Artist: Stage Van H
Label: Movement Recordings
Remixers: GMJ, Simply City
Cat Num: MOVDO167
Release date: TBC
Genre: Progressive House/ Melodic Techno
It’s quite straight forward, an EP that stands out in its electronics, one wonders why Stage Van H, doesn’t make more music cause its extra ordinary.
He returns to Movement Recordings with his latest offering, titled – “Doxologia”, which moves in to a fluorescent landscape, intently sinuously going in to a cavern of slow thumping, clattering machinery that snakes around an atmospheric melody all made of its own accord, layers of sounds that one can easily lose themselves in, its moody interiors and never come back out. Pulsing away in to a quiet breakdown the track sputters around deeply, darkly and then there’s nothing to do but give in to the smokey after hours reckoning.
Of Latin American origin Cesar Romero alias Simply City provides the first of the two remixes in the package, and his version has the middle reeling with its taut manipulation, bass textures getting clubby as funk. Peppering even more atmospherics this is as dark as it can get, yet the skittering insides get a move on and a Rhubarb Pink kick that catches the insides of your soul is stylish and effective enough to be one helluva electronic music remix, plus there’s enough groove and trails of smoky lead to drive one to the dance floor. Amazing stuff!!
Flipping over to the second rework, Australian music maker Gavin Martin popularly known as GMJ shows his forward thinking musicality by conspicuously adding bubbling staccato bass that’s incredible to hear, his version is slightly leaning towards the crisper, toasty warm side. One is hit by a truck load of melody, that one which is emotive and sweet in its textures. It’s a robust full bodied work, that’s synonymous with his signature sounds painted all over the 7 minutes of crucial and lovely arrangement, which takes an outstanding original on to make it his own somewhat.
Finishing up there’s a second original track – “Stepping Of Eternity” which brings that immense Stage Van H charm, showing off Break beatish exteriors and progression in to round, digital pulsations and an inventive ephemeral melody line, it kind of retreats into the phantomic underground from whence he easily makes his music, expanding the rhythmic scamper and clatter, at one point slicing and dicing the track with face-melting speed yet keeping it chille