Much like his music, the talented Hans Thalau came to Fresh Meat's attention organically through praise from our friend Matthias Vogt. The two originals offered here, And I and Me, are subtle groovers utilizing a stylish economy. They are quintessentially Fresh Meat in that they make temporal pigeon holes useless. Hans' music is of the kind experienced House DJs will return to time and time again. His previous work for labels like Ferox, Moonpool and Trenton have found their way into the record bags of major players like Jimpster, Josh Wink, DJ Deep, Ewan Pearson and Anja Schneider. The original version of Me is a tasteful builder. Shiny drum machine percussion is wedged against a single oscillator bouncing bass line and coated with electric piano, a filtered saw pad and ghostly male vocal chants. On remix duties we enlist the considerable talents of matchmaker Matthias Vogt (of Motorcitysoul fame). Matthias keeps the bass line and vocal chants of the original intact adding layers of new hypnotically insistent synths lines. Vogt's delicate touch moves the track almost into psychedelic territory teasing and twisting each element to its most outward reaching cosmic limit. We love House music like this that shakes the hips while reaching into the imagination. And I original version has more snap and crackle to it. Female vocal snippets play with shakers, a tidy discoesque bass line, tripping keys, a whirling mono pad and reverberated space tom-tom knock. There's just a bit more jak in And I, which is why our Nathan Drew Larsen took the helm for a heady reworking. While Hans' productions are unapologetically square, Nathan shoots from the hip with a loose improvised approach. He begins by layering live rhythm parts and sampled objects followed by unquantized analog drums. Nathan keeps the vocal stabs running them less regularly, and plays innocently with the original's main stabs bending them to the will of his Chicago-centric chugging party machine. He keeps the jaunt together with three layers of bass; one echoing the percussion, the second talking back to the toms and the last bellowing from his beloved Moog Voyager into subsonic space.