Darling Farah Darling FarahBerline EP
CIVIL MUSIC (CIV014, 12” + digital)
Darling Farah belongs to the category of nomad producer of the sort that nobody knows where he’s coming from, or where he’s going. According to Twitter and MySpace he’s supposedly located in Detroit and Dubai, although those two locations don’t tell us what we want to know about this person, as his sound is pure Chicago. Kamau B. –the only clue he offers about his true identity– is a latest generation jack master who on this, “Berline EP”, offers his vision on the sonic dialogues established as of late between the American Midwest and the banks of the river Spree. His sound possesses analogue thickness, crunchy bass lines and a groove that wants to be warm; it’s sexually high voltage, with a background of darkness like many of the productions by Todd Osborn and Seth Troxler. It’s that balance between nu-jack house and the formal rigidity of European minimal that situates Darling Farah, from now on, in the spotlights: what he’s going to be releasing could be dynamite for clubs with good taste and style. However, “Berline”, the tune, isn’t the best part of this 12”. Neither is the naked and precious remix by Clara Moto, nor the more garage-ish vision –with cropped vocals and round bass lines, between the Night Slugs label singles and the cut-up techniques of Todd Edwards– by Christian Martin. No, the best is the acid bath with 3030 overdose the new idol of boogie-house FunkinEven (for whom there don’t seem to be any limits lately) dips the track in. Every song, every remix, is a reason to throw a party, and that goes for this one, too: his acid undulations are more dangerous than a ditch full of gunpowder and a lit match stick.