Scuba ScubaTriangulation (Interpretations)
He’s back, and this time he’s brought a friend. Yours truly has already sung the priases of “Triangulation”’ on these pages, the very elegant cosmic exploration from a bass, garage, grime, dubstep and techno perspective, an exhaustive work that is definitely up there with the best releases of this year. With the smell of jasmine still in our noses, after countless praises in the press of his second album effort under his Scuba moniker, Paul Rose has shelved his DVDs with Cesc Fàbregas –avid Arsenal fan as he is– for a while to reissue the album with a bonus that will have the collectors drooling and the buyers of the LP the first time around angry. That’s capitalism for you, friends, unfair with the early birds, generous with those who came late. Like it or not, “Triangulation” reappears in the stores with a bonus, a complete extra CD with remixes by Rose himself and other soldiers of the futurist urban beat army. Hey ho, let’s go.
Seven cuts taken from the original source and remodel on duty, that’s what the bonus disc has to offer. The affair goes in different directions, which is a good thing on products like this one. Rose takes care of reinventing “Before”, now called “Before (After)”, applying an oceanic deepness via emo synthesisers, lethargic echoes and female laments: it’s the song Massive Attack have been trying to record for the last five years. Downtempo taken to the category of art. He also gives “I Got You” a lifting, re-baptised as “I Got You (You Got Me)”, and he comes up with an 8-bits flavoured dancefloor ditty, extremely funky and with aluminium ambient waves: nerve and quality.
There’s room as well for more classic dancefloor options, like the technified house offered by Will Saul & Mike Monday on their remake of “Latch”. Frantic, winding and steamy like the London fog. Falty DL gets his hands on “On Deck” and turns it into a precious piece of ethereal garage with handclaps, a foundation of futurist synths, spectral sighs and a percussive framework that sounds like the rattling of a ghost train. Those who want more beef are catered to with the deep, solid and cold-blooded techno of Deadbeat. His remix of “Tracers” is without a doubt the most monolithic effort when it comes to the bass drum. There are industrial echoes, Berlin spirit and a supreme elegance in the fabrication of the 4x4. Exciting, like the tense pianos of “So You Think You Are Special”. Joe responds the call of the minimal with a piece that is precise like clockwork and moves like a snake, which gives the original a strange and puzzling feel. And the best is for the end. The trip ends with the sophisticated jungle of Deadboy, who spices up the beat of “Before” without ignoring the crepuscular synths that define the original. Gold medal for an almost masterly lecture of plastic surgery, but two or three cuts more wouldn’t have been too many.