From ‘Where Were U In ’92?’ to ‘Zomby EP’, Zomby shows his many sides of wonky and straight up Zombyism, as well as combining classical electronic genres and combining them in his own and unique way.
Being a parallell to ketamine and being a centerpoint in the discussion about wonky in general, he shows little interest about what people think – solely by remaining secretative about his identity as well as the absolute disregard to the pinpoints people put on him. One thing that Zomby always keeps up is the freedom he displays with his releases: the extremely unpredictable sound (well, to some extent; you can most surely rely on the sounds from old video games and resemblances) as well as his movements within most of electronic music.
‘One Foot Ahead Of The Other EP’ feels as the album that fits perfectly between his previous excursions. It’s never “too much”, which I could feel with ‘Zomby EP’ on Hyperdub – as well as with ‘Where Were U In ’92′ sometimes. This album feels more narrowed down, in the most positive regard – it feels more evolved and a bit more worked through, as if the idea of the music got a better practical result here.
One thing I really appreciate is that Zomby involves four by four rhythms and illusions, keeping the groove more steady brings in the pressure from four-to-the-floor beats. He manages to squeeze in his own sounds and samples(?) into the rhythms in a excellent way – as he surely always have been doing. It’s nice to feel the fast paced tempo of a 140 bpm techno track getting chopped, ket-ed up, and snorted into a very undefinable and fresh attempt on modern electronic music.
The highlights of the album are these tracks, as well as when Zomby puts things into a more futuristic sense, such as the title track and ‘Godzilla’. I could easily say that all tunes on the album are absolute killers.
B1: Subzero – Regis-Function aka. Sandwell District Remix
B2: OK ft. Elif Biçer – Kenny Larkin Remix
With Ben Klock’s album ‘One’ from earlier this year, he tried to establish a sound that wasn’t strictly made for the club. A sound that was built from experiences of numerous sets and party tactics. He created a very special take on “the” sound, as well as well as building a very highly regarded foundation of his own style. A little bit out of nowhere, Ostgut Ton now releases the remixes of ‘One’; featuring remixers with great reputation and well deserved respect.
Robert Hood’s take on one of the best tracks from the album is very different. Cutting up elements from Klock’s own reduced sound to create a sonically simple but yet extremely effective club track that resembles a bit of himself, as well as Los Hermanos and some of the rest of Detroit’s finest. The remix sounds very fresh and doesn’t really “fit” into the Ostgut sound, but shows that they as most often know what they are doing. Straight forward, pumping techno.
On the flip there’s two remixes from both Sandwell District as well as Kenny Larkin. ‘Subzero’ is one proper track, getting remixed by the key producers behind Sandwell District. One half of British Murder Boys together with New York-producer Function (who has been making techno almost since the emergance of the sound) made a remix that very well competes with the original. Taking key elements from the originals never ending progression and stripping it down, making it even more bold, Regis-Function combination collaboration push Klock’s sound into a even more tripping state.
Cooling things down a bit, Kenny Larkin push ‘OK’ into a elevated state, bringing in a almost completely new structure to the track. Taking the rough sound from the original and transforming it to something that has such clear Detroit influence and soul would alone be enough – but Larkin pushes it even further into a state of pure love. Classic elements combined with modern techno brings out the most of to worlds here.
Extremely good remix twelve that surely will apply to many DJ’s and fans. Due to be out in early August.
After three Frozen Border releases, firstname.lastname@example.org gives us the first Horizontal Ground – a record which really brings out a new sound that feels extremely fresh, yet so natural for the current state of techno.
The A-side features a track that in prospect gives a huge finger to most tracks present, featuring a deadly vocal that fits the atmosphere perfectly. Surrounding the voice is elements that feels Robert Hood, but at the same time stripped in a very European way – a way that has yet to be proven successful or the contrary. As the structure develops itself by maintaining the energy at a very pleasant level, there are very unpredictable turns applied on the sparse and sporadic sounds and elements. A track that most likely will span through a few different crates of techno DJ’s and fans.
On the B-side, the seriousness gets a bit of shadow in order to pull out a melody that is more haunting but also self aware in a more “party” sense, made with monumental grace and style, pulled off in a way I’ve never experienced before.
Killer release, we will probably see atleast two more on this label!
After being played a lot by DJ’s that push things forward a lot, Pangaea finally decide to release one of the most interesting advancements in both UK garage and dubstep. His killer 12″ from last year on Hessle Audio was one of the most groundbreaking releases that year – ‘Memories’ is on the brink of leaving the same mark on 2009.
The stripped back and heavily maintained beat keeps the floating pads and other sonic structures right on the edge during the entire track duration, as well as letting the vocal take over almost everything on the track – in a VERY positive way.
Studying the beat allows yourself to get lost into it, letting the mesmerising vocal push everything into a higher state. The track is very surrealistic but also very direct, with absolutely no excess elements, which maintains the focus of the present moment within the track.