A four-tracker from Iridite, featuring two tracks from Rei Loci, and a further two from Jason Brunton and Elijah, one each.
Rei Loci's first track Deep Blue is a full-bodied shiraz, with rich rippling textures and delays, fat fifth melodies and a warm, bouncing 808 4/4-plus-clap pattern. We go on a funky, slightly aspirational melodic journey that would be the perfect accompaniment to a pensive night drive through Essex in a long limo. Rei Loci's second track, Ars Nova, gives in to Carl Craig tendencies and develops rather too much of a 'classic Detroit' feel, with whining little synths over pitchbend strings and a drum pattern that vears into jazziness.
Jason Brunton has been described as 'Mad Mike on Mogadon' – a good description, if you can handle oxymorons. The track itself is warm and thuddy with little jazz inflections that say 'sophistication and fashion sense' but not much more. Elijah (aka Laurence Hughes) produces that final track, Ice to Go, and it's the strongest. In a similar vein to Deep Blue, this is a take on the Good Life keyboard blueprint of Kevin Saunderson, albeit more melancholic, less charged with joy. Fat delayed synth intervals bounce their way through a rich, warm, pacey deep house feel. Along the way we meet and say goodbye to nervous squiggly portamentos, a 909 ride and snare, little percussion clinks and clicks, and uncomplicated string chords, all immaculately placed and groomed in the mix. Like all the tracks on the release it sounds expensive, classy, but not surprising or challenging. However, it does what it does very nicely.
Rei Loci's first track Deep Blue is a full-bodied shiraz, with rich rippling textures and delays, fat fifth melodies and a warm, bouncing 808 4/4-plus-clap pattern. We go on a funky, slightly aspirational melodic journey that would be the perfect accompaniment to a pensive night drive through Essex in a long limo. Rei Loci's second track, Ars Nova, gives in to Carl Craig tendencies and develops rather too much of a 'classic Detroit' feel, with whining little synths over pitchbend strings and a drum pattern that vears into jazziness.
Jason Brunton has been described as 'Mad Mike on Mogadon' – a good description, if you can handle oxymorons. The track itself is warm and thuddy with little jazz inflections that say 'sophistication and fashion sense' but not much more. Elijah (aka Laurence Hughes) produces that final track, Ice to Go, and it's the strongest. In a similar vein to Deep Blue, this is a take on the Good Life keyboard blueprint of Kevin Saunderson, albeit more melancholic, less charged with joy. Fat delayed synth intervals bounce their way through a rich, warm, pacey deep house feel. Along the way we meet and say goodbye to nervous squiggly portamentos, a 909 ride and snare, little percussion clinks and clicks, and uncomplicated string chords, all immaculately placed and groomed in the mix. Like all the tracks on the release it sounds expensive, classy, but not surprising or challenging. However, it does what it does very nicely.
