After gathering key support from top-players in the space of only three releases, Get The Curse Music reaches cruise-speed on its fourth release which features Rennes production duo DARABI's debut on the GTCM imprint. Those new kids on the block didn't beat around the bush, [GTCM004] is a warning shot to all in clubland : DARABI is a force to be reckoned with.
A1- TOP DROP ORIGINAL MIX
Without wasting anyone's time, DARABI kick things off with a bang. TOP DROP is an up-beat groover, a dark and catchy banger, a fine example to GTCM's commitment to full-on dancefloor stimulation for asses and brains alike. Driven by an efficient bass line and structured by classy drums, high-pitched synths gradually weave a dark tapestry. Breaks are guaranteed to transport dancefloors to fathomless depths, only to be propelled at dangerous heights once the beat drops once more. This is an absolute Weapon of Mass Destruction waiting to blast dancefloors to smithereens.
A2- TOP DROP (ROMAN FLÜGEL RMX)
A match made in heaven - or is it hell? Electronic wizard, groove master, acid ambassador we could go on for ages about Flügel's credentials. Keeping the trippy elements of the original but focusing on a truly bass driven groove, this remix explores the melodic and jackin' dimensions of the original, with stunning results on the floor.
B1- KNOCK ’EM DOWN ORIGINAL MIX
Less conventional than the A side, but equally outstanding, KNOCK'EM DOWN plodds in the 100 BPM realm, yet is anything but sluggish. A delicate blend of old school flavor and modern mindfuck laden with funky drum program- ming, with catchy hooks and mental pads that channel a despairingly dark but funky atmosphere, reminiscent of Issakidis' Republic of Desire output, the perfect choice for undead dancefloors / zombie dance routines.
B2- KNOCK ’EM DOWN (LE LOUP HYPNOFUNK RMX)
You can imagine what a "hypnofunk" remix is all about, but I doubt you had anything on this one. Hovering at 117 BPM, Le Loup speeds up the original while stripping it down to its essentials, only to add his own trademark elements such as a bassline straight out of a tripped out Moroder outtake, sparse vocal samples and a dash of slapped bass. Another fine example of genre-challenging club-music, this slab of undead funk will make a killing in warm-up sets and afterhours excursions.