Dial co-founder Carsten Jost makes a rare solo album outing - only his 3rd new set since 2001 - with a collection of typically sleek and hypnotic minimal house groovers RIYL Lawrence or Kassem Mosse
Understated but rich with characterful warmth, Jost’s 3rd album and first new solo batch since 2017 sees the Berlin staple in elegant form, sashaying thru ten variations of subtly dubby, electro-, tech-, and minimal- divisions of deep house templates. Picking up where 2020’s retrospective set ‘Days Gone By (2002-2012)’ left off, the styles are simply of an era from the late ‘90s to B.C. days, prizing that classic Teutonic house blend of melancholy and slow burn optimism played out for all night and all day sessions.
The vibe throws us back to better, pleasure seeking times when there was a clear synchronicity between the sensuality of the drugs and the music, heard here at best in the likes of ‘La Collectionneuse II’ with its sexy trills and slippery chords, or in the floating pads and Latinate slink of ‘la Collectionneuse IX’, with sure-fire dancefloor lip-smackers in the dreamy melodic top liens of ‘La Collectionneuse IV’ and the heads-down slant on Detroit beatdown tucked away in ‘La Collectionneuse V’.
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Dial co-founder Carsten Jost makes a rare solo album outing - only his 3rd new set since 2001 - with a collection of typically sleek and hypnotic minimal house groovers RIYL Lawrence or Kassem Mosse
Understated but rich with characterful warmth, Jost’s 3rd album and first new solo batch since 2017 sees the Berlin staple in elegant form, sashaying thru ten variations of subtly dubby, electro-, tech-, and minimal- divisions of deep house templates. Picking up where 2020’s retrospective set ‘Days Gone By (2002-2012)’ left off, the styles are simply of an era from the late ‘90s to B.C. days, prizing that classic Teutonic house blend of melancholy and slow burn optimism played out for all night and all day sessions.
The vibe throws us back to better, pleasure seeking times when there was a clear synchronicity between the sensuality of the drugs and the music, heard here at best in the likes of ‘La Collectionneuse II’ with its sexy trills and slippery chords, or in the floating pads and Latinate slink of ‘la Collectionneuse IX’, with sure-fire dancefloor lip-smackers in the dreamy melodic top liens of ‘La Collectionneuse IV’ and the heads-down slant on Detroit beatdown tucked away in ‘La Collectionneuse V’.
Dial co-founder Carsten Jost makes a rare solo album outing - only his 3rd new set since 2001 - with a collection of typically sleek and hypnotic minimal house groovers RIYL Lawrence or Kassem Mosse
Understated but rich with characterful warmth, Jost’s 3rd album and first new solo batch since 2017 sees the Berlin staple in elegant form, sashaying thru ten variations of subtly dubby, electro-, tech-, and minimal- divisions of deep house templates. Picking up where 2020’s retrospective set ‘Days Gone By (2002-2012)’ left off, the styles are simply of an era from the late ‘90s to B.C. days, prizing that classic Teutonic house blend of melancholy and slow burn optimism played out for all night and all day sessions.
The vibe throws us back to better, pleasure seeking times when there was a clear synchronicity between the sensuality of the drugs and the music, heard here at best in the likes of ‘La Collectionneuse II’ with its sexy trills and slippery chords, or in the floating pads and Latinate slink of ‘la Collectionneuse IX’, with sure-fire dancefloor lip-smackers in the dreamy melodic top liens of ‘La Collectionneuse IV’ and the heads-down slant on Detroit beatdown tucked away in ‘La Collectionneuse V’.
Dial co-founder Carsten Jost makes a rare solo album outing - only his 3rd new set since 2001 - with a collection of typically sleek and hypnotic minimal house groovers RIYL Lawrence or Kassem Mosse
Understated but rich with characterful warmth, Jost’s 3rd album and first new solo batch since 2017 sees the Berlin staple in elegant form, sashaying thru ten variations of subtly dubby, electro-, tech-, and minimal- divisions of deep house templates. Picking up where 2020’s retrospective set ‘Days Gone By (2002-2012)’ left off, the styles are simply of an era from the late ‘90s to B.C. days, prizing that classic Teutonic house blend of melancholy and slow burn optimism played out for all night and all day sessions.
The vibe throws us back to better, pleasure seeking times when there was a clear synchronicity between the sensuality of the drugs and the music, heard here at best in the likes of ‘La Collectionneuse II’ with its sexy trills and slippery chords, or in the floating pads and Latinate slink of ‘la Collectionneuse IX’, with sure-fire dancefloor lip-smackers in the dreamy melodic top liens of ‘La Collectionneuse IV’ and the heads-down slant on Detroit beatdown tucked away in ‘La Collectionneuse V’.