Abu Dhabi stationed party brand and record label Boogie Box is back with its third issuing, and their first for 2018. BOOGIE003 offers new music from West Yorkshire producer Joe Lucas better known as Causa or 61 Players. His Inversion EP was released on January 30th and features two original deep house pieces; Calo and Cantales complete with two stellar remixes of the former from Berlin-based artist Pablo Mateo and Bristol house-maverick Komon.
Causa dedicates this EP to his good friend and legendary DJ and drum n’ bass pioneer Marcus Kaye, better known as Marcus Intalex to the majority of his fans, or by his house/techno alias Trevino created in 2011. The Manchester legend passed away in May of 2017, leaving behind an awe-inspiring musical legacy and impressive resumé. He became one the first artists to sign to the legendary Hospital Records, curated a now-iconic drum n bass FabricLive.35 mix compilation, produced countless memorable tracks across a spectrum of genres, had a scholarship in his name at Manchester MIDI School and initiated a small imprint by the name of Birdie Records that managed to build a splendid catalogue.
The first track on the EP is Calo (Original Mix), which can be described as a text-book deep house track. This piece shows clear kinship to his releases on Trevino’s Birdie records, yet when compared with those same releases, it carries and conveys warmer emotions. With thumping kicks and an airy, melodic ambience with ethereal pads, the track kicks off the EP to a very dreamy start.
Cantales follows in Calo’s deep house footsteps, introducing itself as its more serious and slightly menacing older brother. The highlights of Cantales are the raw synth stabs diffused throughout, and constant rolling top notes. The breakdown of the piece is complete with an intense, progressive buildup that surprisingly leads to a composed, collected drop that doesn’t sell itself short or perhaps deliver too much at once turning into a tasteless ‘banger’.
As for Komon’s reiteration of the EP’s opening track, he managed to turn it around completely, transforming it into a pure house groover à la his signature sound that he became known for with his AUS Music releases. Opting to leave behind most but not all of the melodic portions of the piece, Komon maintains very few elements, picking only a few fragments that tie to its original. A much welcomed and well crafted addition to the release nonetheless.
The fourth and final track, and perhaps the EP’s show-stealer is Pablo Mateo’s tweaking acid remix. His production marks the third different sub-genre to make an appearance in the EP with its acid house/border-line techno aesthetic, turning Calo into a dance floor detonator.