Martin Eyerer is a man who brims with energy. On top of this, he brings over twenty years of experience of dance music to ensure that everything he deals with is marked with quality. On top of DJing around the world, producing dance floor stompers and airing his own radio show, Eyerer has managed to run two successful and highly acclaimed labels, Kling Klong and Session Deluxe. It is on the latter that he brings his latest monster, "Musica Rodante."
Eyerer, like his labels, found a sound that lies in a unique position in between genres. On Kling Klong, the records cross boundaries between electro, minimal and tech-house. Session Deluxe showcases the more underground, housey side of productions that he deals with. "Muisca Rodante" is a deep, groovy tech-house monster that kicks and shuffles its way to the dancefloor. With its flute and percussive drums, you can hear the influence of Eyerer's extensive travels as he sets on his world-wide touring regime. The remix from Dasding Plattenleger maestro, Stephan Hinz gives the track a more minimal aesthetic but retains all of "Musica Rodante's" groove and dancefloor vibe. Material leader, Mihalis Safras' remix is a darker, sweatier, more pumping affair. The flute doesn't even feature, replaced instead with a grinding techno bassline.
"Musica Rodante" is yet another unique dancefloor production from Martin Eyerer. Like all his workings, the remix package included takes in various different styles and sounds to add variation to the release. However, such is the careful approach that neither of the remixes lose any of the originality that makes the initial production so compelling.
Eyerer cleverly unites a range of different sounds and styles on this release. "Navigate" is a pulsing groove that juxtaposes the scary synths of mutant disco with the curdling death rattle of classic acid trax. By contrast, "No Way Out" is a cold, minimal groove, but the addition of vocalist Boot Slap lends it a soulful feeling. Best of all though is closing track "The Rolls". Here, Eyerer uses a pounding electronic bass and a repetitive, old school vocal sample that he cleverly filters all the way through the arrangement. It sounds like a lean, streamlined version of Trevor Rockliffe's late 90s tribal house.