Companies etc
- Distributed By – N.E.W.S.
- Lacquer Cut at – Schnittstelle (2)
Credits
- Design – Patrick Vogt
- Mastered By [Cut] – TPH*
Other Versions (Showing 1 of 1) View All
| Title, Format | Label | Cat# | Country | Year | ||
|---|---|---|---|---|---|---|
| Sanctified EP (3xFile, MP3, EP, 320) | M-Plant | M.PM13 | US | 2011 |
Recommendations
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Jeff Mills - Kat Moda EP (12", EP, Gol)
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Wax (19) - No. 20002 (12", W/Lbl)
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Wax (19) - No. 30003 (12", W/Lbl)
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EQD - Equalized #002 (12", W/Lbl)
▸ show all 3 reviews
Reviews & Discussion
We! Magnify! His! Name! No need to say more!
Since re-launching his massively influential M-Plant imprint in 2009, Robert Hood has been hitting us with a steady stream of solid releases that have cemented the fact that Hood has been, and always will be one of Techno’s true originals. The Floorplan project began it’s life in 96 with the “Funky Souls” E.P, and since then has had a somewhat polarizing effect on die-hard Hood fans, with it’s sample based grooves often in direct oppposition to the tough, stripped back Minimal funk Hood is most known for. The aesthetic of Floorplan reveals itself instantly in the name: a more accessible dancefloor sound built around repetitious samples of Disco, Funk, Soul and Gospel, with Hood showcasing his sonic roots, and the “Grey Area” only being a rythmical touching point.
“Sanctified” kicks off with the hugely uplifting Gospel-infused House thumper “We Magnify His Name“, channeling the historical surroundings of his current place of residence in Alabama via the Futurism of his Hometown. Ironically, those upset with Hood for apparently deviating from his grand, Minimal vision are utterly missing the point. Tracks like this reveal the true genesis of Hood’s ideas about House and Techno: a humanistic approach, where the influence of a hundred years of Black music lie deep within the intricacies of the tracks. The only difference here being that the original source material that has moulded Hood’s direction has come to the forefront, an unashamed celebration of music’s spiritual power. On the flipside we’re treated to motivational rhythms of a different nature. “Baby Baby” is almost Juke by definition, with it’s ripping 808 rhythms and rapid-fire sample work that would give most of the current European Juke-influenced producers a run for their money. The relentlessness is only momentarily broken when sweeping horns cut from James Brown‘s sample-staple “Funky Drummer” interject, only to break back into it’s punchy Footwork bassline and mechanical Jitterbug percussion, showing once again that Hood is obviousely more than capable of operating outside the form he helped create. Speaking of that form, the last track on “Sanctified” harks back to the days where it all began, when a post U.R Hood unleashed his Dystopian Futuristic perspective on an unsuspecting world. “Basic Principal” is classic Minimal Techno in every sense of the word, it’s dejected melody invoking the derelict stuctures of a post-industrial city in ruins, a million miles from the gloss and glamour of Berlin nightlife, while it’s machine rhythms hammer forward in the hope of finding Detroits lost soul among the cracked and empty buildings that were once the Crown Jewel of America’s industrial Midwest. After displaying a range of influences from the Deep South via Chicago on the previous two tracks, it’s only natural that Hood heads home on the closer to shows us that the spirit of Detroit will always loom large within his sound.
from www.thisisourhouse.org
“Sanctified” kicks off with the hugely uplifting Gospel-infused House thumper “We Magnify His Name“, channeling the historical surroundings of his current place of residence in Alabama via the Futurism of his Hometown. Ironically, those upset with Hood for apparently deviating from his grand, Minimal vision are utterly missing the point. Tracks like this reveal the true genesis of Hood’s ideas about House and Techno: a humanistic approach, where the influence of a hundred years of Black music lie deep within the intricacies of the tracks. The only difference here being that the original source material that has moulded Hood’s direction has come to the forefront, an unashamed celebration of music’s spiritual power. On the flipside we’re treated to motivational rhythms of a different nature. “Baby Baby” is almost Juke by definition, with it’s ripping 808 rhythms and rapid-fire sample work that would give most of the current European Juke-influenced producers a run for their money. The relentlessness is only momentarily broken when sweeping horns cut from James Brown‘s sample-staple “Funky Drummer” interject, only to break back into it’s punchy Footwork bassline and mechanical Jitterbug percussion, showing once again that Hood is obviousely more than capable of operating outside the form he helped create. Speaking of that form, the last track on “Sanctified” harks back to the days where it all began, when a post U.R Hood unleashed his Dystopian Futuristic perspective on an unsuspecting world. “Basic Principal” is classic Minimal Techno in every sense of the word, it’s dejected melody invoking the derelict stuctures of a post-industrial city in ruins, a million miles from the gloss and glamour of Berlin nightlife, while it’s machine rhythms hammer forward in the hope of finding Detroits lost soul among the cracked and empty buildings that were once the Crown Jewel of America’s industrial Midwest. After displaying a range of influences from the Deep South via Chicago on the previous two tracks, it’s only natural that Hood heads home on the closer to shows us that the spirit of Detroit will always loom large within his sound.
from www.thisisourhouse.org
[r3058849]
Astonishing!