Dark
Light
Winner David Federmann impresses with his sophisticated soulful cut Esteban – laden with laidback, effortless male vocals and jazzy, jaunty sax lines. Hazy Rhodes organs, warm, bubbling bass and lively beats all join the dots together. Nottingham’s house music legends Inland Knights treat Federmann to one of their wonderful dubs – making excellent use of the sweet Rhodes motifs, cutting up the vocal into indecipherable, rhythmic, Todd Edwards style snippets of garagey goodness, tightening up the beats, and rubbing the whole thing down with faint hits of acid and low slung bass. Freerange Records’ talent Shur-I-Kan serves up a tasty number on Illuminate – opting for a dreamy, prog-tinged slice of deeper house music, driven along by jazzy hi-hats, light fluffy pads and synth lines, and stabbing monotone bass. Plenty of atmosphere on this one. Winner Owain K hones on that atmospheric vibe, and goes for a deep, dubbed out reinterpretation that’s a perfect compliment to the original. Late night business.
iZerg took the biscuit for best production on the Dark side, with his rasping, incessant Shifter. Stabbing synths and chugging bass permeate the taut, snappy beats, with a nasty, manic feel to the proceedings not unlike German talents Format:B. Leeds duo Audiojack congratulate the winner with their deep down and dirty reworking – building the intensity gradually through their sexy, bumping tech rhythms. Meanwhile menacing, wiggling, tech house with a naughty twinkle in its eye comes from Kanio on Acid. A dark, off beat bassline promisingly stomps away under tight percussion, bubbling acid and minimal popping to make for a seriously cheeky track – setting winners Sour Grapes up beautifully for a minimal techno set piece. They inject a swinging rhythm, big builds, pulsing white noise and a general sense of early morning, dark room derangement into the proceedings, succeeding on their mission in style.
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