“Weval Remixes”

3 dance floor spins

 

Amsterdam duo Weval (Harm Coolen + Merijn Schotte) heads into 2017 with “Weval Remixes”, a recreation of two highlights from its full length self-titled debut album. Producer teams Margot and Red Axes go for different spins on “Ways To Go”, as Kasper Bjørke reworks “You’re Mine”. “Weval Remixes” is out today on 12” limited edition through Kompakt.

They choose the most ready-dance of the original twelve tracks, but retaining the album’s mood of intimacy, which is made of comely sense of melody, skilful ability for the arrangements, and languid voices. If the original “Ways To Go” paces on gentle house and sampled hums looking for an expected voice to come out, Italian team Margot turns it into a techno intro, laminated by downloads of synth’s fluid carpets to make the voice appearance as fragile as to broke. Increasingly those layers gain rhythmic body to embrace the almost isolated vocals until a naked beat is ready for the mix.

Israeli Red Axes takes “Ways To Go”’s vocal parts for granted and focuses its rework on rhythm. A rattle amount of percussions fluctuate under heavy bass to introduce a techno house development. An oscillator sequence plays counterpoints with claps and welcomes a distorted voice announcing “Ways To Go” accompanied by repeating sampled “Give me” to an end, with a few but noticeable acid drops. It only takes a synth line to get back to melody, from a lineal riff into the arpeggio’s mode.

Finally, the back seat indulgence of original “You`re Mine” is transformed into a intricate demand of a path by Kasper Bjørke, who resolves a la Paul White for a while. The emotive use of melodic bass, one of Weval’s sound trade-mark, has a subtle recognition in Danish producer’s rework. That it is before a sudden break goes shinning through a vintage synth’s note and over a sampled vocal refrain to roll up one’s sleeves into a propulsive, seductive and moving way to the end.

These are three spins from two tracks of Weval’s debut full length album, released at the end of June 2016 on Kompakt. It was difficult to pin it down and recurrent adjective “versatile” was the word. “Adaptive” should work it out as well, even better. “Weval” is not for square people and appeals to a wide range of listeners, even those who are unfamiliar with electronic music. The album doesn’t bother anyone in any place. This is its most remarkable quality, by being structured in pop without being entirely pop. Name Weval is bound to be written down on the list of producers who take studio experiences, tech skills and electronic experimentations to launch an available upgrade of acceptability, refusing being predictable not any sign of 21st century’s musical aesthetics. That’s a thing. The shortlist is increasing, and Weval is definitely on it, right after Moderat, Bonobo, Michael Mayer, Kölsch…before Jonas Rathsmann, Tourist, Rioux

Weval enjoys his 2016’s massive success with its name added to most prestigious European festivals. The duo has already lined up at Sonar Istambul and DGTL Amsterdam. For Barcelona people’s concern they will play live performance on june 3rd at Primavera Sound.

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