P. A. Presents
Flight Acid + Salicylic Stimulator
TBR: 23rd October
Utrecht in The Netherlands is the place to be when it comes down to 90s DJ colossus P.A. Presents. Since returning to his city of birth and childhood after over two decades away, the home-town record label is more than happy to re-release his first two offerings. These line-beaters in the jungle of new music have been working together for a long time. These first two P.A. Presents EP releases on the U-TRAX catalogue from 1993 are chapters worth revisiting. Sometimes we can get so wrapped up in the now that we neglect to pay homage to our earlier efforts. After-all, without those where would any of us be?
The music starts with Mesomorph. Delicate tones dapple in shady areas as rising pulses and whistles spring from the amalgam. Chattery synthesisers spiral out in multiple directions while distinctive hums and squeals warble together. A fast bass then penetrates the flow, rhythm in the melody begins to become apparent as the tempo rages behind it. Hats then rattle into the mix, spurning with ever-reaching glitter. The wandering melodies spin from centripetal alignments to the centre. The music homogenises, a stream of rhythm and tone flows from the nozzle and thrusts the hypnotic infusion of sound into a full-on dance track.
Next, cybernetic sounds clank and squish together to the backdrop of eerie synthesiser. A rhythm suddenly pops up from the clattering percussion. Cymbals and bass find a niche in the flux of digital metalwork and synthesiser. A dirty feel to the notes gives them rough edges which scrape along the sides of their neighbouring tones. A retrotastic element is deep in his mix, old-school synthesiser and mixing principles give arpeggios and harmonies that waver across walking repeat bass and frantic 8 bit drums. This is Pop, and it does seem to burst like multiple bubbles in a row.
Next, metallic strikes bash out a graceful rhythm that slenderly falls into place over droning chords. A bass fuels the next motion, it pumps in neat spurts that lift the piece from its gooey entrance. Synthesiser rises in scales and octaves while the rhythm gently adds extra air to the furnace. New cymbals are pushed in, they invigorate a middle area while the tones and rhythms continue to rise and dig. This is Theme and it carries a melodic uplifting phenomenon that holds place as the music sways in the elements.
Vera S. is next. It opens with a cheerful melody that pumps with repeating tones. Voice and drum are added which swirl and vortex within the sound. Clattering hats and high-end voice gain brings out a glittering and pointed edge. The rhythm increases, extra bass and cymbals pump the inflatable to full capacity while rhythmic melodies bring out directions to dance to. A minimal feel gives each aspect a framework to be noticed in while the culmination of rhythms and harmonies produces a globule of transparent sound.
This is followed by airy synthesisers matched with spongy tones that squash into various crannies left in the sound. Drums invite the tempo to rise, and it meets the intent with a fiery up-burst. Oscillating tones warble on their dials as breathy sounds sweep the cyber-organic emotions of the track through wistful corridors. Experiental throws a bi-polar sound formation into our scope with driving highs and dream invoking depths. The music progresses into a spiral of repeating sounds and forward pushing drums until this breaks down into lighter touches and more delicate sections before rising once more.
Short closed hat strikes begin the next track, a solid rhythm on one instrument pushes through the ambient silence left behind. Then, with a switch flick, a volley of extra drumming pounds in like a stream of children. They then disappear again, allowing a synthesiser melody to blurb out a bubbly mixture of sonics before the rhythm builds once more. A push effect shoves the weft of the oscillation into a treble high then into a bass low as the cymbal continues to pound with the bass. Chirrup sounds sparkle as twangy undertones slice away at the carpet. Vexillum is a quickly progressive and dynamic entry.
Flight Stimulator begins with a vibrant string bass that sheers across wide open spaces in the wake of the previous track. A resonant background echo crackles alongside the dripping synth. Then, deep and dreamy beams of sonic bass creep out of hibernation. A dark and shadow-laden atmosphere is knitted via the joining of tonal and rhythmic tension. An uneasy stitch is draped across forlorn cymbals that clatter gently in tightly confined spaces. The bass-line forms a directional vector that warps and scoops as various tones form adjacent patterns to its clock-face.
Sweeping whispers span out and sparkle in neat lines of airy synthesiser. A rhythmic pulse grows in the gentle background as tapping tempos break from eggshell like fastenings. Metal sections and wooden beats combine with a glassy melody as the synthesiser churns in the cauldron of sound. Various implements clatter along rhythmic textures as seductive composition draws our ears into the depths of the jigsaw like dough which rises bar by bar. Ending with A Grasp, the time of the day is shown to be just as relevant in this modern age. Our technology has changed, our software and sound ethics have matured, but good music is always good music.
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Currently available from P.A. Presents on U-Trax - Sax Madness EP
Rowan Blair Colver for The Electro Review.