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DAUWD

Edmondson

We Have Love - Inc. Dauwd / Asok Remixes

In a beautiful stroke of serendipity, Me Me Me discover some hidden talent from Newcastle who actually used to serve pints to label head Man Power in his local boozer! Coming from a more bass / dubstep orientated background, Edmondson has now turned his hand to expertly crafted house cuts, leaving the vast majority of the also-rans way, way behind. It's clear from just listening to a few bars of "We Have Love" that the boy's got skills. The groove captures you instantly, while the filtered vocal hook and those squelchy, spring reverb perc hits affirm Edmondson's meticulous and deeply rooted creativity. Enlisted for remix duties is Dauwd, who also inhabits Berlin where Man Power now resides. He takes "We Have Love" down a kind of more delicate and psychedelized route. It’s very pretty and has plenty of skip to it. "PSG" sees Edmondson toy with a more syncopated beat palette, landing somewhere between downbeat and garage and with a distinctly UK sound. ASOK's drafted in for the final remix, turning out one of his finer moments as he transforms "PSG" into a swirling epic littered with vintage Casio drum hits, a mid 90s progressive crescendo and skillfully constructed rhythms. I'd agree with Man Power and say this is up there as some of his best work to date, and stadium-blasting large. All good then! Me Me Me continue the pressure.... 

STAFF COMMENTS

Matt says: Me Me Me deliver again! This time it's Edmondson that takes it to the terraces for a pumpin' house number that's deliciously psychedelic

Dauwd, the US-born, Wales-raised artist has been releasing music for nearly 6 years on such noted labels as Ghostly International and Kompakt. Now on Ninja Tune, "Theory Of Coloures" sees the producer delve more into his exotic and beguiling sound pool. Pulling inspiration from electronic music legends like Terry Riley, Raymond Scott and the seminal Radiophonic Workshop period in the late 50’s and 60’s, Dauwd’s new LP draws a unique line between influences as disparate as hazy Detroit house and early German krautrock. A skilled musical engineer, Dauwd’s ability to balance between such sprawling genres is, paradoxically, an exercise in restriction, finding creative freedom in limiting his own gear. It’s clear he’s no stranger to focus; sonically, "Theory of Colours" runs tightly wound, its loops intentional and layers meticulously built. Spanning a succinct forty minutes across seven tracks, Dauwd’s fondness for delays and love for vintage synthesizers characterize much of the album, which was recorded over the course of a year primarily in a Utrecht studio that houses one of the largest collections of vintage synths and other modular equipment in all of Europe. The result is an intricate, scintillating journey that hovers between familiar and strange. For many artists, that enigmatic gap is one that’s anxiously avoided-- the fear of misidentity as a musician more important than the music itself. Throughout "Theory of Colours", it’s a space Dauwd comfortably renders as his own.


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