Review: Airtime Records' 'Change of Time EP' is a solid six-track journey through different shades of house music, showcasing an array of styles from deep grooves to high-energy rollers. Fabios Santos' 'Don't Come Back' opens with a deep, dub-infused bassline and fun, rhythmic energy, making it an ideal track for late-night dancefloors. Chris Gialanze's 'Light Em Up' follows, channeling the classic 90s New York house sound with a catchy vocal sample that swells into a massive, killer bassline--perfect for peak-time moments. Mattisou's 'Ateva' cranks up the intensity, blending a rolling bassline with a wicked acid line, creating an uptempo, high-energy track that's a real workhorse for DJs seeking to elevate the crowd. Jesse Jacob's 'Onto The Next' stands out with its blend of organ sounds and futuristic melodies, crafting a mysterious and alluring vibe that's as unique as it is captivating. Jeba's 'Deep Sense' brings a Chicago-inspired, jazzy bassline groove that feels both classic and refreshing, while Micka's 'Studio Mog' closes the EP with a deep analog bassline and house keys, delivering a fun and danceable number that's sure to move bodies. Overall, 'Change of Time' is a versatile and engaging collection, offers something for every house music lover.
Review: Four fresh prime cuts from the Airtime bossmann Jesse Jacob on this Callao EP. A record for straight up house music lovers, no doubting, each track provides a jam. Big beats, bigger basslines, New York, Chicago and Ibiza tech house influences abound. Get something tropical and birdsong out of "Six Thirty AM" while for some phase and bassline action look to "Free To Let Myself Go" with it's subtle Blake Baxter references. Further down is some techier holding tracks, replete with vinyl scratches in "Make Me Understand", and for a totalling combination of all, it's all about the title track "Callao". You hear!
Review: Jesse Jacob's Airtime continues its ascendence with this fine, old-school influenced release. The jacking title track is peppered with dramatic stabs and vocal snippets, while on "Pleasures", Fijma opts for a similar approach. Shuffling drums provide the basis for euphoric 'rock your body' samples and old school organ riffs. Clearly, Fijma has a love of vocal samples, and on "Yeah", he deploys the 'pump up the volume' sample used in MARRS' seminal track of the same name - realised over a rolling groove. It's the same situation on "Drop The Bass", where he used the well-known 'cut the midrange, drop the bass' refrain over atmospheric synths and epic stabs.
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