this friday, september 21st, leeds blog and event crew hush house throw their first party of the term at the garage.
teshno
'in germany, they can't say 'techno,' they say 'teshno'' ~ seth troxler [march 2008]
october & outboxx speak about their leeds debut
teshcast f ~ kidkut: westernunion
whenever i write about immerse i point out it’s an under appreciated label. now having heard this, a very substantial mix of varied, tasteful house, i reckon it’s fair to say the boss of said label may well be under-appreciated, too. as well as steering his bristol-based mutant-bass label through some beautifully individual breakbeat and dubstep offerings alive with static and crackle (from the likes of sigha, (cosmin) trg and kontext) his own productions have been high on inventiveness to the point where scuba has snapped a pair up for his hot flush imprint, due for release late this year.
outboxx – kate libby’s / bertie’s groove on immerse
last time i wrote about this label i said “immerse is a rare thing in today’s electronic music landscape… it’s actually underrated. traversing the darkened wormholes between crackling breakbeats, fizzing dubstep and sketchy techno – and despite having its roots in the bass music epicentre that is bristol – the label’s reach is far and wide with artists coming from ukraine, russia, london and the us.”
whilst all that is still true, you can now add house music into the imprint’s ever expanding pot of sounds thanks to this loose, funky two tracker from b- town production duo outboxx.
it’s not over familiar sounding house music, though, instead it seems to come from a different place – one where rounded, bouncing bottom ends are of most importance. adding colour to the warm-up 4/4 pomp of ‘kate libby’s’ are ever rising pads, wooden hits, bubbly claps and subtle hi hats for that all important sense of slide as well as bounce. a sparing ‘booooi’ vocal wins out on occasion to add the all important human touch and a combination of distant key strikes and jazzy sonic sketches blow the whole thing up into a deliciously heartfelt and organic slo-jam.
on the flip, ‘bertie’s groove’ is much more hurried where the beats, organ stabs and more metallic percussion almost fall over each other in their endlessly churning cycles. it’s reminiscent of a diynamic cut for its trackiness and instrumental flourishes, but a building mid-section and sporadic, tension-breaking flutter of keys mark it out more as a perky and quirky house number than a stale slice of dishwasher tech. again organic, again enveloped in sub bass, it’s a charming effort that draws a smile as well as a head nod which, if i were a dj, i would file under ‘classy ‘floor filler.’