- Three years on from his BPitch Control debut, Thomas Muller comes with a four-track 12-inch of spacey, widescreen, techno and shimmering, dubby electronica. "One Hit One Night" opens up like some refugee from Daft Punk's Homework before quickly morphing into a deep, driving dance floor destroyer. There's a thrilling percussion coda that sounds like Muller has opened up the studio door and found a thousand Duracell bunnies outside, clattering away at the cymbals. "Paris Asylum" scuttles along—at first—to a classic, fidgety, minimal-style beat before clipped hi-hats chime in, eventually reaching a deliciously unholy climax of Deathstar alarms and a skippety 4/4 rhythm.
"Sub Summer," is a somewhat schizophrenic, but effective, bubbling mass of frazzled synth brass that rolls and stumbles like a drunk at a wedding, accompanying a barrelling groove that cracks on like a team of huskies. Four minutes in, it begins its inexorable descent towards the breakdown, culminating in an aural splash that sounds like a thousand electro cats being ray-gunned to death in an alley. As if to rubberstamp Muller's versatility, closer "Rude Way for Sweet Heart" is an understated locked groove, punctuated by dubby whooshes and swarms of droning keys that plays out to some sun-dappled, Air-style Rhodes piano. If Muller can keep his focus, BPC have quite a talent on their hands.
A1 One Hit One Night
A2 Paris Asylum
B1 Sub Summer
B2 Rude Way For Sweet Heart