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Chicago production duo Supreme Cuts drop their debut LP 'Divine Ecstasy' on Memphis Industries this week. This pair are new to me but within a few tracks I'm enjoying their easygoing, genre-jumping house-pop style. Old school Chicago house shines through as the main influence on the first couple of tracks, the tracks are led by crisp programmed drums in the foreground, but these are increasingly tempered by womby gliding synths, fruity sax samples, clicky electronic touches, and on tracks like 'Down' a silky footwork/digi-dub update of '90s G-funk/r'n'b summer vibes.
The huge amount of guest performers on this album make it a sprawling and varied listen, not particularly well suited to the speedy Norman review style, and there are a few tracks here which do venture a little too far into bland coffee table r'n'b territory for my tastes, but a particular stand-out for me is the title track, a monolithic instrumental slipped casually into the middle of the album, all gliding, wibbling synths and hyperactive clicky beats with brutal flurries of electric toms and cheeky hi-hats, tinkling pianos, smart and subtle sample use...it's an electronic masterclass which brings to mind Fourtet, Boards of Canada, FlyLo and Gold Panda but with a distinct Chicago flavour.
It sticks out a mile from the majority of the material here, which is as I say a mixed bag. I'm left thinking they should ditch the guest vocalists next time round and concentrate on the instrumentals, but then I'm someone who does tend to prefer instrumentals in general so you probably shouldn't trust me on that. Of one thing I am certain though; I'd listen to this over the Disclosure album any day of the week.
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- Divine Ecstasy by Supreme Cuts
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