“So will be now feat Pional…deep house track of the year”
That was the what the text from my partner in clubbing said. It’s off the album Fin, by John Talabot.
It kicks off in the middle of the Jungle, nocturnal sounds playing in the drums and male harmonies of Depak Ine. Once I was in the jungle I couldn’t get out, I saw this 7 minute journey as setting the scene, the opening credits of a film. A shot across a mass of dark tangled jungle, before the break shines a light and focuses the track on the harmonies, before it fades out again into darkness. From out of that Darkness Pional opens Destiny with a call on his own, but then his voice rides over the solid beats that slink along underneath. El Oeste‘s warped beginning pulls you into an uncontrolled dream, it’s sliding rhythm’s building up emotions and swirling them around as you almost float on the sparse drums.
Oro Y Sangre has an almost 80’s electro opening, emerging from behind a creaking door and a horror film scream while the slow pumping rhythm moves the track along like the blood of the title. The keys shimmer over the top and lift the track, before the scream disorientates you and pulls you back under. Sounding if travelling up from the depths, Journey‘s opening feels like a sunrise, the synths reminiscent of a flock of gulls, while Ekhi‘s voice floats over the top, before the rapid rhythm pulls you back to a seat and you watch scenery roll before your eyes. The Chunky beats of Missing You sound like a heart that knows it has lost, the distorted vocals disappear into layers of synths and beats that try, but just fail to drown out the voice. The synths provide some relief, but it comes back clearer towards the end. You are still being missed.
Last Land sees a catchy swirling hook ride over slinky hip hop beats that breaks at just the right time before the hook is blown around and then left to fall. Estiu‘s sticky beats never quite seem to sink below the rising synths while the broken vocal loop floats around just out of focus.
If Oro Y Sangre nodded to 80’s Electro, then When the Past was Present has New Romantic written all over it’s family history. 80’s synths and beats power along the most out and out House track of the album, with the underplayed vocals lifting the track and defying you not to at least raise a smile, if not your hands. The smile is soon thrown though as H.O.R.S.E‘s dark opening is run on rapid fire beats which to me seemed arab-esque (although I’m not entirely sure I could tell you why) and a slow hook that rolls around over the top.
Finally, the proposed deep house track of the year closes the journey. Pional‘s cut up vocals loop open over the slinky beats, clicks and drums before chunky synths bring in the driving beat. The break sees the vocals backed up by clicks and the bass swimming around underneath before layers of beats are re-introduced and your dancing without realising quite how
I couldn’t tell you exactly what it is, it’s deep, it at the very least nods to the 80’s, to Hip Hop, but while I’m not sure it’s House, I’m not quite sure it’s techno either.
What I am sure of, is that it’s a brilliant album.
Interview with John Talabot on Juno here