The next EP on Germany’s Hello? Repeat imprint comes from Seuil, one of Paris’s most inspired underground producers.

In terms of style, it’s a match that could hardly be more perfect. Hello? Repeat has spent the past six years carving a niche for itself with EPs from Cabanne, Audio Werner and label co-founder Daze Maxim, plus acclaimed albums by Bruno Pronsato and Kate Simko.

Seuil, meanwhile, has put out a steady stream of ultra-deep 12-inches on labels like Freak n’ Chic and Sammy Dee’s Ultrastretch. Both specialize in a sound that’s modern, understated and hypnotic. Late Call is exactly what its name suggests: a record made for the deepest, most tender portion of the night. The drums are slick and punchy, but the rest is woozy and romantic–this is one to put on when the crowd has stopped chatting and everyone’s dancing with their eyes closed. Topping it off is a vocal line made famous by Diana Ross but recited here by an androgynous diva: If you need me, call me, no matter where you are, no matter how farDark, trippy and weirdly moving, this is one of Seuil’s finest tracks yet. “Slow Motion” strikes a similar chord but with a more subtle approach. Here you notice Seuil’s rare touch for subtlety: in the absence of any real “hook », he keeps the track moving with expertly sculpted drums, a warm half-melody and a gently propulsive beat. Soft chords sustain in the background to create a balmy summer night feel. Both tracks show Seuil and Hello? Repeat doing what they do best: delivering something deep, functional and full of character.



Resident Advisor review bY

Parisian-based Alexis Bernard, AKA Seuil, has been at the forefront of a breed of producers from his hometown who are eschewing the French capital’s tradition of producing wild party music for something deeper and more cerebral.

Following productions for the likes of Circus Company and Moon Harbour, Seuil has rocked up on Berlin’s Hello?Repeat for this double header of intimate, rhythmically intricate, early hours tech house. « Late Call » uses snatches of Marvin Gaye and Tammi Terrell’s « Ain’t No Mountain High Enough » to great effect, albeit re-recorded and skewed into something otherworldly, to match the reflective nature of the track’s mood. Resonating bass synths and a doleful, emotive chord sequence are offset by the toughness of the percussion.

« Slow Motion » adopts more of a growl, burning slowly to a climax that, tantalisingly, never quite kicks off. Built around a jacking 808 rhythm, with just a hint of a melody, it borrows some DNA from Theo Parrish and plunges it straight into the dark heart of the Paris underground.

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