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RB 004-1EP
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The onus of proof regarding deepness is a rather peculiar one. Even if one presses all the right buttons, quotes the correct sources and applies the textbook techniques, often something seems to be amiss. The elusive producer Mute never had that problem. Blessed with a sound of his own, that seems to stem from within and can be called deep house without the genre's strait-laced demeanor, his aesthetic includes a distinct feel for boogie and disco tropes. Case in point: "Lost." Placed as a B2, it is the secret start of Direct Cuts II and more prominent on this new edition of a classic Running Back record. Molded into an extended disco version by Gerd Janson with unused parts of the original recording session, it something like a curveball deep house disco song, according to the motto: "you and me, we can be like a whole universe!" Hard to resist and even harder not to like if you have the slightest interest in prelude records, Diana Ross songs, or Tee Scott mix techniques. "Basics," "Vibes," and "Driver's License" push further into the world and musical mindset of Mute. Originally released in 2006 as the fourth outing of the label and the second (and his last one to date) of the elusive artist, it is still as remarkable as on its first release. Carefully rescued from the original DAT tapes, all re-edited by Gerd Janson and remastered by Lopazz, it's available again in a clear and present portraiture of its original intent. Early adopters like Danny Krivit and the Idjut Boys can't be wrong.
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12"
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RB 002-1EP
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Re-issue of a Running Back classic. Originally released in 2003 as the second outing of the label, it is still a remarkable release in the catalogue. Now, carefully rescued from the original DAT tapes, re-edited by Gerd Janson and remastered by Lopazz, it's available again in a clear and present portraiture of its original intent. Conceived by the rather elusive Mute, the Direct Cuts are a master class in heartfelt and understated timeless deep house. Influenced in equal parts by the still towering Prescription Underground and the New York singularity that was a young Bobby Konders, Mute managed to create a sound of his own. Marked by live arrangements, bedroom studio aesthetics, a love for dub music and a tempo that was more boogie than techno, it has not lost an inch of its charm. A proposition that probably led Leon Vynehall to pick the hypnotic "Never" for his Fabric mix. Along with "Ocha," "Direct Cut," and "Bensono," Mute proves that iteration does not necessarily mates with deadly dullness.
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