It's fair to say that Around7 has become one of Robsoul's most fundamental artists, now having released over a dozen EPs for the French imprint. The Paris native has a distinctive sound, one that's embued with swinging MPC force and, of course, a deep-minded jazz sensibility that makes his music appealing to the diggers and DJs alike. Fittingly, "The Woman Behind Me" is a funky house nugget with a charging bass drum and some killer hyptnotics on the upper end of the arrangement; "U Talkin' To Me" is similarly funked-out, except the groove is stripepd back and more moody, unlike the more soulful strides of the samples forming the core of "Philter". All in all, a pretty angelic affair from the Parisian - keep it comin'!
West Coast producer Artruro Garces has been quietly been going about his business since the turn of the Millennium, releasing solid, club-ready material on a wealth of labels. For his sixth outing on Robsoul Recordings, the San Jose-based producer has served up a quartet of tracks that sit somewhere between classic West Coast chunkiness (think Onionz, Hipp-E and Halo etc.), the disco-fired bounce of DJ Sneak, and the kind of woozy, bass-heavy, tech-tinged deep house that Robsoul regularly releases. We're particularly enjoying the rubbery disco bass, restless cowbells and filter trickery of opener "Catch Me", though drowsy, piano-sporting deep house roller "Homebase" is also pretty darn good.
Robsoul veteran Chris Carrier can usually be relied upon to deliver the goods. This four tracker for the Paris-based imprint is chock full of his usual bumpin' beats, bowel-botherin' basslines and boompty-inspired cut-ups. "Bongo Thunder" (curiously named, as it doesn't feature bongos) leads the way, jumping between cut-up hip-hop breakdowns and booming boompty rhythms. The tech-tinged title-track delivers a little more swing and some Rob Mello-ish electro sounds, while "Acid Drop" thunders from the speakers like the four horsemen of the apocalypse going speed dating. Closer "Japan Air" has a deliciously jazzy swing, bringing a tough EP to an uplifting close.
Part 2 begins in a much more chipper mood. "Calais Douvres" seems to spill a joyous attitude out of every hole. A bristling beat and hollow percussion sets the tone from the off before Carrier's signature groove swings in and sweeps the listener off their feet and on a fun filled ride. "Quadrilette" keeps a similar attitude, but this time adds a churning bassline that is so raw you can hear it rattling away at its deepest depth. Tribal-like percussion adds the funk and the tone is lightened further by the female vocal as made famous by Til West's "Same Man." Ending with the drum led "Le Divan Japonais," the release saunters into a rhythmic groove. Sub bass murmurs beneath the percussion at first but then makes itself more prominent as Carrier lets loose.
As a child, Carrier was exposed to all the classic sounds of the 60s and 70s through his parents. Yet as an adult, he discovered the techno raves of the early nineties. Both of these influences can be heard in Carrier's music, as he attempts to bring the best parts of both sounds together into one place. He manages this task with a seemingly natural ease here.
At a time where the boundaries between genres are continuing to blur, Gosse De Paris, both parts 1 and 2 make their own conclusions on the formula of modern electronic music.