Mitsuaki Komamura’s Weedis label has been active since 2006 and in that time has been dedicated wholly to showcasing the producer’s sound, one which tinkers with the various structures of house and techno. The subtle creativity and substance which lie deep within the core of all his tracks make Komamura’s music a fascinating listen both in the midst of late set in a darkened room with nothing but a strobe light to accompany it, and also outside the limitations of a dance floor. The label’s output so far has been sparse and irregular – three 12″s in two years – but invariably contains both the quality and character to set it apart from the colossal mounds of digital releases that flood the internet.
Deep Ocean begins with “Deep Diving” and we’re immediately submerged into a long, meditative journey through the sparse, aqueous planes which Komamura sets out. Liquid synths move with grace above a rugged drum arrangement all complete with layers upon layers of reverbs, delays and crunchy hi-hats but still leaves plenty of space for playful melodies to spring in and out of the track with ease for the duration of the A-Side.
Over on the flip, “Deep Lighting” gives us a faint taste of hip-hop through its sloppy, DIY arrangement – a genre which seems to mesh so naturally with house. Here Komamura finds the common ground between Romanthony and Andrès, imbuing the track with enough grit to give any MPC-addict the shivers. A rough, acidic bass line pushes forward militantly with the help of some brilliant percussion work from the Japanese producer and transforms into an unusual Detroitian hybrid piece. “Submarine Canyon”, up next, is arguably the EP’s shining moment, with eminently hummable chopped up chords. Once again, Komamura’s skills on the effects are showcased as he delivers a noxious dose of vintage reverbs and echoing drums that recall Basic Channel at their most cavernous.
1. Deep Diving
2. Dark Lightning
3. Submarine Canyon