Review: This year marks 10 years since Bastian Volker first donned the Baaz alias. He remains one of deep house's most reliable producers, as this outing on longtime home Office Recordings deftly proves. He begins with the ocean-deep chords, softly spoken electronics and hypnotic groove of "Ween Been", before wrapping heart-aching pianos and drowsy chords around a barely audible drum track on the near-ambient bliss of "Absent". On the flipside you'll find the tech-tinged shuffle of "The Friend", where bolder kicks and snares rise above his liquid dreamscape, and the brilliant ambient electronica of sublime closer "Two (For You)". This is music for sunsets, sunrises and particularly sleepy afternoons.
Review: Berlin producer Baaz made a logical progression to the Red Souvenirs album on Office last year after some fourteen years in the game, and now his productions are going under the microscope with a host of suitable scientists at the lens. Dorisburg's productions have been in a roll of late, and the Swedish producer brings plenty of percussive intrigue to bear on his version of "Endori". SAM brings a bright and breezy deep house confection to bear on "Your Wardrobe" replete with swooping pads and cheeky swing, and Christopher Rau finishes off the package with a typical tryst of earthen crunch and off-key flair in a solid 4/4 context.
Review: Baaz has been quietly building up an impressive discography since 2007, delivering quality deep house on labels such as Elevate, Quintessentials and Slices of Life. Here he returns to his Office Recordings imprint with his most ambitious release yet - a long-promised debut album. While there's plenty of spacey, dancefloor-focused club tracks - see "Closed", "Endori", the becalmed "Anyway" and pleasingly picturesque "Glass Voice" - the Berlin-based producer also takes the opportunity to showcase a previously undisclosed love of downtempo beats. So, we get the Motor City electronics and glitchy beats of "Spacehub", the ambient hip-hop of "Pressyn", and the beautiful, beatless electronica of opener "Everyone". The result is a rich, evocative album with its head in the clouds, and its feet on the floor.
Review: There's much to admire about Bastian Volker's follow-up to 2012's What About Talk About, which recently dropped for the first time on digital download. Whereas the first volume frequently flipped styles, retaining a smoky, late night vibe throughout, this follow-up largely ploughs a deep hose furrow. That's not a criticism, though; the three deep house cuts here (and particularly the hazy, wide-eyed loveliness of "Those Things") all get just the right balance between crackling atmospherics, melodic warmth and floor-friendly rhythms. "KMS", co-produced with Iron Curtis and reworked by Soulphiction, is particularly beautiful The EP's one non-house moment, the horizontal downtempo jam "Whatabouttalkabout", is also very impressive.
Review: Baaz (AKA Berlin-based studio boffin Bastian Volker) is a past master at producing ultra-deep, ultra-woozy deep house. This EP for Office Recordings, previously released on vinyl last year but now available digitally for the first time, is one of his best. It's packed with the kind of becalmed, shuffling, crackly late night fare that oozes quiet soul from every digitally encoded second. "In My Mind" and "Glim" both go deep into the groove, delivering prime chunks of late night hypnotism, while "Way Out Citti" showcases his skills as an MPC beatmaker - think deep, jazzy, hip-hop tempo beat science, and you're close. The latter is also remixed by Reiling & Astrup, who turn it into a wide-eyed chunk of melancholic, piano-laden deep house.
Review: Berlin based deep house merchant Baaz returns to the Quintessential imprint after last year's well received Pass It On EP. All The Way sees Baaz in familiar territory, exploring the lower echelons of syncopated drums and hypnotic melody. "Paean For The Masters" is Baaz in peak time mood - with heavily percussive rhythms sitting atop soft pads and submerged chords. The tempo is slowed down on "Are You" with punchy drums infiltrated by burning vocal dubs and subtle synth melodies. Motor City retroism abounds on "Black Pattern" and "Drive Thru", where proper house patterns are melded with delicate basslines and understated synth flourishes.