Umek
TelontolThe Telontol EP marks Slovenian Umek's second outing on Novamute this year, following his (similarly titled) Tikonal from October.
Telontol is likely to receive the most airplay: the track is pinned down by tight 4/4 percussion and explosive hi-hat moments, which leave space for a heavily treated Eastern soundscape over the top. It's well-executed, and on a loud system bound to be destructive. That said, I was a little miffed to hear another wailing Taj beauty gracing the higher frequencies in the familiar fashion. The title of the second track, Ganolam, could well be Slovenian for gamellan (you try finding a Slovenian-English dictionary on the web), given the monophonic plucked textures and unfamiliar tonality of the theme. What I liked about this one was the way he introduces the theme gradually by breaking the groove with a few notes here and there, only stating the entire sequence in full at one point. Umek creates some intriguing moments by playing with the length of the loop in a highly original manner.
Arondon and Entan, the third and fourth tracks, both rest on thumping 4/4 basslines and driving percussion. Arondon has a high-impact feel, a result of the frenetic layered cymbals and the hypnotic synth line which pins down the track. Entan is a more shuffling, funky number, which builds into deep warehouse pads and electro bleeps. From a dancefloor point of view, both are guaranteed to maintain the pressure, though I felt that certain sounds were lost in a rather poor mix-down on Entan.
The quality of production that you expect from Umek, a highly-experienced practitioner of the art, means that these cuts are always going to do damage in the club. But even if the wheels of steel have no place in your life, I recommend you check out Ganolam for a truly innovative take on structure and form.
Telontol is likely to receive the most airplay: the track is pinned down by tight 4/4 percussion and explosive hi-hat moments, which leave space for a heavily treated Eastern soundscape over the top. It's well-executed, and on a loud system bound to be destructive. That said, I was a little miffed to hear another wailing Taj beauty gracing the higher frequencies in the familiar fashion. The title of the second track, Ganolam, could well be Slovenian for gamellan (you try finding a Slovenian-English dictionary on the web), given the monophonic plucked textures and unfamiliar tonality of the theme. What I liked about this one was the way he introduces the theme gradually by breaking the groove with a few notes here and there, only stating the entire sequence in full at one point. Umek creates some intriguing moments by playing with the length of the loop in a highly original manner.
Arondon and Entan, the third and fourth tracks, both rest on thumping 4/4 basslines and driving percussion. Arondon has a high-impact feel, a result of the frenetic layered cymbals and the hypnotic synth line which pins down the track. Entan is a more shuffling, funky number, which builds into deep warehouse pads and electro bleeps. From a dancefloor point of view, both are guaranteed to maintain the pressure, though I felt that certain sounds were lost in a rather poor mix-down on Entan.
The quality of production that you expect from Umek, a highly-experienced practitioner of the art, means that these cuts are always going to do damage in the club. But even if the wheels of steel have no place in your life, I recommend you check out Ganolam for a truly innovative take on structure and form.
