side of this release, teamed up with her partner Steady Douglas. The A side features techno head Myles Sergé. This music here is leaning toward that techno sound with house sensibilities. Here is the prose from the label:
There is a new label under the horizon and it’s first imprint is all about warm heavy Detroit influenced deep techno. Another Earth combines 2 acts together in a Split EP series who compliment each others sound. The A-side hosts the renowned US based producer, Myles Sergé (MS – RE(FORM) ), who, for these 2 tracks, let his machines run crazy beat patterns in a old school Detroit techno vibe. The B-side features Dutch based duo Duijn & Douglas (Esther Duijn & Steady Douglas). Their stripped warm heavy padded deep techno influenced tracks are perfect for creating some heat on the dance floor and the B2, Stray, is driven by Berenice van Leer’s lush intense voice.
Myles Sergé – The Art of Shadow Thoughts///Ambient sounds begin as percussion strikes, creating a very eerie effect. The percussion slowly builds establishing the groove, first the hats, then the rides, and finally the toms ring out. Later a chord progression appears that is supported by the eerie pad that began the track. The elements move around until the conclusion.
Myles Sergé – Lunokhod 1///A straight beater as the tune has a heavy kick and severely syncopated rhythm. The percussion builds and builds as track moves forward gaining momentum all the while. Definitely one for the peak time hours as the rides picks up the tempo even further. Then machine sounds appear sounding like a factory robot that does the same job over and over that adds flavor to track. Some proper techno right here.
Duijn&Douglas – Bizar///The B side begins with a smoldering sound of pumping kicks, bass, and a chord stab. This tune is more on the dub techno tip. Subtly the chords and the hihats grow in volume. The percussion growing every so gently just to lead us to the main theme. The chords and percussion are modulating in harmony as the track grooves. The pulsating chords get fuzzier with each new go around of the theme until the closure.
Duijn&Douglas feat. Berenice – Stray///Tuned percussion end this 12” with its banging kick and droning voice of Berenice. A beautiful melody comes in as Berenice begins to sing, a few moments later a house bassline appears to give it that warm feel. All the elements then come together and groove. The interplay between the elements move fluidly as the track maintains a bouncy feel until the culmination.
Tyree Cooper career has span four decades releasing music which is illustrated by his discography. Tyree is still active and has just released Da Soul Revival Classics Vol.2. This two track 12” brings Tyree back to some of his earlier roots with acid house and an homage to a fallen homie Kool Rock Steady, whom Cooper recorded with in his early years. Quite simply a house sound from one of the earliest architects of the genre. Warehouse to loft, club to festival, stoops to bedrooms; these tunes will work for all occasions if you looking for the house sound with contemporary adjustments.
Let It Go featuring Blake Baxter///Blake Baxter is on vocal doing saying, “Free your mind from all pressures.” begins this journey as the acid builds, the groove is established and a mixture of vocals is continuously sprinkled over the top. The acid synth continues to modulate so slightly as percussion elements change. Later, fuzzy chord stabs add more texture and a extra groove making for a quick tease, just to lead back to the acid line.
New Dub featuring Kool Rock Steady///Bright drums began, as Kool Rock introduces Tyree then the chords and melody come in followed by the bassline. The arrangement moves around as each of the synth parts have a time to shine. The happy tones is really uplifting and the track rocks a house feel of yesteryear.
Red Eye Records
Synapsis-015 comes to you from a deep house soldier from Limerick, Ireland. Frawl drops 3 tunes that are slow, deep, and burn like a nicely rolled blunt. The tunes will appeal to the beatdown heads who get into the momentous track flow and maximum sound design. There are plenty of delays, echoes, and reverbs here with subtle arrangement techniques in his release called Randy Spirit EP.
Smash Take///The vinyl begins with some slowed down sounds that lead into a chord progression and pitched down vocals. The house feeling is deep in this one as the kick drops out and the tune begins to gain energy with a crash symbol creating movement before a hihat comes in to create maximum momentum. The slow vocals makes more appearances as the chord progression continues to move its way around accompanied by sparse synth stabs.
Watkins///The B side starts with crunchy deep drums and an erie sparse melody line. The kick drops out and then another percussion instrument comes in and as the melody synth becomes more frequent. The delay effect is helping to rock the beat, as time go by the tune builds and builds, the synth gains more energy and suddenly toms become a bass line. Deeper we go into the rabbit hole as one’s head begins to bounce, then a change in notes bring relief to the tension, and then we are back where we started.
The Treaty Beat///The project ends with some effects, a synth melody, and percussion that beats for a while to get the groove going. The full melody comes in subtly as the back beat continues to hit. Then the melody lines take over the main focus for a while and then a nice B section of chords come in to slightly change the complexion of the tune, and rides out until the A section makes a brief appearance at the end.
Distributed by Crosstalk
Available at Red Eye
Myles Sergé continues in his prolific form with the first release from a split album on his MS label. Everything in Darkness Comes to Light is the first part of an album that displays Myles’ love for minimalism in beats that materializes in the form of Techno.
After listening to all the tracks of the album which I describe as flexible Techno that can be speed up or slowed down for the Housier moments, this first part is raw and minimal with soul. Sergé really goes for that classic sound exploring the repeating lines while using softer synth sounds with gradual percussion in his stripped down approach.
Lost///Begins with a synth line and kick drum, the tune takes its time to get going as the closed hi-hat hits come followed by the 808 rim shots. The beat is repeating, adding a new piece of the percussion as it goes, filling up the tune, as the original synth line continues to sound with some slight modulation with quicker percussion arrangements.
Drones///Beating bass notes ring with the kick drum supporting the rhythm, then hi-hats appear to bring some swing followed by a shaker to give more variation. Sounding like an UFO, the rhythm pulses as pitched up rims sound. After 4 minutes or so, new percussion is added and modulated as the tune rides out.
Into Darkness///Starting off the B-side is an ambient piece of smushed up notes and noise that serves as a nice seasoning to the record.
The Face in the Cloud///The last tune on this session begins with a sample and percussion. Toms drums establish the main meat while hi-hat action picks up the speed, then a subtle note is struck once in a measure to add a bit of sound. Finally after all the tension, a bass riff is introduced to take over the attention. After some slight variation a pad sneaks in the low register and sounds until the break.
Definitely a record for the djs who like to make long blends as the main ideas of the tunes are the last 1/3rd of the track. Look for part 2 of this project next year, Sergé elects for a fuller approach due to appearance of more harmony and melody lines.
The term House has undergone many changes since its inception so many years ago. Splintering into many genres, deep house is born, also obscured throughout the years and really the one description should be; music that resonates with a listener’s soul.
Synapsis-013 holds true, in my opinion Miltiades laced up four tracks in whole named Outermost Sensitive Paranoia that combine textures of pads, rhythms, and arrangement that you will feel deep within your belly button.
d0.5u///The journey begins through a chord progression combined with shuffling percussion as the beats pulsates. More percussion joins, and the bass line comes to fill up the rhythm. Deep and warm the tune comes to life as the bass slowly modulates, the chords sing, and the kick drops out to introduce the synth stabs that rock as the last added element to the tune. Super deep!
outermost sensitive paranoia///Track two starts with more shuffling drums and syncopated pad lines. The broken beat creates and irregular feel that is equaled out when the bass line comes in. Later more synths lines join as the droning pad pulsates in the background. Creating a paranoia effect, causing heads bouncing and subtle twitches of the ear drums that feels most sensitive.
outpostofmercy///Side b starts with low frequency syncopated chord strikes and a crunchy kick drum. The kick drum takes over the attention and the rhythm commences to build with the percussion. More synths surprise the melee, and continue to beat as the synths sound until the end.
parrhesia///Ending the project, jumping kick patterns quickly begin as a chord progression strikes with deep intent. Intent that slightly changes as the the progressions opens up with more notes, meanwhile the track picks up intensity, staying steady and later an additional synth line comes in to modulate and pulsate over the top of the chords. Solid deepness is a great adjective for this tune.
Distributed by Crosstalk
Perp-004 side A
Perp-004 Side B
With its fourth release, Perpetual Rhythms appears with three tunes from label owners Chicagodeep and Taelue as Ghosts of the Sky. When we look up into the stars we see them as they were millions and in some cases billions of years ago. This fact intern gives way to the name of the collaboration, timeless sounds that fill your soul as they travel through the reaches of your mind via your eardrums. The self titled release features three deep tunes that extend the genre of deep house with groovy rhythms, plush chords, and a quintessential Chicago touch.
Asylum///The journey begins with a slow-motion, beatdown tune, in which many sounds swish together as the kick enters to establish the pulse. The tune continues to build slowly as more elements come in that subtly make your head bounce as the baseline pulsates. Ghosts of the Sky is born.
Squash///Tune two is quite a bit harder as the bass line begins, slowly modulating and then joined by percussion and a chord progression. The tune continues to pick up steam as more hats join in. A droning string note comes in over the top, sounding like a rover on an alien planet picking up samples for study, the tune rocks until the end.
Cycle Tunings///The final tune begins with percussion filled with modulating reverb, that leads us into a chord progression. More percussion sounds as it moves through time, eventually settling in with toms grabbing the attention right before a harder baseline comes in. With this baseline, the tune sounds more electric while a melody line slowly appears to complete the idea.
Distributed by Crosstalk
Available at Juno