Review: The run of remixes from Nina Kraviz' self-titled album continues unabated, and this time, following sterling efforts from Urban Tribe, Steve Rachmad, KiNK and Marcellus Pittman, it's the turn of DVS1 to step up. On the menu are two opposing reworks of "Best Friend", which expand on the original's whispering vocals with an original contribution by Naughty Wood; the "Forever mix", which fills out the spacious, improvisational original with rigid, dubby organ stabs, firming up the kick for a more dancefloor friendly effect, and the "Dub test" version, which brings the lead in slowly over a gaseous swirl of minimal percussion and billowing bass. The inclusion of Kraviz's seriously weird original rounds things out nicely.
Review: Siberian singer/producer Nina Kraviz has enjoyed a meteoric rise over the last few years, thanks in no small part to a killer debut 12" (2009's "Pain In The Ass"). Here she drops her long-promised debut album for Matt 'Radioslave' Edwards' Rekids imprint, a collection of unusual deep house, downtempo and leftfield pop cuts with her own unique twist. It's a decidedly atmospheric and forward-thinking collection that mixes her fragile vocals and off-kilter production with live instrumentation and decidedly bass-heavy grooves. It's a wickedly original formula, capable of delivering haunting songs ("Fire", Hard Ton collab "Walking In The Night"), fuzzy floorfillers ("Ghetto Kraviz") and spooky downbeat grooves ("The Needle"). Highly recommended.
Review: This compilation neatly brings together the many versions of Kraviz tracks that have appeared on Radioslave's label. While the passage of time has not been kind to some of the remixes - KinK's grinding take on "Love Or Go" and the minimal house of Alexkid's 2010 version of "Pain in the Ass" - in the main, it's an impressive collection. Urban Tribe breathe mysterious synth lines and heavy electro-bass tones into "Taxi Talk" and Steve Rachmad's version of "Ghetto Kraviz" and DVS1's take on "Best Friend" represent the more considered end of club techno. Matt Edwards' own contribution should not be forgotten either, and his understated take on "Aus", replete with camera clicks and woozy synths, is one of his finest reworks to date.
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