Dub techno mainstay Deadbeat teams up with cult entity Sa Pa on 'The Mountain', a suite of confidently engineered and unexpectedly funky dub house experiments, somewhere between Luomo, Shinichi Atobe and Juju & Jordash.
Scott Monteith has been on a roll recently, releasing a bunch of collaborative albums with The Mole, Om Unit, Martin Bakero, and Paul St. Hilaire, as well as a three-hour hybrid live recording for Iranian radio. For this latest set, he matches with Sa Pa for the first time for a set of saturated burners that bridge the gap between dub techno and deep house. Early highlight 'We All Got the Bends' is an immediate example of Deadbeat and Sa Pa's collaborative sweet spot, a hard swung, biz, filtered through Monteith's usual hot desk of dubwise trickery.
'Dawn Time' goes further, building in a P-funk bassline and horizontal electric piano chords to accentuate the duo's devotion to deep house, while 'Yume No Serei' adds a swirling, robotic vocal over hollow drums and narcotic synths. Far from all locked into the same template though, Deadbeat and Sa Pa switch things up on 'High Pressure', diverting their attention towards more expected 4/4 spaces, peaking with the squelchy Basic Channel-indebted 'Wormwood Theory'.
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Dub techno mainstay Deadbeat teams up with cult entity Sa Pa on 'The Mountain', a suite of confidently engineered and unexpectedly funky dub house experiments, somewhere between Luomo, Shinichi Atobe and Juju & Jordash.
Scott Monteith has been on a roll recently, releasing a bunch of collaborative albums with The Mole, Om Unit, Martin Bakero, and Paul St. Hilaire, as well as a three-hour hybrid live recording for Iranian radio. For this latest set, he matches with Sa Pa for the first time for a set of saturated burners that bridge the gap between dub techno and deep house. Early highlight 'We All Got the Bends' is an immediate example of Deadbeat and Sa Pa's collaborative sweet spot, a hard swung, biz, filtered through Monteith's usual hot desk of dubwise trickery.
'Dawn Time' goes further, building in a P-funk bassline and horizontal electric piano chords to accentuate the duo's devotion to deep house, while 'Yume No Serei' adds a swirling, robotic vocal over hollow drums and narcotic synths. Far from all locked into the same template though, Deadbeat and Sa Pa switch things up on 'High Pressure', diverting their attention towards more expected 4/4 spaces, peaking with the squelchy Basic Channel-indebted 'Wormwood Theory'.
Dub techno mainstay Deadbeat teams up with cult entity Sa Pa on 'The Mountain', a suite of confidently engineered and unexpectedly funky dub house experiments, somewhere between Luomo, Shinichi Atobe and Juju & Jordash.
Scott Monteith has been on a roll recently, releasing a bunch of collaborative albums with The Mole, Om Unit, Martin Bakero, and Paul St. Hilaire, as well as a three-hour hybrid live recording for Iranian radio. For this latest set, he matches with Sa Pa for the first time for a set of saturated burners that bridge the gap between dub techno and deep house. Early highlight 'We All Got the Bends' is an immediate example of Deadbeat and Sa Pa's collaborative sweet spot, a hard swung, biz, filtered through Monteith's usual hot desk of dubwise trickery.
'Dawn Time' goes further, building in a P-funk bassline and horizontal electric piano chords to accentuate the duo's devotion to deep house, while 'Yume No Serei' adds a swirling, robotic vocal over hollow drums and narcotic synths. Far from all locked into the same template though, Deadbeat and Sa Pa switch things up on 'High Pressure', diverting their attention towards more expected 4/4 spaces, peaking with the squelchy Basic Channel-indebted 'Wormwood Theory'.
Dub techno mainstay Deadbeat teams up with cult entity Sa Pa on 'The Mountain', a suite of confidently engineered and unexpectedly funky dub house experiments, somewhere between Luomo, Shinichi Atobe and Juju & Jordash.
Scott Monteith has been on a roll recently, releasing a bunch of collaborative albums with The Mole, Om Unit, Martin Bakero, and Paul St. Hilaire, as well as a three-hour hybrid live recording for Iranian radio. For this latest set, he matches with Sa Pa for the first time for a set of saturated burners that bridge the gap between dub techno and deep house. Early highlight 'We All Got the Bends' is an immediate example of Deadbeat and Sa Pa's collaborative sweet spot, a hard swung, biz, filtered through Monteith's usual hot desk of dubwise trickery.
'Dawn Time' goes further, building in a P-funk bassline and horizontal electric piano chords to accentuate the duo's devotion to deep house, while 'Yume No Serei' adds a swirling, robotic vocal over hollow drums and narcotic synths. Far from all locked into the same template though, Deadbeat and Sa Pa switch things up on 'High Pressure', diverting their attention towards more expected 4/4 spaces, peaking with the squelchy Basic Channel-indebted 'Wormwood Theory'.