For their latest mix CD, they have called upon Kiki (real name Joakim Ijäs), who has previously earned praise for his 2004 album 'Run With Me' and has released music on Crosstown Rebels, Great Stuff and CR2. 'Boogybytes Vol.01' features a lot of key producers including Gabriel Ananda, Anja Schneider, Guy Gerber, Ame, Slam and of course Kiki and should easily provide plenty of pleasure, either for post-club carry on or home listening.
The mix starts off with the uptempo cosmic number, Fred Giannell's 'Distant Gratification', but it's not until ‘Rancho Relaxo’ by Anja Schneider & Sebo K that things really kicks into gear. Hammered by all the underground DJs this track has a real groove with violin synths that keep you bouncing. The next few cuts take it dark and deep including Michael Forzza's 'Kahana’ with its trippy samples and difficult vocals, and Kiki’s own remix of Joalz & Eddie's 'Don’t Close Your Eyes' (on Crosstown Rebels). This remix is well and truly twisted with a rolling dark synth, and layered sounds and samples leading nicely into Fairmont's 'Gazebo’ before the mighty Troy Pierce enters the foray with ‘Smack The Black of Ya'. Spitting splinters with blood suckers, this textured number has a big, dirty bassline ready to harass any sound system and a tiny vocal droning into its listeners.
The mix becomes more stripped down and minimal with a Marc Houle re-edit of Slam’s 'Kill the Pain’ as the music delves deep into more subliminal waters, typical of German clubs like Robert Johnson and Watergate. The mix peaks again leading into the last few numbers courtesy of the ubiquitous 'Stoppage Time’ by Guy Gerber and 'Rej’ by Sonar Kollektiv's Ame which stabs at the listener with its computed samples and building chords. Kiki brings the mix down well with Infusion's 'Daylight Hours’, an unexpected choice and almost spoken word number which again illustrates the unpredictable nature of BPitch Control.
While the first few tracks did not really amaze me, this is one of those mixes that grows on you more after each listen. From start to finish you can appreciate Kiki's mixing abilities but it's the core tracks (four to fifteen) which really make the mix. For after club carry-ons to daytime background music, this mix by Kiki exploits rather well the rise of techno, electro and minimal music.
The front cover shows Kiki looking rather surprised, and after listening, you pleasantly will be too.