Microhouse is one of those subgenres that inspires confused expressions in all but those who are really into it. While the Hawtin-spearheaded tidal wave of minimal techno swept through clubs the world over last decade, leaving a sizable stain on everyone’s memories in the process, its funkier counterpart was all but forgotten about. It didn’t really go away as such, but rather moved with the times. Even in the beginning there wasn’t a huge amount that was “micro” about it, as delirious layers of short samples bumped around in a dense garage shuffle. Instead the sonic palette was widened, and for labels such as Circus Company the artists would reach out to live instrumentation to express the same sentiments started by Herbert, Losoul, Ark and Pepe Bradock.
The old adage goes that the best music is not constrained by time. If ever there was an age where this is true, it’s in the 21st century as information passes at an exponentially faster rate and staying power becomes a novel concept in the face of progress. As such, Le K’s debut album Freewheel comes into the limelight after some three years gestating in the starting blocks, while its creator searched for the right label and pursued other ventures such as creating the successful touchAble Ableton plugin.