I read a review recently that took issue with a release not treading new ground, of sticking to familiar pathways within its genre. Like rock music with all of the best chords already used up, there will always be a certain amount of familiarity within electronic music. The 808 and 909 drum sounds are an instantly recognizable feature within the medium, while there are a plethora of production tricks and sounds that are aped, rehashed and re-molded by the bulk of producers. Red Rack'em may not be breaking new soil with his latest twelve for the coveted Untracked label, but through employing some of the classic deep house sounds and themes on the release he alsoch touches on that vital quality of creating a classic vibe.
This is nowhere more evident than on the incredible "In Love Again," which has already won its place in the hearts and crates of DJs far and wide. Sneaking in a clever sample of Andre 3000 from the track “Prototype” on The Love Below album, the track centres on swelling pads and strings with various layers of the vocal giving a dreamlike, ethereal quality. Realizing that a good thing need not be overdone, Red Rack'em keeps the rest of the track very simple with subtle turns of percussion doing only what it should, accentuating the groove that is already there. The title track likewise makes use of a borrowed sample, which again is achingly familiar though I can't quite place it. Super slow house is the order of the day with orchestral hits firing off like symphonic cannons amid the warm, easy pads and honeyed vocal samples. "Beginning End" channels the same effusive spirit, but aims at a more bass heavy version of the similar threads that tie these three tracks together. Fans of KDJ and Theo Parrish will be right at home here with this latest EP in an increasingly good run for both Red Rack'em and the Untracked label.
As Cherry, Teruyuki Kurihara's debut EP for the Four:Twenty imprint may not have scored much of a blip on the techno radar when it was released mid-way through last year, but his follow up effort, the World Waits EP, should register some more deserving attention for the Tokyo producer. Keenly focussed on the emotive layering of melody, Cherry nevertheless fuels his tracks with plenty of kinetic groove. "When the Truth Is" tracks chiming, Detroit infused techno through wandering pathways of euphony, passed through bursts of steamy noise and rough shod wooden percussion. The relentless high notes figure in to the track like Robert Hood style minimalism played out in long form, though each element is scuffed up around the edges, taking the shine off that distinctive Hood chrome plated feel. Kurihara's hard whiplash claps slam the opening track into overdrive and bounce off the wistful melodies, giving them more onus, not allowing them to succumb to their own precious beauty.
Restless organs sweep back and forth through the sci-fi infused echo box of the title track as if they are searching for something, while space critters cry in the night, howling at a dozen orbiting moons. The bass line is rooted in classic deep house, providing a moment of simplicity in contrast to the drawn out release of never ending chord sequences. Built lovingly over twelve and a half minutes, "World Waits" is a gradual, gentle track that nonetheless hits with a surprising force via its tightly compressed kicks and rounded bass.
Ada takes "World Waits" and applies a dry, reductive hypnosis to the track, reversing some of the sounds and purging extraneous parts of the melody to present a dry ice dance floor killer that burrows into elements of Detroit funk. All told a highly impressive release from Cherry with Ada's remix providing the extra namesake on top.
Red Rack'em, All I Ever Wanted EP
*****
Instant slow house classic using familiar deep house tones charts Christopher Tubbs' superb Untracked label through the roof.
Cherry, World Waits EP
****
More melody and groove than you can wobble various sticky objects at makes for a release worth waiting for from Cherry
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