If you have been interested in electronic music at some point during the past 10 years and you don’t know who Para One is, you are both foolish and lucky at the same time. Foolish because the man has been all over the place, remixing and collaborating with the biggest names in the game, releasing some of the first Institubes records and touring like a madman. Lucky because you have yet to discover a plethora of amazing tracks, remixes, albums and productions that tap into every genre, elegantly fuse every style together, go in a different direction each time, displaying a certain genius in rhythmic intricateness and harmonic bliss. From producing TTC to creating the techno masterpiece “Epiphanie”, from providing not one but two widely acclaimed remixes for Boys Noize (among countless others) to signing the score to indie cinema success “Naissance des Pieuvres”, from dropping the grimiest raps to arranging the most moving pieces of classical music, Para One is THE producer’s producer. He has been supporting us since the beginning of Sound Pellegrino and it was only a matter of time before he would start submitting us some tracks.
“Toadstool” and “Kiwi” were tailor-made for Sound Pellegrino, while having nothing to do with the tropical sound some people have understandably pigeonholed us in. At the same time these are fresh, modern, poppy, melancolic dancefloor tunes that proudly and fully represent pure Sound Pellegrino class, french savoir-faire, and a certain brand of Roland Garros house.
“Toadstool” is a tech house tour de force, a detailed sonic whirlwind of morphing mouth noises arranged into minimal tech funk with vocal chops reminiscent of Jean Michel Jarre’s “Zoolook” if it was re-arranged by the Yin Yang Twins. Pon the remix, major Sound Pellegrino inspiration Jesse Rose blesses us with the ultimate tool. His version is straight to the point, groovy, obsessive. The term “Made To Play” has never made more sense, and as true fans of the man and his label we are absolutely humbled by this demonstration of method and style.
“Kiwi” is music that will make your girlfriend say “I hate that electro crap you always listen to but I’m in love with that Kiwi song can you play it again” and then you’ll go “you don’t get it, how many times do I have to tell you, it’s not electro it’s house” but by the time you finish your sentence she will be biting your lip, one hand caressing your neck and the other reaching for your credit card in an attempt to force you into getting that Beatport account you never thought would be necessary. Good girl. In the tradition of poignant uber-melodic Para One tracks from the Epiphanie days (think “Liege”, “Ski Lesson Blues”), “Kiwi” is a perfect techno pop song reminiscent of early Border Community releases but with a slightly stronger will to “let go” emotionally, while still hiding behind the wall of the country house to cry for vanished summer loves.
Noob‘s remix injects a dose of dancefloor pragmatism to “Kiwi”, bringing some techno muscle and a little bit of restraint to the heartbreaking melody, like picking up a fight with a random dude in a club just because you’re mad at yourself for breaking your girlfriend’s heart. More masculine and more suited to darker sets, this one’s a sure shot for tech-house aficionados of all kinds.
I’m running out of girlfriend metaphors so let’s bring out the Swedish sea monsters to help describe Tony Senghore‘s masterful take on “Kiwi”. This techno viking once again metaphorically tells the listener that “if he came here”, he might as well “party”, unleashing underwater roars on top of disciplinary drakkar beats, turning the catchy melody into a whistled scandinavian war chant.