Usually I don‘t pay much attention to press releases, but sometimes there is just no way not to stop for a minute and wonder what someone was thinking when he put his ideas to paper. Let’s take the first paragraph that promotes Dirty South‘s newest compilation as a prime example: it states the Toolroom Knights series ‘is quickly garnering a reputation for cutting-edge mixes that push the boundaries of house music‘. Strong words, aren’t they?
This is a review of the sixth installment of the series, so I won’t write about the previous five. But let’s assume that they are cutting-edge mixes that pushed the boundaries of house music, and let's see if Dirty South managed to equal his predecessors.
He started off nicely with music that some years ago could never be called house. Actually, some tracks are still very far from this tag. Techy, deep and then clubby – that is how CD 1 moves along, at the same time keeping our attention with pretty good track selection and mixing. But did the artist push any boundaries of house, and I’m not asking about those moments when he played techno? No, and only a person who has spent the last couple of years listening to Hed Kandi could get such an impression.
My taste is slightly more varied and up to date enough to notice that nothing is cutting edge on this CD. Furthermore, for me, the album ends with a track that has been played to death, namely, ‘Deadman‘ (pun intended). Solomun’s tune begins the transition from the good CD 1 to a not so bad, very party oriented CD 2, which I don’t really have to write about since this article is about pushing the musical boundaries.
I do some PR as well and I do know fully well that you shouldn’t exaggerate reality too much. ‘Toolroom Knights‘ is no extraordinary album, and just like most of the previous installments of the series, it surely does not push the boundaries of house music in any way.
CD1
CD2
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