2 015 is just about done, marking the end to a great year of music. Labels have been frantically putting out compilations before the close to bring some of their past material into the limelight, and today we’ll take a look at a few of such tracks.
M.A.N.D.Y’s remix of Roland Leesker’s “My House” bears a lighter tone than some of the work previously covered in this segment but still packs a strong and somewhat trippy punch. With a groovy bassline that fits the Get Physical label’s vibe well, the track is pure tech house in all respects yet has the signature M.A.N.D.Y icing that’s just enough to make the song stand out from what’s becoming an increasingly saturated genre. The German duo have done much to push Get Physical into musical prominence but have demonstrated a continued willingness to experiment, having releases in the realm of the more progressive such as Sasha’s Last Night on Earth label. Regardless of how you’d encapsulate their sound, it’s undeniably one created to simply make you dance.
Also out of Get Physical is “Three Sharp Knocks”, a more minimal track that’s just a bit weirder. It’s sprinkled with an array of odd-sounding elements that keep the song going in energy and maintain an enigmatic level of “interesting.” Though it may arguably too segmented, it certainly does more to be outside of the “vanilla” tech house of earlier Toolroom. Italians Leo and Doobie are relatively young in the broader industry, with both having made their first major steps within the past decade or so. But as mainstays in Milan’s underground house scene, the two have already found admirable success.
Solee is a personal favorite of the lesser-known artists out there, and his track “Feiern” is far darker and heavier than the ones above. Though a little much in its use of synths at times, the song still manages to capture an eerie tone. Solee’s label, Parquet Recordings, definitely deserves a look as its material often aims for a similarly ambient and deep vibe. “Feiern” may not be one of Solee’s best pieces of work, but without such context it’s certainly a solid standalone of the “rabbit hole” vein.