This summer the first record by the new label Uncanny Valley from Dresden, Germany, made quite a splash. As summer is over by now, the follow up is finally finished and features no less than five Dresden-based talents. As with catalogue number #001 the record’s artwork is once again conceived by Paul Waak and his block-party-theme goes nicely with the music.
First up is “Dance Away”, a true posse-track. The track is born out of a studio session with Jacob Korn and Kelli Hand when she played in Dresden this summer. Together they come up with a charming connection between their hometowns Detroit and Dresden. It’s not only the Motor City’s key players but also the Uncanny Valley crew who gets asked for a dance by Kelli. It starts out quite restrained with a simple but effective drum loop while Kelli is announcing Jacob and herself. But as soon as the sluggish groove is completed by funky piano chords and horn stabs it is really hard to stand still. Not to mention Kelli’s catchy mantra “Dance Away”…
Speaking of catchiness, we have Cuthead’s “The Sinner”. An almost chaotic, wonky drum arrangement provides the foundation for slightly melancholic chords and scattered horn samples. After the middle break the chords change into a head nodding groove which illustrates Cuthead’s Hip-Hop roots even though the track doesn’t lose its quirky house feeling. What completes the track in a graceful way is the soulful vocal sample which once more summons the similarities between spirituality and club culture.
C-Beams is the new joint project by Break SL and Sandrow M. who got to know each other during their activities for Uncanny Valley. “Thumbling” is the first result of these jam-sessions. The track starts out with warm synth pads over a thrilling drum arrangement with a slightly stumbling bass drum. All of a sudden synthesizer-chords come into play. While these chords are staccato-like at first, they merge into a laid-back solo. We can’t refrain from calling that pretty deep.
Finally, “Wave Memory” by Credit 00 feels like crossing through heavy sea. It is like Clara Mondshine jamming with Mark Shreeve after watching a David Lynch-movie. The track recalls times when the future was imagined gloomy. Above a stuttering bass line lurking in the background of the track menacing synth waves tower up which can’t even kept under control by mighty 808-claps. There are only few chords shedding a light. It is a disturbing track which you can’t ignore.