Next up on Creme Organizaiton is Lake Haze. The Hague based Portuguese artist is a regular on this label having put out four EPs in the last two years. He's also linked with Unknown to the Unknown and Shall Not Fade so is an esteemed talent with a blistering sound that fuses futuristic techno and electro into storytelling dancefloor dynamite. Space Reservoirs kicks off this EP with slow but heavy drum work, acid twitches and spooky cosmic echoes. The Observer picks up the pace with quick and slick kicks from the streets of Detroit overlaid with ripping electro basslines and deep space atmospherics. Unexplored Oceanic Territory is expansive electro with busted drums and echoing pads that add real scale before more acid finishes things off with real rawness. Prototype is dark and heavy, with another searing baseline and crisp metallic hits, then Into The Unknown is a blissed out electro roller with dreamy pads and twinkling keys melting into the cosmos. It closes out another essential EP from this timeless producer.
Creme Organization's latest missive comes from Fabio Monesi, an Italian with a gritty house sound that is aimed squarely at the club. He's served up punchy beats on labels like Russian Torrent versions as well as his own Wilson Records before now and has a simple but effective sound. 'Riot' kicks us off with rock slid kicks and lithe synth stabs fleshing out the macho groove. Clever vocal samples bring some steaminess and ensure this one will do plenty of damage on the floor. 'Last Friday' is a raw and lo-fi affair with rattling, sharp edged hits and hissing synths all softened with jazzy chords. House drums and rolling bass prop it up in groovy fashion, then 'Reduction' is a frazzled brew of spiting hits, jerking machine grooves and busted frequencies that is as raw and tough as you like. Last of all, the excellent 'Ozyork' rounds us out with punchy drum programming, intoxicating and off kilter chords and brain frying sonic imperfections that are perfectly imperfect. Add in a deep acid line and you have a surefire house bomb with real meat in its bones.
Creme Organization returns in July with four searing electro cuts from Dutchman Ekman. Mixing up West Coast electro with tougher, more textured techno styles in recent releases for Berceuse Heroique and Bedouin Record, this artist is as much about the past as the future and proves that across this new and impressive set of tracks. Doomsday Argument is not as dark as you would expect form the name: its a lithe and slippery electro affair with crisp snares and gurgling bass all topped off by a freaky top line. The Great Filter mixes up distorted bass with rippling glass synths and sounds both spooky and cosmic, then Post Singularity Day picks up the pace with a quick and urgent Drexcyian style that is restless, dynamic and busy. Last of all Antifragile is a wild acid workout with rocking beats and ripping 303s that twitch every nerve in your body.
Creme Organization welcome a new producer to the ranks for their next EP: that man is Rhythmic Theory, a mysterious artist from Bristol who has years of experience of DJing, producing and running labels behind him. Most recently he has been in charge of his own eponymous label, and has close involvement with the BRSTL imprint as well as releasing on Idle Hands and Happy Skull. Across four track he shows a number of different sides, all of which are fascinating and inventive. Pessimists' opener Empty House (RT's Choppage Mix) is a sparse and broody track with, at first, only the occasional kick drum beneath sooty synth smears. Its from a post-human world and eventually turns into a lurching, off beat track that rises form the ashes of jungle and dubstep with real menace. Outlawed From Reality is another slow and purposeful track that is eerie and cinematic: the off beat drums and spooky atmospheres are full of intrigue and suck you right in, then Cyclic Motion continues to bring a paranoid and unsettled feel to the EP with its layering of elastic drums, naught sine waves and scattered drum hits. Last of all, Rachael's Theme mixes up passages of blissful cosmic ambient with loose, rumbling drums and a general vibe that feels something akin to passing from this life to the next.
Raw Tools label boss and Bucharest based producer Romansoff is making his debut on Creme Organization in 2016. His Wrath of Zeus EP features four tracks of the sort of frayed and authentic house music that the label is known for around the world. Romansoff mostly releases on his own label but has also served up plenty of rawness on Machine Records, Mork and Bitter Moon. Bundle of Acid is the opener and is a heavy but mystic track with grainy claps and plodding drums undermining bubbling synths. It's crunchy and spooky and really comes alive with some squiggly acid lines. The title track is more stripped back and trippy, with corrugated drums and nervy chords trapping you in a suspenseful groove before Who You Gunna Call is another rough hewn analogue monster that manges to take you down into some cavernous underworld at the same time as offering up some angelic emotions. Lastly, She Owns The Game is the most melodic of the lot, with a far sighted ripple of keys, spaced out atmospheres and muttered vocal lines all making for something that is truly from another world.
Liverpool artist Stu Robinson aka ASOK steps up to Creme Organization with a debut full length offering, A Mind Forever Voyaging, due out spring 2016. Featuring ten tracks of macho yet melodic, tender yet tense analogue house and techno, it is a continuation of the fine work the Scenery Records boss has done for labels like M>O>S and Mistress in the last few years. Something of a late starter, Robinson has fomented his own mystical, nostalgic, inventive analogue sound that makes you jack, as well as conjuring real emotions with his great knack for melody. This album was recorded live then edited down. "So if something doesn't sound good it either stays in or I re-record the whole thing," says Robinson, who used things like Maschine, tb303, analog RYTM, JX-8P, Microkorg, some plugins and "a shit load of old rave samples" to create his debut full length. All written at home over a period of a year or so, it proves the artist has plenty of ideas and more than enough skills to carry them off. All unified by a sense of emotion and kinked dance floor groove that has been picked up over the course of 25 years of living and breathing many different forms of dance music, it is an accomplished debut.
As an introduction to his upcoming debut album 'A Mind Forever Voyaging' Liverpool artist ASOK brings a teaser for what to expect. Full album out late April.
A1 – Solar Express: The first piece of music on the Natural Insight EP is a deep synth adventure that has plenty of details & features. The analogue sounding pads that envelope the intricate leads have a real warmth to them whilst retaining an unprocessed feel. The main synths themselves are quite free form in their structure, this gives a fluidity and movement to the melodic lead section. There is also a raw acidic 303 sound that gives more immediacy to the track and complements the softer elements to perfection. The percussive components are formed with a kick, snare, click, tom and hat combination that has a great energy to it. Solar Express has a forwarding thinking way about it, but has its roots firmly in the past; and with instantly recognisable core, a great way to start the EP.
B1 – Unknown Locations: We flip over to the ‘B-Side’ with the first slice entitled “Unknown Locations”. We find a full blown almost early techno rave quality to it. This is a good thing, as the amount of raw power in the track will literally have the listener nodding their head off their shoulders in some crazed dance frenzy of days gone by. The beats are straight out of the early 90’s techno bag, with solid kick drums, manic tapping snares, urgent hats and metallic percussive sounds. This excellent groove is accompanied with a hammering main synth part that really has an addictive quality to it. This track bounces along and has such a great uplifting vibe to it you can’t help but smile when you hear it chugging in the groove.
B2 – Geisterbahnhofe: Lake Haze close the EP with a downtempo acidic number that has all of the parts that made the previous two tracks so successful to the ear. The one / two beat structure with the retro synth sections are really reminiscent of 80’s TV show soundtracks, think Miami Vice and you are in the right ball park. The snappy snare really stands out in the rhythm of the tune, and the acid line just drops in and around this beautifully. An urgent of the main synth part really gives a powerful and dramatic feel to the track. This is laid back but with a little subtle power to it, its probably not as dance floor oriented as the previous two tracks but it still has plenty energy.
Acclaimed Italian house producer Simoncino is back with another full length album, AmazonAtlantis, this time on one of his regular label homes, CremeOrganization.
Simoncino, known for his real passion for collecting and playing authentic analogue gear and his ability to craft dream like soundscapes and mystical house atmospheres, made the album over an extended period of time in his home studio in Perugia, Italy. The album features two collaborations with close friend Legowelt and legend VincentFloyd.
Spaced out moods and cosmic signifiers, classic break beats and deep and gurgling house beats. This is a complete album that takes you on a roller coaster ride through myriad different moods and grooves, always with an authentic sense of atmosphere and real sense of purpose.
RobertCrash is an alias of Italian DJ and producer FransescoSchito and now he makes a debut outing on CremeOrganization with a tidy four track EP.
In the past he has turned up on Dog In The Night Records, and with these cuts lays out his singular take on outlier house and techno. Up first is 'Gigolo', a spare and weird house cut with sine waves and random claps, hunched drums and trippy synth lines. It's a unique track made in a unique way and will lead to plenty of freaky dance floor moments, for sure. 'Co. Art' is a whacked out techno cut with slap-funk claps, blistering and blistered synth lines and a rugged bit of bass underlining it all. The track is cavernous and metallic, empty and distant as if it somehow survived a nuclear blast. On the flip, 'Alzheimer' is a slow and gurgling, swampy techno number with broken drums and crawling synths that sound like their batteries have run down. Icy, watery melodies eventually rain down, but the track remains resolutely eerie. Last of all, 'Fabric' is another decaying track with subtle, heavily filtered synths and drums all making for a minimal groove that is barely there. This is heavily deconstructed music that sounds like little else out there and may well be the start of a very fast rise through the ranks for Robert Crash.
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