MOS レコード& CD

Review: Melody Of The Soul continue to explore their melodically charged strain of minimal tech house on this fourth release on their label, which leads in with the prog-tinted seduction of 'Night Owls'. It's subtly epic, charged with sweeps of orchestration which tease at a big drop to come. 'Flame' has a slightly more intimate, heads-down approach, but it's no less detailed and dynamically produced. 'Igako' explores some pop touches in the context of a bigger room sound which still holds fast to the slick tech house framework and 'Ask The Universe' takes a more delicate approach with pattering percussion and melancholic piano which will set any set off on a sentimental trip.

Review: Shanti Radio has released some incredible music of late, much of it towards the more melodic, atmospheric and positive end of the tech-house spectrum. This four-tracker from MOS neatly fits into this narrative, offering up warming, dreamy and picturesque tracks that effortlessly blur the boundaries between deep house, tech-house and progressive flavours. Opener "Gerda Kay" simply swells with sun-kissed beauty and enveloping melodic intent, as bright lead lines and swirling pads tumble down over a tactile groove. The Afro-tinged "Jalebi" offers stirring strings, toasty chords and locked-in grooves, while "Kama" bubbles along on waves of toe-tapping percussion, choral samples and fluid piano motifs. Rounding things off is "Kauri", another immersive chunk of dancefloor hypnotism rich in positive chord progressions and heartwarming bass.

Review: Hot on the heels of its digital release comes the fifth top-up to Melody Of The Soul's repertoire. The actual melody of the soul has an infinite song, unending as the universal spirit that unites us all; any representations therein can only be incomplete and numbered, though this four-track home-in is more happy to revel in this limitation, and find a kind of ethereal beauty in the fact. This time focusing on the production efforts of Proff, his progressive number 'Three Sisters' takes centre stage (the album cover is its namesake) and fundamentally proffers a kind of May Day queenly house, with rounding, ascendant female vocals bounding about the mix like a circlet - or coven, even - of magical sisters incanting a rejuvenative dirge.