Presk is back with another EP on Dok Daneeka’s Ten Thousand Yen Label. Saluki cites the Dutch native, Pieter Willems’ influences as it troll’s through aspects of House, Garage and Techno on his first release since 2012. It’s all remarkably held together with a made-for-dancing atmosphere, which shines a bit of welcomed light through the smog of industrial techno that has enjoyed its fair share of releases lately
Saluki is the name of an Arabic greyhound, but the title track is anything but a dog. Giles Peterson claims that he “Love(s) this tune” and I can see why. The shuffling beat never rests on any pre-conceived rhythms that could be associated with Techno or House, while electro funk synths modulate away over the top of a scattered beat. Accented every now and then by a synthetic harp motif, it features a gritty mix down that ‘s prevalent throughout the whole EP.
Every track sounds like it is built from the drums up. Rais is the only instance where the beat actually settles on a steady 4/4 and even that still features a percussive heavy production. A synth builds up through a filter during the course of every phrase and it highlights a remarkable trait concurrent all the way through the EP. Harmonic movement. This feature is a welcomed addition to dance-orientated-electronic music’s recent insistence on beat-only focussed productions. The tracks highlight a healthy mixture of dance-ability assisted by accessibility and acknowledge a host of influences from a multitude of genres along the way.
The Netherland’s affinity with House makes a regular appearance on tracks MOD1 and Vigor. The latter is probably the most interesting track on the EP and offers a bit of contrast with the rest of it. That ubiquitous grainy layer still covers the track but here everything is stripped down to percussion and variations on its rhythm. A House-like synth stabs intermittently over a dipping sub-bass but the beat doesn’t give them time to establish as it moves on to its next rhythmic form.This track concludes the whole EP, but I find myself hitting play again immediately.
As a result of the harmonic movement and ever-morphing form, constantly recurring motifs and themes never fatigue the listener. It comes at a great time too. When Techno and House are getting fairly repetitive and generally un-imaginative, it offers a modern update to both genres while not at all ascribing to any genre Combine the harmonic movement with textures that never quite decide on any trend specific variation, and you have an EP that holds your attention through numerous repeats. It’s Night Slugs meets Tom Trago and perfect for bringing us out of the drudgery of the present situation.