Robert Hood ‎– Untitled / One Touch (Mark Broom Edits)

Label:
M-Plant ‎– M.PM19
Format:
Vinyl, 12", 45 RPM, Grey Marbled
Country:
Released:
Genre:
Style:

Tracklist

A Untitled 1 (Mark Broom Edit) 6:05
AA One Touch (Mark Broom Edit) 5:32

Companies, etc.

Credits

Notes

Track 1 taken from Moveable Parts Chapter 1.
Track 2 taken from Minimal Nation

Barcode and Other Identifiers

  • Matrix / Runout (Machine stamp / Etching runout side A): 97851 1A MPM 19 A tph at schnittstelle
  • Matrix / Runout (Machine stamp / Etching runout side AA): 97851 1B MPM 19 AA tph at schnittstelle

Other Versions (3 of 3) View All

Recommendations

Reviews

Add Review

maroko

maroko

August 21, 2014
Robert Hood is a living legend. One of the cornerstones of the genre. But you already knew that. If you by some chance didn't, just dig a little through his catalog and you'll get with the program pretty soon. Now, that said, remixing a goliath like him is a tough task for anyone, even for UK techno stalwart Mark Broom. To make the assignment even more difficult, for his remixing duties, he really took on two timeless classics: One Touch, one of the fines cuts on Rob Hood's genre defining album "Minimal Nation", and Untitled 1 track from the legendary "Moveable Parts Chapter 1" which is, in my book, unqestionably among the top 5 Rob Hood EPs. Sounds a little like a suicide mission then touching these tracks, eh?

So, taking into consideration the above, does Mark Broom deliver? Oh yes he does, and with a bang. Perfectly rearranging and reconstructing vintage minimal classics in order to shapen them up for modern day dance floor demands, we get two muscular, robust techno workouts, that keep the finest aspects of Robert Hood's versions - the microcosmic and precise loops - and envelop them in heavier percussion and thicker bass lines. The Untitled 1 track, the rework of my favorite tune off the aforementioned EP, applies a hard hitting kick and a booming bass, with smart, effective breaks, during which the loopy bits get more emphasis, and my favorite bit: that peculiar dentist drill sound, which Mark Broom smartly kept in his rework, because that has to be one the coolest sound in the genre I have ever heard. This is basically a perfect reboot of a perfect, vintage minimal techno tune. Mark Broom's banger isn't quite minimal, though, as it's a vast, big room techno affair, which, while true to the original in its essence, injects lots of present day percussive steroid. He has done the original justice. I was skeptical at first, but hats off to mr. Broom for this one.

The other side? Similar results. The tiny, playful loops are intact, yet the bass line is pure speaker obliteration. The original was as innovative as techno got in 1994, a typical Rob hood redifines minimal techno track if you will. Mark Broom's edit chugs along like a steam locomotive, with intense bass line work. It will make your skeleton involuntarily move. In fact, the bass line is so hard on One Touch, that at times the loops are barely audiable. However, Mark Broom knows his business, obviously, as he applies a few breaks, completely pulling out the bass, and then the complexity of Robert Hood's loops gets more time and space to properly breathe. Remember that these are meant to function, first and foremost, within the realms of a club. With that in mind, Mark Broom perfectly captures the essence of Hood's minimalist approach and combines it with the raw drive of UK techno. To perfection, in my ears. The trampling bass line on One Touch will command the most demanding dance podiums, while the loopy bits will slap plenty smiles on people's faces during the wisely inserted breaks. Ace material right here.

I am usually pretty careful when it comes down to buying remix packs. Very often producers just put out hastily pieced together, if not dreadful versions of beloved classics. In my opinion, some things should just be left alone. However, Mark Broom clears all doubts as to his credentials and abilities. Both of these remixes are techno manifests of the highest order, and rest assured both are immaculate floorcrushers. Really, in this case, I can confidently say that these are successfully upgraded versions of old school classics. Nothing more to add. If you still have your doubts, then check out the Greenwich Allstars project in which Mark Broom was involved, and see for yourself how skillful this man is at revitalizing older material. Get this record, this two tracker is near perfect. Some of the best re-editing I have heard in a while.