The Kakum EP is what you get after a sordid one-night stand between sweaty techno synths and sexy Latin beats. Gameboyz feat. Mijo delivers in spades on this two-track release, with great percussive layers, heavy tech riffs and hypnotic grooves that will hook the dance floor. “Oakum” has a rough bite, and once it grabs hold it doesn’t let go. The flipside, “Chaka Chaka,” pops out tribal chants and weaves plenty of 8-bit sounds into this drum-driven dance floor ear worm. Melomana has been on point lately, and the Kakum EP continues to raise the bar. Watch for it on March 21.
Dark tech-house has always been a niche in dance music. Often it’s been relegated to the back room of the club and the undercard on bills, probably due in large part to the subtlety and slow build of music that’s more intent on creating a mood than offering a disposable bass drop or fist-pumpin’ hook. Veteran French DJ/producer Oniris is no stranger to the sound. He’s paid his dues both behind the decks and in the studio, with his productions gaining support from greats like John Digweed, Agoria, Laurent Garnier and Marc Romboy to name a few. His debut Meharee project on the aforementioned Romboy’s Systematic Recordings is set to win over new fans and satisfy existing ones.
The EP’s title track sets the pace with a somber piano chord progression before building up steam with haunting wind instruments, atmospherics and a Middle Eastern vibe. “Capacocha” rolls out with a fat kick, dirty synths and tinkling stabs all woven together in a driving progressive structure that says you’ve got two choices: hold on or get left behind. My favorite of the EP, “Landscapes,” is a bit more melodic than its brethren and while still on the deep side of things isn’t quite as stygian as the others.
Good Voodoo Society’s Domineeky is always looking for fresh tracks to give deep-house fans and selectors. The label honcho and producer confidently puts his musical cards on the table with The Sound of Good Voodoo 3, a compilation marking five years of diverse music, containing previously unreleased tracks and unheard remixes, reimagined and resurrected to feed starving dance floors and hungry ears alike.
Standouts include the quintessential disco-house track “Party for Sona” (Domineeky Edit), while “Moneda Funk in the Green Room” (Orig) rolls out organic and sexy broken beat with flutes, guitars and piano. The low-key groove and smooth filtered flavor of “Left, Right, and Centre” (Domineeky & One Vista Disco Dub) heats things up, and Domineeky’s remix of “Big City” proves that sometimes a simple disco-y house hook is all you need to move the ‘floor. The contrast of peaks and valleys feels natural; the hot tracks are fire but even the fillers have enough spice to earn a spot in the rotation. Also deserving a listen are the pumpin’ kicks and uplifting hook of “Promise Me Love,” the twisted Afro-house rhythms of “Luca,” the fun drum-barrage of “Fundamental,” and the set-closing orchestral downtempo dub “Sunny Afro.” SoGV3 is worth picking up if you’re looking for a new spin on deep house or just something unique to feature in your set.
With a career that started over 30 years in the Belgian electronic music scene, Berlin-based Eric Van Wonterghem, the man behind Monolith (the alias he unveiled in 1997), is still unleashing forward-thinking, industrial tinged electronic gems. Time Running Out is the latest in a long line of quality releases from the mainstay also known for his production work under the aliases Absolute Body Control, The Klinik and Insekt.
Time Running Out kicks off with “Construct,” a heavyweight monster with bass that throbs throughout. The infectious track is high-energy industrial techno with a solid groove and glacial feel that grabs you with its immediacy and won’t let go. This is hard-edged techno at its best and the cut that follows, “Deconstruct,” is just as hard. It’s more stripped back but no less intense and has a noticeably higher tempo that morphs into a cavernous sound that’s primed for the dance floor. “Ghost Cities” has to be the standout here. It’s a seven-minute techno anthem that pulsates with a harder edged thump that can only be described as relentless but with an air of melody. The slower track “Time” closes out the release and has a haunting feel to it. The industrial influences that are so prevalent throughout are present and correct here and ends things on a high note. Fans of techno with an industrial leaning should do anything to seek this release out and indulge in its sparse beats and rhythms. Long may Monolith release music as good and as inspiring as this.
