The Way We Move (Spaventi rework) - (6:39) 118 BPM
Review: Hot on the heels of the recent ASOK EP, label owner Aroy Dee teams up with Ma Spaventi to deliver the next MOS release. Both artists have been quiet on the release front over the past few years, but this split EP has been clearly worth the wait. In its original format, the title track is a wonderfully atmospheric serving of Chicago meets Detroit, with soulful vocals and eerie synths unfolding over rolling drums and powerful thunderclaps. The 'reprise' ventures down an ambient path, but "The Way We Move" is more in keeping with the title track style wise, with similar grainy kicks and hushed vocal tones spookily moving in and out of the arrangement. Few labels do this kind of soulful techno-house better than MOS.
Review: Stu Robinson aka ASOK returns to MOS after four years with his idiosyncratic take on techno and house music. The title track is a stripped back, bleep-laden affair, its gritty rhythm underpinning fuzzy, hazy synth lines. On "Find A Way", the UK producer delivers crisp break beats, busy percussion and a lumbering bass as a backdrop for shiny hooks and bubbling acid lines, while "Many Locations" sees the UK producer go deeper. Similar in style to other contemporary producers like Simoncino and John Heckle, the rolling drums and atmospheric synths sound inspired by vintage Larry Heard. Changing course once again, Robinson ends his comeback on Aroy Dee's label with the beatsy "Baal".
Review: Having got a taste for all things Liverpool with last year's long overdue MOS Recordings debut of John Heckle, Aroy Dee has clearly surveyed the area for further talent and struck gold once more with this slammer from ASOK. The production mantle of Scenery Records boss Stu Robertson, ASOK has seen him trade his D&B roots for raw, analogue house and techno and following the one contribution to a Use Of Weapons records this Poltergeist slab represents his most high profile release to date. Ease yourself into the four tracks on this MOS DEEP release and you can hear why Aroy Dee wanted some ASOK action, with lead track "Project Poltergeist" using the minimum of elements - cascading acid lines, swift hats and a fluttering chord line - to impressive effect. "Smash Dimensions" and "Walker" are ASOK in stripped back and deep mode respectively whilst "Captain Blood" is the sort of ascendant track a jobbing house DJ will gravitate towards. A superb release on MOS - just as you'd expect!
Review: D'Marc Cantu may have languished in the shadow of his more high-profile associates Traxx and James T. Cotton, but A New World, his second artist album in as many years shows that he should be viewed as being the master of his own destiny rather than an engaging sideshow. Indeed, one of the most noticeable aspects of A New World is the lack of Jakbeat, the primal interpretation of Chicago house that the Nation stable of artists have developed. When it does rear its grungy head, it does so in the most irresistibly creepy manner; "Green Bike Sea" starts with rolling snares and leads to a grainy bass and shaking percussion underpinning muffled vocals and bleeding acid lines. "Try Me" is meaner and yet more suggestive, with the scent of blood and sweat-caked bar counters rising over a red-lit, heaving bass. However, this is not an album about shebeens and one-night stands with random strangers, but rather a reflective, more introverted work. "Mobile Communication" sees heavy claps supporting bleeding, bleepy bass licks, but it's merely a prelude for "The First Planet". Inspired by Detroit techno, it's Cantu's piece de resistance: atmospheric synths arc slowly upwards, their acidic undercurrent like tail lights on a jumbo jet as they reach into the upper levels of the night sky, hopefully guiding Cantu towards greater recognition.
Review: Last year M>O>S boss Aroy Dee released his debut album Sketches, an album of classic drum machine heavy house and techno. Now come the remixes, or re-sketches, with Dee searching out Bio Rhythm chief Paul du Lac, label affiliate D'Marc Cantu, Skudge White debutant Cliff Lothar and Dee's own R-A-G trio for creative interpretation. All four reworks stay true to the original, Chicago and Detroit influenced sound of the album, and R-A-G's bass mix, although heavy in low end, soars into cosmic fields. Cantu, deftly rides the faders and distortion units in his remix of "Until The Music Dies" while du Lac's submission is reminiscent of Tobias Freund's classic "Street Knowledge". And for something a little dubbier check out Lothar's mix of "City Of Others".