Last Year at Marinbad slides back into view once again with a bountiful audial offering from musical polymath Alejandro Mosso, which contains just about all the emotive enrichment you could ever want from a dance music record.
Mosso, originally from Argentina but currently based in Berlin, has since 2002 released a plethora of records that have, over time, showcased his sound and craft as one of profoundness and emotional dexterity. Mosso has aligned himself within the threshold between House, minimal, tribal, and experimental music, with a firm eye on creating razor-sharp sounds and highly immersive audial palettes. This curiosity stems from Mosso's range of compositional and technical skills, with a degree in Sound Studies and Sonic Arts highlighting his fascination with the look and feel of what can be heard and touched upon with music. His live performances epitomize his approach to his craft and have been highly received around the world, no matter the space. Mosso's discography is littered with releases on some of the best labels going, including the likes of Hivern Discs, Third Ear, LumineresLaNuit, and his own imprint Mosso - a real journey throughout the electronic music cosmos.
'Esserts' represents the latest chapter in his story, with the four trackers packed to the brim with heart-skippin' melodies, fabulous driving rhythms, and some blue skies sprinkled throughout. The title track begins with a piano chord hook that could melt ice in an instance, with the drums growing and evolving as the bars pass on by. Additional chordal lines emerge to add dynamism and flavour to proceedings, with the track reaching an emotive peak around the half way mark - the manner in which it unravels and envelops the eardrums is truly magical. 'Bruson' comes next, and this one bounces with a satisfying feel, with the additional bass line adding groove and feel to proceedings. The melodic notes that emerge up top are a delight, subtle in their displays and engaging in their dynamism - the guitar lick that drives through adds a real hands-in-the-air moment.
'Sosneado' kicks off the B side, and this one comes with the melodic line and rhythm self-contained to get things going. The swirling notes are hypnotic in nature, with plenty of time provided for the groove to really wrap itself around the listener, with the vocal-like keys that come into view helping to emphasize the feeling found within. To wrap things up, we have none other than Laurence Guy giving his twist on the previous number, and as a remix it gives over so much. The beat carries through to the breakdown, which turns things way down before revealing a hyper-melodic come up, with a sax line and additional chiming keys creating a real audial feast. As a record ender, it sums up the vibe perfectly, a real drifter to leave that sweet taste lingering just that little bit longer.
Alejandro Mosso has always set the right kind of tones within his music, with an ability to shift levels from driving, purposeful dance groovers through to soft, considered rollers. 'Esserts' is no different, providing a tantalising experience from start to finish - as exercises in dance music, it doesn't get much better.
Mosso, originally from Argentina but currently based in Berlin, has since 2002 released a plethora of records that have, over time, showcased his sound and craft as one of profoundness and emotional dexterity. Mosso has aligned himself within the threshold between House, minimal, tribal, and experimental music, with a firm eye on creating razor-sharp sounds and highly immersive audial palettes. This curiosity stems from Mosso's range of compositional and technical skills, with a degree in Sound Studies and Sonic Arts highlighting his fascination with the look and feel of what can be heard and touched upon with music. His live performances epitomize his approach to his craft and have been highly received around the world, no matter the space. Mosso's discography is littered with releases on some of the best labels going, including the likes of Hivern Discs, Third Ear, LumineresLaNuit, and his own imprint Mosso - a real journey throughout the electronic music cosmos.
'Esserts' represents the latest chapter in his story, with the four trackers packed to the brim with heart-skippin' melodies, fabulous driving rhythms, and some blue skies sprinkled throughout. The title track begins with a piano chord hook that could melt ice in an instance, with the drums growing and evolving as the bars pass on by. Additional chordal lines emerge to add dynamism and flavour to proceedings, with the track reaching an emotive peak around the half way mark - the manner in which it unravels and envelops the eardrums is truly magical. 'Bruson' comes next, and this one bounces with a satisfying feel, with the additional bass line adding groove and feel to proceedings. The melodic notes that emerge up top are a delight, subtle in their displays and engaging in their dynamism - the guitar lick that drives through adds a real hands-in-the-air moment.
'Sosneado' kicks off the B side, and this one comes with the melodic line and rhythm self-contained to get things going. The swirling notes are hypnotic in nature, with plenty of time provided for the groove to really wrap itself around the listener, with the vocal-like keys that come into view helping to emphasize the feeling found within. To wrap things up, we have none other than Laurence Guy giving his twist on the previous number, and as a remix it gives over so much. The beat carries through to the breakdown, which turns things way down before revealing a hyper-melodic come up, with a sax line and additional chiming keys creating a real audial feast. As a record ender, it sums up the vibe perfectly, a real drifter to leave that sweet taste lingering just that little bit longer.
Alejandro Mosso has always set the right kind of tones within his music, with an ability to shift levels from driving, purposeful dance groovers through to soft, considered rollers. 'Esserts' is no different, providing a tantalising experience from start to finish - as exercises in dance music, it doesn't get much better.
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