David Alvarado – My Plea (Original Mix) [DEEP HO– USE]

David Alvarado - My Plea (Original Mix) [DEEP HO-- USE] 'My Plea' is David Alvarado's 2002 Deep House release that is a timeless eminence. The apex of the West Coast DJ's musical mastery. David Alvarado – My Plea

There’s deep and then there’s David Alvarado‘ pronounced Resident Advisor on their review of his 2005 album ‘Transfiguration’, released on NRK Music. Checking out any of his releases that trace all the way back to 1993, you’d be hard pressed not to agree. Hailing from Los Angeles, David’s productions vary in form, yet maintain the same underlining semblance of Deep. ‘Worship’, the release under his Las Americas alias was picked up by Plus 8 Records founders Richie Hawtin and John Acquaviva. There’s a hint of tribalism in many of his productions that echoes the sound of Peace Division. His productions have seen him remix U2, as well as release on Strictly Rhythm, Ovum Recordings and Peacefrog Records. The 2002 LP ‘Mayasongs‘, however, surely is the apex of his musical mastery. The quintessential tracklist is of such high standard, we were at pains on selecting which song should be highlighted. ‘My Plea’, however, takes the crown due to its timeless eminence.


Beautification‘, another of the tracks from the ‘Mayasongs’ LP ended up being featured on The Lab 03 by Seth Troxler. A series which also featured mixes by Steve Bug, Loco Dice and Paul Woolford is acclaimed for the supreme cuts it features. Alvarador’s track is a cutting-edge, spaced out affair, bolstering rotating drums and spacey pads. Therefore, it is unsurprising that in conversation with Droid Behaviour David described his sound as ‘very delicate fragile… waiting to fill every corner of that space‘. ‘My Plea’ is the embodiment of such ethos, hitting you with lashings of a Mediterranean sunset party. From the offset you can notice the producer’s piquancy to obliterate the listener with delays and reverb, as the track’s introduction features a female vocal breathing. Layered on top is a Latin drum pattern, similar to one found on his 1998 release ‘La Selva‘. A single note jazz hat oscillates with filter astutely, while a female vocal echoes in as a guitar sample is strummed in. The pads that eventually enter are stringently applied, rising elegantly as a sonar zip completes the soundscape of an aquatic journey. Continue reading

Moby – Next Is The E (Synthe Mix) [1990s HO– USE]

Moby - Next Is The E (Synthe Mix) [1990s HO-- USE] Though 'Go' birthed Moby's career, rave anthem 'Next Is The E' was always the set-starter, according to his 2016 autobiography 'Porcelain'.Moby – Next Is The E (Synthe Mix)
The early 1990s was an interesting time for the New York underground scene. Larry Levin was living his final years, seasoned clubbers reminisced about the good times of Studio 54, while Garage House moved across the Atlantic to the United Kingdom. Then came Moby, and brought a fresh dimension of ‘rave’ into the mix. A lonely inhabitant of an abandoned factory based in skid row outskirts of Manhattan’s Lower East Side, he was inspired by fringe culture. A regular DJ at the Mars Club, he introduced the locals to his innovative sound. Though ‘Go‘ birthed the producer’s career, ‘Next Is The E’ was always the set-starter, according to his 2016 autobiography ‘Porcelain‘.

The track opens up with a drum pattern similar to 1980s Hip Hop hits such as Big Daddy Kane’s ‘Ain’t No Half Steppin‘ or Eric B. & Rakim’s ‘Paid in Full‘ that simmered its influence into 1990s. A hyperkinetic bass loops, an inheritance of Moby’s teenage years involvement in DIY punk bands. A masterful use of stripped down, sampled vocals have painted Moby’s picturesque discography. In ‘Honey‘ he sampled Bessie Jones, Boy Blues’ ‘Joe Lee’s Rock’ laid the fundamentals for ‘Find My Baby‘ & Vera Hall’s voice conducted ‘Natural Blues‘. Here he combines male ‘Heart-beating‘ chants with female ‘I Feel It‘ and ‘Yeah‘, all which sound related to the other. The breakdown, however, is the highlight of the track. Stripped of the bass, the kick and soft hi-hats accompany radiant ambient pads. Moby is gifted in soundscapes, none more evident than in ‘God Moving Over The Face of The Waters‘ which scored as the OST for Michael Mann’s 1995 movie ‘Heat‘. The melody coalesces, with repetition of ‘These are the odds‘ to raise the dopamine levels before all comes crashing into a drop. The preluding elements collide with the new vocal chants to complete a collage of rhapsodies, all dancing in unison to bring down the soundtrack of paradise.

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Fosky – Dirty Lies (Original Mix) [DEEP HO– USE]

Fosky - Dirty Lies (Original Mix) [DEEP HO-- USE] Argentinian DJ Press Photo
DIRTY LIES – FOSKY

Like an Aston Martin, sometimes in life you’ll come across something crafted that’s so full of substance you can appreciate why only a few were made. Not seen as a sign of opulence, but wanting to provide something so full bodied you really feel like you’ve got more than than your bucks worth. That’s the feeling I was left with after hearing Dirty Lies way back in 2015 on TiNI & Dana Ruh’s edition of the annual Cocoon Ibiza mix series CD. Needless to say, any connoisseur of Deep House will believe that a higher being does truly exist now that this romper has finally been released.

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