Koloni 001 & Koloni 002 - Vivianne (Roxy) and Jacob Adler (Adlers Unter Dem Plattenteller)

Label: Koloni
Artist: Vivianne and Jacob Adler
Release: Roxy (Vivianne) and Unter Dem Plattenteller (Jacob Adler)
Url: http://www.kolonirecords.com/
Rating: 6/10
Release Date: September '08

Stockholm based Koloni records kicks off what promises to be a busy winter schedule with two debut releases from producers Vivianne and Jacob Adler. Vivianne (aka Roland Nylin) supplies KOL 001, Roxy. First things first, Beatport pulls its old trick of incorrectly classifying the tracks by lumping it in the deep house section. From the start of the A-sides thin filtered organish pad, and shuffley house hats and soft melodic stabs, through to the introduction of a bass line so infectiously disco that you don't really have a choice but to be pulled along with the track, its quite clearly not deep house. Which isn't necessarily a bad thing of course. And while, for all intents and purposes it's a disco track its definitely not without heart. There is something really melancholy but optimistic about it that makes me think it would make a very useful track to have in any record bag. The second track, Stevie Nicks, an acknowledgment of the influence of Fleetwood Mac, isn't an all together comfortable b-side. Once again the focus is much less on rhythm and more on emotive synth lines and has a popier feel to it. The main melody is quite insistant but its a little anti-climactic compared to the a-side. By the time an arpeggiated lead comes in over some light plucks the track doesn't seem to be as focused. A rising string melody towards the end is pleasant, but its hard to escape the feeling that the track seems a little too static.

KOL002, Jacob Adler's Unter Dem Plattenteller, is a markedly different prospect but does makes sense as a follow up release. The a-side, once again, is very synth driven, theres lots of resonanted atmospheric noise that flies around a bleepy arp and fitlered organ chords until a 303ish bass lifts the track into life. After that there is a straight forward but kind of creppy delayed melody thats nicely complimented by some claves. The track competently varies those elements without too much rhythmic surprises. The bside which gives the EP its name is similar but much more effective. Once again, melody driven, it however features a really, really beautiful and unique chord break down which could only be the work of a man in love with the warmth of analogue synths. The main melody, a kind of pitch-bent descending hook, makes much more sense for the breakdown and the track comes back in with the dance floor focus that perhaps the A was missing. The percussion is quite clean and good but still takes second place to the melodic elements of the track. This culminates in a big drop near the end where the main melody drives the track, making it suitable for a peak time set.

All in all, these are a very interesting offering from a new label from two debut acts who both underline their potential with very clear, precise and uncluttered production. More releases from both are to follow this winter and in the case of Vivianne an LP. This is an interesting prospect because i can't help but feel that without the pressure of a club focused output the b-side would work perfectly well on an album. It will also be interesting to see how the label evolves its sound with its releases and whether its still fixated on more synth driven material.