Rampa - For This
Reznik - Schuhu's Groove
&ME - Fairchild
Quim Manuel - Eme Lelu (Adam Port Edit)
Celebrating ten years of Keinemusik, this EP showcases where the label’s at right now. Four tracks of all the four KM members – and a wide stylistic variety, that is!
Here we go with Keinemusik’s newest release – it is already number 47 and going by the lovely title “Hand In Hand”. Speaking of, let us just give you a hand real quick and elaborate on this. The label is actually turning ten years in 2019. That is ten years of quite a few buzz making records within the back catalogue, ten years of priceless memories on the road, in the studio or somewhere in-between and above all, ten years of doing things hand in hand. So therefore the release to celebrate the occasion simply needs to carry this name. The idea is pretty basic: everyone of the label’s mainstays is handing in a tune.
Rampa is starting things off on the A-side with “For This” – a collaborative effort together with Berlin born and London based singer Chiara Noriko. It is a track rich in contrast, laying down a roughly shaped foundation featuring a swirling bass and shimmering synthnotes, but then suddenly enriched by harmonies and topped off by Chiara’s yearning croon. Safe to say, the rather emotively charged frames of a clubnight have been waiting for this.
Then there’s Reznik – up to this point being in the picture as the DJ only fella – chipping in “Schuhu’s Groove”. A cut that indeed delivers a good amount of grooving energy. And at the same time, a bright tune that’s switching beat patterns and indulges in Neo-Disco- leanings and funked up synth arrangements.
&ME is opening side B with “Fairchild” and yet another sophisticatedly laid out floor epiphany, showcasing his ability to shape monolithic yet soulful peaktime masterpieces. Here he introduces staccato synths on top of a stoic groove, that are being shrouded by a pending note and then ultimately enlightened by pads and an instantly infectious piano melody.
And finally we find Adam Port on B2, pursuing his knack for lost African treasures. Once again he finds the source material in an old traditional by Quim Manuel O Espirito Santo. Port’s edit of “Eme Lelu” seeks to update the original in some of the rhythmic patterns and create a whole new dramaturgic, floor tweaked build up, yet he leaves the original’s cheer- and playful nature untouched. Cheers to Analog Africa for providing the original composition.