Shinichi Atobe – Ongaku 1
Label: | DDS – DDS072 |
---|---|
Format: | Vinyl, 12", 45 RPM, Limited Edition |
Country: | |
Released: | |
Genre: | Electronic |
Style: | House, Deep House |
Tracklist
A | Ongaku 1 | 7:10 | |
B | Dub 6(six) | 6:02 |
Notes
Edition of 500 copies, hand labelled and marked by Demdike Stare.
Mastered by Rashad Becker.
Mastered by Rashad Becker.
Other Versions (2)
View AllRecommendations
- 2017 UKVinyl —12", 33 ⅓ RPM, Album, Reissue, Repress
- 2018 USVinyl —12", 33 ⅓ RPM
Reviews
- same x 1 2 3 4 5 6 7 8 https://boomkat.com/products/ongaku-1-dub6
- I love Shinichi Atobe, but this is not worth the money these days. You're paying for supply and demand. It's a great, not extraordinary release.
- Great 12" by Shinichi, a pleasure to see some quality stuff on DDS and Boomkat again..i'm wondering why they didn't release more of the classic stuff from 10 years ago (what i'm missing is clearly Type, Hospital Prod, even those Modern Love banging stuff from Demdike..) Maybe i'm just an old fashioned but nothing seems so excting these days like those records.
- Edited 9 months agoDub 6(six) is on another level. Shinichi is to me one of the most effective dance music producers of the last 20 years and he does not stray from that path at all on this release.
Dub 6(six) has played on repeat for hours since I first heard it. All the best parts of good deep dance music are here. Depth, minimalism, psychedelia, dubbiness, clean production, detail and just the right amount of loopiness. Strong 5/5.
Ongaku 1 is also very nice although to me it does not reach the same levels of trancy hypnoticism that the B side does. I'm sure others will disagree but that's the nature of music. This one to me feels more inspired by 80s House as well as mid 2010's NYC deep house sounds ala Levon Vincent and DJ Sprinkles while still maintaining Shinichi's characteristic clean percussion style and restraint. Here he moves the track in a much less linear way than I'm used to hearing from him, with more of a song structure and elements moving in and out. At one point Shinichi brings in some strings in the higher octaves, which is not something I'm used to hearing from him. My personal favourite Shinichi Atobe album is "Yes" which is marked by lots of very bright percussion and I notice that's gone here in favour of these brighter strings. It's a fine line between bright and harsh when working with instruments in this register and I think he, unsurprisingly, navigates it in trademark style. 4/5
Release
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