RETREAT 2 RAPTURE (W/ XAN XODA REMIX) by XOSAR

SKU73336
ArtistXOSAR
TitleRETREAT 2 RAPTURE (W/ XAN XODA REMIX)
LabelENSEMBLE
Catalog #ENS 001
Tag
ReleaseW 48 - 2013
FormatVinyl - EU12"
Import
 € 7,99 incl. VAT, excl. shipping

Tracks

  1. X(osar) Files
    https://objectstore.true.nl/rushhourrecords:files/tracks/r/73336_retreat_2_rapture_w_xan_xoda_remix/1_xosar_files.mp3
  2. Gone Is Yesterday (Xan Xoda Remix)
    https://objectstore.true.nl/rushhourrecords:files/tracks/r/73336_retreat_2_rapture_w_xan_xoda_remix/2_gone_is_yesterday_xan_xoda_remix.mp3
  3. Paranormal Detective
    https://objectstore.true.nl/rushhourrecords:files/tracks/r/73336_retreat_2_rapture_w_xan_xoda_remix/3_paranormal_detective.mp3
  4. Lycropolis
    https://objectstore.true.nl/rushhourrecords:files/tracks/r/73336_retreat_2_rapture_w_xan_xoda_remix/4_lycropolis.mp3

Description

Ensemble is dedicated to togetherness and deep, timeless house music, initiated by 22tracks.com Brussels house selectors Gratts and Kong. First release by none less then Xosar plus a remix by Xan Xosa aka.. Check!The EP kicks off with X(osar) Files. Like its title suggests, it's an anthemic journey through retro-future spacescapes, combining a smoldering bassline with eerie synths that drift in and out and a cryptic vocal layered with sensuality so thick it would make Mulder and Scully blush. The theme tune to the best sci-fi flick never made. Taking on a one-time moniker that has him sounding like an original series Star Trek villain, San Soda – or rather, Xan Xoda – turns in a mature reinterpretation of dreamy off-cut Gone Is Yesterday, turning it into a tightly honed Panorama Bar jam, centered firmly around its simple but ultra-effective bassline. B1 track Paranormal Detective picks up where X(osar) Files left off, with more ultra-cinematic pads and undulations coming together to create a slow-burning groover that balances maximalist flourishes with an entirely more delicate undercurrent. Rounding off the release, Lycropolis is pure interstellar funk, chugging along with an infectious analogue groove and carnival-esque, swinging percussion, as if the cast of the Mos Eisley Cantina had decided to trade jazz for techno and try their hand at an underground rave.

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