Recloose has revisited some of the works from earlier on his career, and put together his 'Early Works' album. It is a chance for the artist to look back along the musical path he has travelled. Far from nostalgic, this work showcases Recloose's feel for musical modernity. He has a phenomenal ability to take his electronic roots and acquiesce to a range of genres that create a flavourful blend of melodic goodness.
The album features releases from his work in the 1990's. 'Get There Tonight', 'Soul Clap', and 'Insomnia in Dub' featured in 1999's Spelunking. The album opener 'Get There Tonight' has an old school jazz beginning which suddenly spins out of control into a jungle-drum, dance frenzy. 'Soul Clap' is exactly that, formed on a foundation of clap articulations which are then laced with soulful electronic vibrations. 'Insomnia in Dub' wonderfully captures the frustrations of insomnia. Containing a beat that ticks like the hands of a clock, ambiguous sounds start to seethe away through the track. Within all this distortion, piano chords sway like a lullaby being lost amongst all of the agitation of 'Insomnia in Dub.'
From 2000's Can't Take It Recloose includes 'Absence of One' and 'Can't Take It.' 'Absence of One' enters self-reflexive realms by the use of ethnic strings and a brass melancholy that move into sonic cries. 'Can't Take It' charges through with a scuttling anticipation that leaves you wondering what direction this track will move onto.
'MYM230' is commanded by percussion-off beats and sharp step beats propel the Dub Version of 'First Off.' 'Maui's Lament (Original Demo Mix)' is a scenic tour of the intergalactic.
The album also contains several previously unreleased tracks. The earthly meets the otherworldly in the dub-electronica mix 'Lagan (Interlude).' The album then works its way into the electronic experimental clutches of 'Antares.' 'Land of the Lost' is a funk-esque, club filler. Hip hop rhythms morph into an exultant plugged-in melody in 'Flotsam (Interlude).' Further in the album 'Crosstown' features electronica at its most classic. 'Jetsam (Interlude)' swings into a hip beat, with eerie chimes dispersed within.
'Early Works' is a great album for Recloose followers, to delve into his past and unreleased work. It is also great to reinvest your time into the 90's electronic vibe, a pinnacle decade for the genre. Recloose has developed his art and skill into a prosperous catalogue of music, and 'Early Works' proves its value to belong alongside his newer projects.
In spring 1997, Matthew Chicoine, aka Recloose, made contact with techno pioneer Carl Craig by way of a now legendary ‘demo on rye sandwich’.
This now infamous (and tired) story has been referenced to death, and we’d all prefer not to revisit the details. Instead, let’s focus on what it led to - the near immediate signing of Recloose to Planet E and the beginning of a promising musical career for one very talented individual. Recloose’s musical roots trace back to eight years of studying music and playing jazz saxophone, later shifting his focus to the art of mixing, cutting and dicing vinyl whilst at college in Ann Arbor, Michigan. His eclectic DJ sets, which were first heard on college radio, have led Recloose to become an in-demand DJ, playing at clubs and festivals around the world.
Having spent time performing as a turntablist for both Carl Craig’s Innerzone Orchestra, and the more esoteric Uri Caine ensemble, Recloose’s musical activities have always been remarkably diverse. This sonic liberalism, and ensuing trans-global travel, have provided Recloose with an impeccable musical palette to work from.