Javascript Menu by Deluxe-Menu.com

Go BackGrab a bargain: three producers for the price of one, on Cadenza´s Albertino and Nora P.

Posted: 22/11/07 10:40

Advertisement
News
Music Review Interview Trends Music Box New Music Labels Review Clubbing New Ibiza News Tech. News Giveaway

Yep, you read it right. The generous folk at Cadenza records have managed to squeeze not two but three ice cool producers onto their latest release: Guido Schneider and co.'s Albertino and Nora P. It is Poker Flat/Moon Harbour/Tuning Spork, etc regular Guido Schneider's first release on Cadenza and for company he's brought along one of Cocoon favourite Andre Galluzzi and long-time collaborator Florian Schirmacher.

This whole "new artist" drive is part of the revamped Cadenza label strategy. After three years of casually releasing records as they came along boss Luciano partnered up with his ex-flatmate An Reich at the beginning of 2007 to give the outfit a makeover. Among the items on their to-do list was expanding their roster. "I don't just choose my artists on the strength of one track. I look for people who have their own sound and progress in their own music," Luciano says, explaining their A&R policy.

Guido Schneider fits the bill perfectly: he's nothing if not reliable as a DJ and producer, and this definitely won't disappoint. Albertino is his collaboration with Galluzzi and it reeks of sophisticated dancefloor shenanigans. While it remains true to the pared down minimal vibe Cadenza so famously carries a torch for it sparkles with metallic flourishes and springy bass twists. Apart from anything else it is actually quite fast for a minimal track. It has a sense of Ritalin-fuelled urgency; put another way, it zips and buzzes around you like a musical mosquito, driving you to your feet and getting your arms and legs flapping. It is clear, crisp techno with a naughty twinkle in its eye that makes it all the more appealing.

For Nora P, Schneider reunites with his old Glowing Glisses sidekick Florian Schirmacher and the pair are clearly still similarly inclined. This cut lacks the mischievous quality of Albertino. The synths are heavier-sounding, snapping in your ears like plucked rubber bands. It's bigger-sounding, slower, ponderous. Made perhaps for very late hours in a very large room where what's called for is a massive, mind-distorting infusion of sonic trickery. At over eight minutes long it is like a musical crocodile, grabbing you and dragging you under, rolling you around till you succumb to the sound. Not, mind you, in a bad way. If nothing else, watching Schneider at work is always a pleasure, and for expansive, solidly crafted club music look no further...




Words by Jenny Lee