- Mastered By –
- This record probably belongs in the second, if not third row, of Robert Hood's discography, at east as far as its popularity is concerned. In an extensive body of work such as his, it is possible to omit, from time to time, a hidden jewel here and there. With that in mind, one of my favorite tracks of is is found right here on the A side. Sure it's the typical minimal techno artillery Rob Hood practically mastered, but it's got that extra bit that makes me come bak to it a lot even over a decade after its iniital release. Its main feature is the genious hook line. It sounds like a synth stab that was intentionally distorted to sound like the machine it was created on was running out of power during its making. Like a half made loop that got interrupted in the making process due to power supply outage. It is precisely that winding sound that makes it come across as so unique. Furthermore, it alters between passages when it's more subdued, and accompanied by quiter radar bleeps in the backgroound, and more accentuated parts, when it's underpinned by a high pitched, stubborn whistle. The percussion is a feast of bass heavy, head nodding drumming as well. But it's the hook line that makes this such a cherished track of his. There are heaps upon heaps of minimal offerings in his back catalog, a lot of them very well known, but of the less talked about releases of his, this is easily in the all time top five.
The other A side tune is a treat too. A nice, laid back track, with heavy drum kicks, withheld by a swell melodic loop that gives it a sweet soothing touch. Played a in a lot of Robert Hood's sets back then towards the end of his performance, and one can see why. It still has the tough percussion leaning more towards his dance floor weaponry, yet the harmony atop announces a slight step back in terms of intensity. Very nice little number.
The B side is a well made, although fairly average minimal techno thumper, with a cool bass line which has a slightly live feel to it, plus it's somewhat out of sync with the percussion, so the whole track is a little out of tune. There's still enough punch in the bass department to serve up a dance floor, but the issue is, there's nothing this track has that would work on the dance floor better than the absolute beauty that is on the A side of this record. As good as it is on its own, it will probably forever live in the shadows of the pure fire of Invincible. Robert Hood, when your music is this good, you really are.