Label :  Life and Death

Cat # :  LAD003

Released : June 2011

Style :   Tech House, Disco

Rating : 4/5

Artist : dOP

Tracklist :

01. After Party

02. After Party (Clockwork Remix)

03. After Party (Le Loup Remix)

04. After Party (Marius & David Remix)

05. After Party (Mas Collective Remix)

 

The upstart Life and Death label was founded by Italy’s DJ Tennis (Manfredi Romano) and New Yorker Greg Oreck of Thugfucker, but the first two releases—Thugfucker’s « Disco Gnome » and a remix 12-inch of WhoMadeWho’s « Every Minute Alone »—were owned by Tale of Us remixes. « After Party, » dOP’s bow on L&D features no Tale of Us, but it doesn’t need them. There’s plenty else going on here.

The original « After Party » is very little like what comes after: shuffling, moderate tempo, a little bit of 303 sneaking in after a few minutes. Very controlled, that acid line—mostly just growls, and even in the last minute when they decide to play with the pitch it’s in neat increments. The track’s ambience is sweaty nevertheless, an off-R&B banger with a falsetto chorus of « Give it to me dirty. » Sounds like a plan.

Clockwork takes the refrain at its word. A wildly oscillating radio-tone provides counterpoint to a cavernous drum track and densely layered bass. Jonathan Illel’s voice is more wisp than the full-bodied instrument of the original. The depth of the beat gives it enough oomph that the now-whispery « Give it to me dirty » becomes a tease rather than a demand. Mariam & David’s rework has a spare, icy feel, like a lone green laser moving through fog, the phrase that pays now rendered as a hiss. Strictly Rhythm’s Mas Collective (a digital track, as is the M&D remix) go the other route: curvy bass and drums and some bubbly programming give it an easy roundedness, and while they could lose the here-comes-the-smoke hiss to signal those arms into the air, at least they’re subtle about it. The prize mix here is

Le Loup’s. The refrain here is « Be with you, » pitched down precipitously and stuttered and futzed with like—here we go again—late ’80s Chicago house. There are other hallmarks of that period, too—around 3:45, say hello to the acid line. But then the 303 and a sub-sub-subdivided version of that pudding-thick voice start locking arms, and the hi-hat sizzles a little louder as well, and the whole thing goes deliciously into the twilight zone. It has some of the same glint in its eye as DJ Koze on his game.