- Anyone who has heard the full-length Richie Hawtin "DE9:Transitions" mix will be familiar with Jeff Samuel's 'Lost', which was originally released in 2001 on the Remains imprint. Bringing us up to date with his current audio airings is this "Bork" release, this time on the Trapez label.
The title track begins with plenty of hi-end as a skippy snare propels the track into motion. A well-defined synth manifests itself early on following some single key stabs, which filter in and out at stages to add caprice. Using these keys, minute melodies are assembled - demanding our attention and allowing the track to circulate freely. The synth assumes the role of the bassline for this part of the piece, becoming the only real constant in the equation thus far but this format is shattered soon after as everything stops dead. Then something wonderful happens - a 'real' bassline enters the fray, giving a moodiness and edge to an otherwise unsullied piece of music before the other elements rear their heads again. This quirky, little number could be quite a useful track to have in the box and might appeal to the more versatile DJ. Though one might be forgiven for assuming that this is just a piece of good electronica without any alignment to any particular scene or with a definite orientation towards a club floor. (7/10)
"Gonadotrpin" on the flipside acts as the perfect foil to the A-side in the sense that it seems to be geared much more at the dancefloor. Opening with squelchy handclaps it doesn't take long to grab the listener, using all the right ingredients in all the right places to initate an enchanting groove. Sonar bleeps, a solid kick-drum and that little start/stop digi-disco loop keep reverberating while a subdued synth is buried in behind all this.
Pausing momentarily, we're soon off again as the hi-end gets more acknowledgement and it's heads down all the way. Personally speaking, this track, is my favourite of the two and really intrigued me from the start with the way it uses just enough tempo to get the head nodding without losing its composed nature. Minimal but by no means overtly nominal in the usage of its elements, this track should suit those who like to build up from deep in their set with an ambition to really work that groove when the time is right! (8/10)