There are certain labels that you know already before you hear the EP that you’re in for a pleasantly mind-bending audible experience. iO (Mulen)’s OLDiViBES ticks this box inside and out. Next up to the plate on the sort after imprint is a VA from 5 artists who are making waves across the circuit at the moment in their own right; Vitess, Mandana, Andrea Caioni, Josh Baker & Alfie Jack.

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The A-side kicks straight into play with Vitess using thunderous kicks and nimble hats to instantly grab your attention. The introduction of robotic pads and electronic synths teleport you to another dimension. Soft under layers and a driving bassline keep you moving. It’s the breakdown where all the elements really come into their own. The synth arrangement here takes you straight back to Acid House movement of 89’ alongside tight breakbeat percussion elements before dropping back into the groove. A grade weapon material.

Following on, Fuse (BE) resident Mandana shows her prowess in the studio. Distinct percussion and crystal clear hats accompany voltaic synths which instantly grab your attention. The introduction of a heart-warming bassline sets the tone of the track throughout. The contrast of ever the building hypnotic synths, precision like percussion and dub undertones works perfectly here.

Flipping it over to the B side and we begin a journey through space and time. The layers of this track evolve effortlessly. A master class in arranging from Andrea sees hi-end synths come and go throughout. Skipping hats and tight kicks create the energy and groove complementing the progressive synths. This is one that builds and builds and you’re more than happy to go with it as it does.

The EP concludes with duo Josh Baker & Alfie Jack. This is not the first time they have collaborated in the studio; producing yet again a sound perfectly blended and distinctively influenced from both their own individual styles. Intricate pads, accompanied by a deep and resounding bassline send you flying across the skies. New elements are introduced carefully throughout allowing the track too effortlessly develop.

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Safe to say this is an EP that will be enjoyed on many dancefloors across the world. Another one for the bag from OLDiViBES.

Words by Jordan Diston

Alci is one of those names in the minimal house scene that has been constantly dropping solid releases, a mixture of sophisticated music with a balance of groove and thoughtful flair that captures listeners and dancers alike. His latest work is no exception to the rule, released on DeWalta’s forward-thinking and top quality Meander label. The entitled “Can’t Dance” – inspired by the weird moment we’re all living in – is a four-tracker EP full of bass-jackin’ heavy tunes that reflect the high energy, versatility and laidback style of the young Swiss DJ and producer. The EP covers a good range of tones within minimalistic and technoid soundscapes perfect for anything between late-night dancing and early after-hours.

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Opener ¨Can’t Dance¨ starts off the recording with a walking jazzy bassline, enveloping the listener’s feet and head into a trippy funky groove. The bass dissonances from the glitchy elements and percussive textures in the middle ground section of the song adding a surrealistic feel. The irony of the vocal recording repeating the song’s title, in different pitched registers makes the track both fun and weird, a vibrant minimal roller that keeps feet moving despite the song’s contradictory title.

¨Sonsuz Seconds¨ takes form as a minimal house track with a more upbeat energetic groove cleverly spiced with organic and tribal sounds alike. Sparking warm percussions hypnotically captivate the listener as they respond to the deep and funky bassline that intensely carries the momentum forward. The glittering clicks and textures combine with full-bodied and acoustic percussions as it transports the listener to a tropical vortex-like dream. The track’s tone is emphasized with the gentle yet sharp synth that creates a type of pause and melodious colourful tension as it alternates with the driving force of the heated drumming polyrhythms. The combination of the robust kick, the open hi-hat, a sharp clave, and a crispy clap brings the track together as dancefloor minimal house weapon. 

On the flip, ¨Kelime Bir ¨ conveys a darker toned mood, with dry percussive clicks and drums that evoke a minimal techno dominance and somberness. Modular and analogue synthesizer melodic pads flow as they collide and drift in a dense sea of low-end sound waves. The vocal sample subtlety whispers distorted words which creates a mysterious ambience, while the closed jazzy hi-hat keeps pushing against the beat. The unexpected piano melodies, along with a nice rhythmic lead and syncopated bassline make for a flammable yet inviting musical cocktail.

Closing off, ¨Kelime Iki¨, dwells in a dusky mood and atmospheric minimal track. The track’s drumming entrances the mind with low-end frequencies that resonate steadily in time. The clap accentuates and moves the energy forward as it complements the downbeat in a simple yet effective manner. Shortly after, mumbling voices appear adding a sense of depth and enigmatic dynamism. Short synth pads leak into the foreground while incorporating cleverly a straight-headed hi-hat that firmly raises the dynamics of the track. The low-end bassline reproduces ascending notes which coast smoothly along with the beat. While pads with trippy bends surround the air as delicate deft tones. Once again, Alci proves that it is possible to seemingly combine simple backbone elements with refined details in a reductive and alluring composition while keeping the dancefloor on edge. “Can’t Dance” EP has already sold out in various record stores so don’t sleep on Meander’s latest addition to their catalogue. 

Words by Daniel Ordoñez

Today – about 10 years after since his first release – Jamie Lie A Kwie releases his debut album on the mighty Vatos Locos label. Known for his warm and charming groove tools, The Rotterdam-based DJ and producer has captured many facets on the entitled Groove Codex LP by introducing the listener to his personal vision of dub rhythms. A vision which is evident across titles across his work here; in fact, the 15-tracks album includes tunes called “Forever Dub” and “Re-Dub Overdub” that, as well as the other tracks on the LP, feature quite long analogue rides where large rolling low-grooves are boss.

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With Jamie being a personal favourite among tINI and Vatos Locos’ head-honcho Hector, to name a few, so much that his first output for the label is from 2016, the album traces his whole artistic path, starting right with “Jungl“, originally released earlier last year on the label. This track is a straight and heady minimal house track that since the very beginning makes us live the frenzy of the jungle thanks to pounding kick, tribal congas and a percussion loop that constantly gets pitched up & down, giving to the track a sense of restlessness. On the opener, Jamie features dark and mysterious atmospheres with some odd synths moving on long lines together with smooth arpeggios patterns in an effective interplay, especially when the pads arise in the break, before the drums cycle back smoothly, sharp and dusty. 

Up next, “Nordzee“, hits the spot by working on an interesting combination between the kick and the groove: the 4/4 beat takes a little further with a strange but effective the use of low percussions, to which is added an unconventional hi-hat right on the beat. Trippy and higher-pitched percs create a sort of hook for the drums to follow, with some mellow vibes also courtesy of lush and airy pads. Lifted two centimetres from the floor, we keep on floating on this intimate track.

On the entitled “Time & Again“, Jamie shows us his personal taste in the choice of drum sounds, bringing to evidence his love for fat grooves, re-taking some of those 2015-ish dub forgotten sonorities. Synths are further apart, shotting some harmonics on the heavy beat. A wispy breakbeat filters through, slowly coming to the listener’s attention during the break and continues for the drop, but once we are aware of it we can’t get rid of this stumbling shake.

Track 6, “Moving Current“, insists on a rusted groove where the drums are thin, with the exception of the clap which is fat and deep. On this one, Jamie gives to the drums the right dose of saturation, creating a grainy lofi feel. The snare roll picks the groove up at the end of four bars, creating an endless story combining with low reverberated pad chords that are drugging as down under smooth current. The synth line is melodic and introspective, sounding like an endless journey which takes us deep within the sea. This unfinished, infinite feeling makes the piece sounds fragile to its utmost expression.

Thus, “In Arts” goes back to a straightforward kick and bass relation. The kick is stingy and the bass rolls tight on it, with the drums getting more aggressive and the synths turning into hypnotic harsh-drivers, more harsh and definite. On this one, we lose that tinge of vagueness that we had so far for a more solid attitude. Reverbed drum hits create variation while the hat and clap proceed regularly and steady. The arp synth has a very deep house flavour, rubbery and everchanging. Melody is obscure and trippy, hypnotic, compelling. Just close your eyes, here’s everything you need.

Words by Francesco Quieti & Francesco Zambianchi