There are some tribal prints on the record sleeve that from a distance are even somewhat reminiscent of the mythical “Papua New Guinea” by The Future Sound Of London, but this 12”, Asturian producer Alejandro Rodríguez's proper debut (and by “proper” we mean on vinyl, with proper artwork and decent mastering, as opposed to the rigours and near-anonymity of a digital release), has nothing to do with the revival of nineties psychedelic electronic music, nor with the dubstep of the Shackleton school (who also likes to use African masks on his sleeve), the super slow and wriggling techno released on Modern Love or (it goes without saying) the tribal house of nightfall at Pachá. But the rhythm is the central theme here, its insistence, and the idea of getting into a trance. Starting from these precepts, Kresy, one of the new assets at Hivern Discs, meets the requirements for getting onto the label's roster, which really boils down to just one thing: being flexible in style so that we know where he's coming from, but not where he's going. Kresy connects with a very general, very deep idea of house, embellishes it with percussion beating like a racing heart (even deeper, more analogue, more 80s Chicago in the Aster remix dubbed, as if to emphasise the intentions even more, “Lots Of Percussion Remix”), but at the same time, he expands it in many directions, with pads reverberating in the distance like neon lights in Detroit. And all of that, with a fine sense of melody.
The other remix, by Jacob Korn, emphasises precisely that other trace of lipstick on “Lords Of Percussion”: the space voyage, the clues that lead to Detroit and to the memory of having listened to a lot of albums in the Red Planet series or Planet E (to which the producer adds a simple piano, classic and elegant). All of that, which makes up about 75% of the record, is great material for DJs who want their sets to feature tracks like bricks: solid and hard to crumble, to make the feeling of the trip (upwards) more intense, along with the feeling of immobility on the dance floor (this is music to dance to with your eyes closed). And when the end comes, with “Holding Space”, a track labels like Rekids or Innervisions would kill for, it's pretty clear that Kresy has given it everything he's got. He has made it hard for himself to live up to this on his next EP, but at the same time, his music itself, more because of the promise it holds than what he actually shows us, makes us understand that Kresy hasn't hit his limit yet. Rather than reaching his destination, it seems he's only just started walking.
Lords Of Percussion