A. The Loot (Sully RMX)
AA. In Some Pattern
'Massive new twelve from Sully - big one for all the all night bubblers crew! Another impeccable selection from the Keysound camp, Sully's tracks here set a high standard indeed for the new decade. Following an acclaimed twelve late in 2009 for Frijsfo Beats. that was defined by a genuine sense of jittery urban tension - these tracks are fuller, more composed and even better produced, whilst retaining a taut flex for the dancefloor massive. Sully's version of J-Treole joins the dots between El-B and Herbie Hancock, splintered vocal fragments pay due respect to UKG originators, luxurious keys cause reminiscence of some classic MJ Cole remixes, the low end is one for all pirates, killer. 'In Some Pattern' offers some premium future rollage: harder edged rydim cracks usher in rude hypercoloured synth splashes - all displayed upon a bassline with fearsome dancefloor potential. As with the now universal Hyph Mango from 2009, the simplicity of the elements used really defines the tune and helps guarantee surefire wreckage on the floor - especially when the drop hits with an infectious break - stealth attack ! Big tune for followers of Untold, 2562, Pearson Sound, Synkro etc.'
'Moraine by Ido Govrin is composed of exquisite sound qualities consisting of restrained gestures of simultaneous assembling and disassembling processes, slow though diligent creation holds a promise for total collapse, destruction, and as such, fills the listener with sweet sadness and longing. The album's name, 'Moraine', indicates the working process but not just that. Moraine is a geological phenomenon created when the bedrock underneath is scoured and crushed by the movement and extreme pressure of a glacier eventually to the size of dust grains. It is being transported beneath the glacier's infrastructure as a thick stratum of solid substance and creates various forms throughout the plateau. In 'Moraine', Ido Govrin investigates the micro level of sound process where vast amount of sound partials are being generated and manipulated; blocs of sonic substance creates morphed sound strata. Continuous forms and entities of sound collide into each other, crushed and woven into one another; the acoustic gale seems to briefly appear as a spatial object, dwelling in space. Promptly afterwards, the stratification and deterritorialization continues simultaneously. The six electro-acoustic pieces exhibited in 'Moraine' were partly created by the analysis-re-synthesis process of acoustic instruments (Cello and Violin) and partly by a pure computer generated process of sound.'