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Ramadanman – Glut review

You can always rely on Ramadanman. The ever-prolific, highly renowned Hessle Audio favourite comes up trumps once again with this beautiful, soulful slice on Hemlock Recordings (the label co-owned by London based producer, Untold, which has seen such luminaries as James Blake, Pangaea and Fantastic Mr Fox pass through its forward thinking, open minded doors already).

Gloopy, distorted, slightly mournful vocals and ticking, hollow beats get “Glut” off to an enticing start. Thumping bass stabs, mechanised drum patterns and melancholic organ-sounding orchestrals are introduced after the two minute mark, with a slow building, gentle crescendo-ing force, interspersed by vocal parts to break up the ongoing movement onwards, ever onwards. Contrasting textures and sounds play off each other here to great effect. Inspiring, deeply moving and delicately articulated, “Glut” is possibly one of Ramadanman’s most poignant and reflective works to date, with a wailing synth slowly dying and trailing out towards the end.

“Tempest” may be familiar to those of you who heard Scuba’s ‘Sub:stance’ mix from earlier on this year. The seven-minute contemplation is initiated by a simple rat-a-tat of wood on metal-sounding timbre. Sonic blips form the basis for a gently evolving, expansive soundscape rife with subtle glitches and atmospherics, which drift in and out of our consciousness. A defiant drum kick interrupts the blissed out subtle euphoria of the first section half way through, marking a movement towards a more punchy, bleepy second phase, yet strangely retaining the ambience that seems to consistently underpin Ramadanman’s productions. It’s tempestuous, but not entirely tempest-like (there’s a distinction to be made here, somehow).

Review: Belinda Rowse