Minimal / Tech House Recommendations August 2012

Review: Our summer months were satiated thanks to the good people over at Hot Creations - with this summer sampler being a collaborative effort from the label's close friends. All the tracks should be played on a beach in the early hours, but to be honest, they still work extremely well in the rainy north European zones! Danney's "Ultraviolet" is an 80s inspired scorcher, those funky Casio lines brewing gently over the beat; whilst Mark Jenkyns gave us "Wind It Back", another old-school anthem, this time given a heavier electro shade thanks to that grinding bass line. "Don't Feel The Presence" by Hunter/Game is exactly what you want to hear on a warm Ibiza morning - gentle, seductive and reassuring!

Review: We can always rely on Ornaments to deliver the best in quality house music and 2012 was another important milestone for the label. Their last EP sees label favourite, Rhauder go head to head with on of the most charismatic voices in house and techno - Mr.Paul St Hilaire, famously known for his work with Rhythm & Sound and its sub-label, Burial Mix. The original is actually reminiscent of the Basic Channel tradition, with those long, sweltering chunks of percussion flowing so neatly along side St Hilaire's enigmatic voice. The dub version is even deeper and indulgent in its delay tradition - exactly what we want to see here! The Pop-a-dub mix is an absolute gem though, allowing those drums to release themselves from the torrent of reverb and tape echo and grind their way to the sound of those gorgeous dub vocals.

Review: As well as this month's debut appearance for 20:20, Jay Bliss is also busy over at All Inn, where he got one of his first breaks back in the day. On this tense three tracker, the mood rarely gets lifted but the sound stays immersive and stoutly digital. Lead track "Kookoo For Coco Puffs" crackles with micro-sounds that decorate the minimal beat, leaving ample room for sombre arpeggios and chilling textures to create a thoroughly loaded atmosphere. "War Of The Worlds" plumps for a more prominent beat but keeps the same creepy mood, while "Mission Control" struts off on a more abstract techno tangent that keeps things stripped and funky.

Review: Although there's always been a sense of momentum driving Daniel Avery, those gears have switched up a notch or two this year, possibly linked to his decision to quit recording under the name Stopmakingme. His arrival on Erol Alkan's Phantasy Sound imprint seems so natural it's strange that it's only happened now, and means the Bournemouth lad done good has essentially worked with his two teen idols in Alkan and Weatherall. The Need Electric EP arrives just as Avery has let slip his commission to complete a Fabric Live mix and the four tracks have him working fully with a vocalist for the first time. The title track pays homage to Avery's formative Electroclash years, bringing the attitude of Miss Kittin and The Hacker up to 21st Century scratch as the stripped down groove twists itself ever tighter around the detuned analogue core. "Taste" and "One In The Wave" will mess with peoples expectations (in the best way possible) whilst "The Eagle" shows Avery has learnt plenty since joining Weatherall's Scrutton Street mafia.

Review: There are few who manage to nail restrained but genuine funk quite like Mr G. With a minimum of fuss but careful attention to detail, Colin McBean (to his folks) can create a real sense of wonder out of a simple drum pattern, the odd wisely placed sample and a straightforward melody. This latest offering for Monique Musique is no different, as the title track neatly exemplifies with its bongo-enhanced disco roll and direct chord stabs. "Heavy Gal" is a rougher prospect, working a measured garage shuffle over a growling, unending bass line and coming up with gold once again.

Review: Aiming to make a name for themselves with an individual approach powered by a unique roster of artists, Fuse London are clearly enamoured with the hypnotic sounds of minimal, not least on the sinister stylings of the lead track from Rich NXT and Seb Zito. "Eyes Wide Open" is dominated by a thin but oppressive bassline, while the space around is peppered with disembodied sound effects and forlorn samples. "Eyes Won't Stay Shut" adds a little funk into the mix and expands upon that aforementioned bassline, but still the overall feeling is a very stripped back one. As such Alex Arnout and Enzo Siragusa's remix sounds positively full-fat, letting the drums flesh out and working some noticeable melodic content into the mix.

Review: For a relative newcomer, Nathan Barato has slotted right into the Rekids vibe with his first appearance on the label. "Back Up Queen" is defined by a brilliantly sarcastic vocal performance that sends up the diva culture that may or may not have its sights set on the dance music world. A rude bassline and solid tech-house bump do just the right amount of work in the background while a simple looped melody provides a contrast to the RuPaul-esque ramblings. Oliver$ does a serviceable job with his safe and steady remix, leaving it to 808 Fake to do away with the vocal and create a deeper mood driven by an insistent hat.

Review: In something of a surprise link up after the poppy strains of his latest album, Scuba has turned to the emerging talents of Recondite. Already known for his deeply atmospheric cuts full of intricate melodic nuances, his two versions of "The Hope" continue that theme with little more than a treatment of the vocal to align it to the originals. The "Nocturnal Car Ride" mix is a restrained workout that keeps the hits light and gentle while a mournful pad steers the story Recondite wants to share with us. The "Morning Promenade" mix is only barely more pumped up, with the same leaning towards space and self-control as it's counterpart remix.