You Just Give In, Giving it All to the Wind
Bristol's fka boursin goes deep; draping classic NYC/Chicago house moods with the kind of blunted haze you'd expect from one of Mark Ernestus and Moritz von Oswald's legendary Main Street 12"s. One for fans of DJ Sprinkles, Luomo, Frank & Tony or Kassem Mosse, for sure.
Presented without compression to "counter the over saturation of three minute, brick-walled, max-energy production trends in contemporary dance music", fka boursin's latest is a deep house purist's wet dream. Henry Murray's right that the process has removed something from club tracks - go back to the earliest, most vital house 12"s (or even DJ Sprinkles' milestone 'Midtown 120 Blues') and there's a soft, sensual quality that heavy handed compression has the habit of flattening. It's this era that Murray harnesses on 'you just give in...', letting a heartbeat sub do the heavy lifting on opener 'all kinds of shame (circumcised mix)' and waking the lulling rhythm with faint, soul-rousing electric piano stabs, humanizing vocal snippets and kinetic square wave synths. Long and patient, it's music that knows exactly what it needs - Murray's a keen, headsy selector and approaches his tracks with a digger's logic, spiking the nostalgia with some Bristolian low-end heft.
On 'decoupled', Murray looks towards jazz, adding skipping, hollow beats to his pool of undulating electronic hits and stabs, and expanding the deep veins with snatches of horn, harmonica and funk-fwd guitar. It's expert stuff that never reveals its hand too visibly, keeping its instrumentation veiled in smoky reverb and sounding like the missing link between 'Bug in the Bass Bin' and Galcher Lustwerk. So sensual, and so fucking good.
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Hand scrubbed textured record sleeve, with custom stamp by Ciaran Birch.
Out of Stock
Bristol's fka boursin goes deep; draping classic NYC/Chicago house moods with the kind of blunted haze you'd expect from one of Mark Ernestus and Moritz von Oswald's legendary Main Street 12"s. One for fans of DJ Sprinkles, Luomo, Frank & Tony or Kassem Mosse, for sure.
Presented without compression to "counter the over saturation of three minute, brick-walled, max-energy production trends in contemporary dance music", fka boursin's latest is a deep house purist's wet dream. Henry Murray's right that the process has removed something from club tracks - go back to the earliest, most vital house 12"s (or even DJ Sprinkles' milestone 'Midtown 120 Blues') and there's a soft, sensual quality that heavy handed compression has the habit of flattening. It's this era that Murray harnesses on 'you just give in...', letting a heartbeat sub do the heavy lifting on opener 'all kinds of shame (circumcised mix)' and waking the lulling rhythm with faint, soul-rousing electric piano stabs, humanizing vocal snippets and kinetic square wave synths. Long and patient, it's music that knows exactly what it needs - Murray's a keen, headsy selector and approaches his tracks with a digger's logic, spiking the nostalgia with some Bristolian low-end heft.
On 'decoupled', Murray looks towards jazz, adding skipping, hollow beats to his pool of undulating electronic hits and stabs, and expanding the deep veins with snatches of horn, harmonica and funk-fwd guitar. It's expert stuff that never reveals its hand too visibly, keeping its instrumentation veiled in smoky reverb and sounding like the missing link between 'Bug in the Bass Bin' and Galcher Lustwerk. So sensual, and so fucking good.