DJ Haus’ latest label showcase, 'Enters The Unknown Vol. 2', boasts a downright ridiculous roster. Spanning sleepy house, Detroit influenced techno and ethereal electro, the forty four track concept has a blend of profound moments and forgetfulness.
The first real highlight comes in the form of Mall Grab’s ‘Catching Feelings’. The producer, now that he has been catapulted to the forefront of dance music stardom, can be found headlining a plethora of big room shows. Clash was always of the opinion that Mall Grab’s aesthetic was better suited to the intimate energy of a smaller room. ‘Catching Feelings’ is a dreamily constructed electronic lullaby that provokes memories of those one hundred person capacity evenings.
Jerson Interceptor’s ‘Hyrdro System’ introduces the first taste of electro on the compilation; it’s out- of-this-word synths, twinkling malfunctions and burnt out electronic components concocting the touch of both soft and harsh to stimulating effect.
In truth, there isn’t a bad track on the compilation; there are just tracks that are so good that they make others seem a bit half-arsed. Jerson Interceptor’s electro inauguration incites a flurry of electro productions from Contactless, DJ Normal 4 and DJ Stingray, all of which, to no real surprise, are pretty bloody great.
Man of the moment Textasy drops the ghetto influence in favour of easygoing approach on the aptly titled ‘Chilling on the Beach’. Those expecting the Dallas producer’s high energy, propulsive firepower may be left disappointed, but if anything the track is a shining example of how multi-dimensional he is as an artist.
Enter the B-side (all the cool kids love a B-side, right?), enter the sleepy grooves. There is enough energy here to keep those ‘play tougher’ bro’s happy, but it’s the dreamers that come out on top. DJ Steaw’s chirping birds and ‘floating over the clouds’ like synths provide the first real high point of the B-side, closely followed by two emotionally engrossing productions from Legowelt and DJ Seinfeld.
Neil Landstrumm creates a chaotic, straight jacket inspired techno production that makes you want to put your fist through a wall, before Fantastic Man brings the compilation to a halt on a remix collaboration with DJ Shark. It’s arguably the best track on there, especially when, around the three and a half minute mark, the first signs of jungle can be heard faintly in the distance.
The sequence of breaks and dreamy atmospherics is one that, quite recently, has been rinsed to death, but here the Australian artist implements it with such intelligence that it provides the perfect moment to bow out.
Words: Andrew Moore
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