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  • Release Date 2012-01-30
  • Label Insomniafm
  • Catalog IFMR045
Franzis-D aligns himself with producers like Synkro and Indigo, artists who make beatific bass music that chisels bits and pieces from other sounds into a beautiful but unclassifiable whole. Vocal samples, chirping synths, springy and swingy drums, all lathered in a heavy coat of reverb: Franzis-D's sound is not an unfamiliar one. But look closer and his structures are slightly off kilter: often his vocal samples seem like they're falling off the beat and landing in jagged crooks. The original track is so swollen with the weight of their emotions that they basically topple over and spill out, and the clashing of vocals and beats creates a dissonance more heartbreaking than any hackneyed chord progression. Matias Fernández Viña remix is nothing particularly clever about the way each one is introduced, but the resulting synergy is quite remarkable. Impersonating sound at first, a simple synth loop opens the proceedings. It quickly moves to a harsher twang, ushering in a gravelly clap and a second posse of hi-hats, this time more ragged. John Ov3rblast remix shows just how large and gleaming a tower he can build. A trilling arp and bright-hued vibes are vital here, but it's a series of singing strings which make the biggest impression, glancing in and out of the mix like a shimmering school of fish.. Orelse remix it's just as pretty, but far less cloying, the jaunty bassline is one of the most interesting bits, chiming in only on every second bar, this is a strong anchor around which the other elements again overwhelmingly cheerful rally. Zan Preveé remix are enough to get you dropping a shoulder, as a muffled bassline grows and growls, though, so does your propensity to dance like a loon in its twisted. Dj Duma is dense and kinetic, with lowdown and subdued melodies just about balancing out the frantic intergalactic battle going on up top, his point of focus is constantly changing whereas the brutalist "Folklore" has you firmly locked onto its diving bass. The last remix on this EP is from John D tranquilized horn line and a supple groove which grows ever more prominent until the understated breakdown, when everything comes back in and the groove engages once more, it's deep but well aerated.
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