Margot MargotFrance 2
BORDER COMMUNITY (29BC, 12” + digital)
The first thing we heard about Margot was the stratospheric remix Extrawelt did of their “Torch”. This was in 2006. Those were different times: Border Community was at the peak of it’s popularity and James Holden was treated not unlike the Messiah resurrected. Four years have gone by and things have changed. The label that revolutionised emotional dance music lost it’s place in the spotlight, but it keeps releasing exceptional music. Holden is absolutely no genius when it comes to producing, but in his DJ sets he shows his talent. If he has been consistent in anything over the years, it’s that he almost always included something by Margot in those sets, something hardly surprising if we keep in mind that the music the Italians Daniel Valenti and Stefano Serafini make holds many of the things the BC boss likes so much: dark moods, kraut, analogue arpeggios, glum melodies and, above all, emotion. In other words: Margot and BC were destined to come together.
“France 2” contains all these elements seen from different viewpoints. The title track seems to have a clear objective: arms in the air and a smiles on the clubbers’ faces. In order to achieve that they use a huge arpeggio, maybe even too big, a gloomy bass line and dramatic pads that give the song that disturbing atmosphere so typical for the Rimini duo’s productions. On “Voci Giaga” they use more arpeggios, this time with an obvious kraut inclination. With a kind of galactic ping-pong match as rhythmic background, the song evolves until Valenti’s voice bursts in, in this case reminiscent of Thom Yorke and adding a pop layer to the track, far from the robotised fantasy we heard on “Autunno”, his previous appearance on vocal duties. “H2” is maybe the best track of the single. It starts out combining an acoustic drum with shaded sequences, and through a melody that brings a bit of light, the song transforms into a psychedelic voyage reminiscent of what Four Tet has been doing lately. The 12” becomes complete with “Oceano”, which starts as ambient, only to expand via kosmische before withdrawing again in a rain of percussive sounds of watery texture, in a new demonstration of Margot’s capacity to make music that advances spirally and evokes the heavenly bodies. Sensations which are constant on this release. Think Goblin remixed by Luke Abbot. If you like the idea, you know what to do next.