I like a man who gives good rimshot. In Chicago-, and to a point, Detroit-influenced house and techno it is often the rhythm of the rimshot that makes for the final carrying away of mind and body, creating the final state of hypnosis. What it is that makes a crowd throw their hands up in the air or makes a person sway their head back and forth, eyes closed, aided or not aided by illegal substances, is one of the more endearing mysteries of our time.
It was house music history’s prime example, Fingers Inc’s “Can You Feel It”, that freed the mind and the ass followed; it’s this influence that is carried into the future again and again by old and new disciples of house. Many other pioneering tracks of the summer of ’88 and beyond changed football hooligans, skeptical rare-groovists and hip-hop worshippers into pill munching, arm-waving ‘acieed’ screamers at mass love-ins at London’s Heaven and Astoria for starters, resulting in a worldwide culture that continues to thrive to this day, with no end in sight. As always, the UK took American music and made it known to the world. So, it is with thankful recognition of these mechanisms that Oliver Deutschmann’s album is received.
The intro track, “Fever”, sets the scene for what’s to come with ear-pleasing effect in an almost chilled but never ‘chilled-out’ swoosher, letting the listener know that this album is to be enjoyed as a journey. Continued seamlessly, “Sadness Descends” is like a “Go” for the terminally dark stars among us; an anthem for days where the blinds are drawn. There are “Sueno Latino” reminiscent moments in songs like “Die Tiefe”, with its mellow acid theme. It keeps adding more and more elements until the voodoo is complete, paying tribute to Deutschmann’s ability to explore a theme to completion. Each new rhythmic addition makes mind and body jump with joyful recognition of something known and lost, but now rediscovered. This goes for most tunes on this album, including “Space Desert”, which takes us into more Chicago-tinged territory with swirling synths, again managing to bridge the divide between Chicago and Detroit. One of the finest efforts, “Darkness Descends”, goes to town on two different rimshot patterns and a large marching clap, and dark Detroit synth swooshes make for a deep journey into the twilight zone. But the standout moment must be “They Bleed Glitter”, a seriously good song title for a short but sweet acidic cherry.
Deutschmann is a master of using classic elements of snare, kick, rimshot, and synths to miraculously manage to create something unique, making for the perfect mind and body music. Not to be sniffed at is the high mixing and mastering quality of the album, which, as many of today’s would-be producers would acknowledge, add massively to setting an album apart in this crowded territory. Added dancefloor friendliness should ensure this album to be a pleaser of basement crowds as well as classic house music lovers.~
Oliver Deutschmann’s Out of the Dark is out March 18, via vidab records.
Published February 25, 2013. Words by Billie Ray Martin.