Leave It All Behind Vol 3
‘L.I.A.B’ reserves its highest track count for its exceptional dénouement. Lyrically, ‘Conditioned’ deals with serious topics. A high wire act tonally, but in un-laboured fashion, it brilliantly makes its point. With ‘Heart & Soul’s vocalist channelling some inner Shara Nelson, strings, breaks and, indeed, genuine soul define it. Unsurprisingly, ‘Counting The Stars’ is the EP’s celestial entity. Packed with beamed-from-the-heavens sounds, it’s again the (achingly beautiful) vocal that crowns it.
SNEIJDER & NICK CALLAGHAN
“Working in the studio with other producers is always a breath of creative fresh air for me, sometimes taking you out of your comfort zone.”
If ‘Autobahn’s a nod to Kraftwerk, it’s a magnificently bonkers one. That said, with Will, quirk’s generally fitted as standard. Revving motorbike engines accompany its opening narrative (Deutsch, natürlich), while decidedly Kraftwerkian percussion and analogue FX only enhance the impression. “Take me to the nasties” suggests an Englishman, which opens the (flood)gates to a XXXL-sized drop that finally goes convincingly vertical inside the closing third.
'Blueberry (Daniel Wanrooy Extended Remix)'
Having done a ripcord-efficient disappearing act a dozen years back, the finest moment from the enigmatic Probspot receives a second look from Daniel Wanrooy here. The original’s production was ungenerous with its complex, cascading string lead, progressively quartering it in but a portion of the drop. Daniel jailbreaks it and adds a new, highly efficient introductory melody, and turns ‘Blueberry’ into a later-night peach.
Here, Drizzly proclaims a “20 Years Anniversary Edition” of ‘Control '99’. For context, that’s a track that few (Discogs included) remember, and on, frankly, a footnote label. Regardless, ‘Control '99’ from Junk Project (who, sidebar, are currently experiencing a minor revival in interest) is truly buried treasure. Atmospheric sub-melodies and hastening percussion platform its hushly whispered and thoroughly beguiling vocal. Strong in-keeping rework from Maarten de Jong attached too. Seek!
Under his own name, Dan Dobson’s been putting strong work out there for five or so years. However it’s as Daxson that he really seems to have come into his own. Tighter-still production structures with greater-yet cohesion to their element/flow/vibe, that concentration has hit a new high through ‘Culture Shock’. Offsetting its tech tenacity with just the right dose of uplifting equalisation, floor-side, this’ll graft harder than most in June.
Ferry Corsten & Nevve
Judging by many of the common indicators, ‘Freefall’ appears to have been more ‘flyby’. That’s a big shame, as, on almost all counts, it’s Ferry’s best in several years. On first listen, Nevve’s vocal is catchy, but with genuine feeling to carry it, it becomes overwhelmingly irresistible come your fifth. Ferry’s welling pads are a perfect summation of the incoming season, and by the time they reach their most natural of conclusions, you’ll be more than ready yourself.
Protoculture & Mino Safy
A State Of Trance
‘Redemption’s foundation has three keystones. Specifically, a ‘Dooms Night’-lite w-w-whopp effect, a forcefully super-sawing post-break mainline and, at its centre point, a ‘Saltwater’-esque Celtic vocal. The first works reasonably, the second decently, but the third — highly authentic and respectfully backed by in-keeping violin and piano — puts ‘Redemption’ in June’s endzone.
Subject to intense (and largely justified) buzz for two years now, this could be the year Gai wholly qualifies it. ‘Stars’ — an official launch point for his Patternized label — is consciously a grower in nature, unlike recent Money Shot ‘SH101’. For it, he projects a chorally harmonic and ethereally indistinct song against a prog-trance, title-apt spacescape. The original’s fine work, but the 'Late Morning Mix' further ups its atmospheres.
Radion6 & Exis
Who's Afraid Of 138?!
We open on ominous pads, a church bell tolling (welcome back old chum!) and, direct from the cloisters, some chanted Gregorian business. Really, we couldn’t be anywhere else but psy-land (Exis’s presence is another ample clue). What follows is a cannonball run of acid rage, hard rawk yells (+ geetars), scything synths and a firebranding preacher man, all naturally built around a whip-quick tempo. Mad… but are you not entertained?