On the B, Pitch & Hold, who have confessed that they would not even still be producing if it weren’t for Williams, take a more upfront angle. Their effort makes great use of Williams’ melodies by bringing them to the foreground, and the result is bigroom minimal-trance comparable to recent Buzzin’ Fly releases.
The Bodzin & Romboy rethink comes digital only, which is a shame. It begins stripped and percussive before Bodzin’s trademark heavy bassline inevitably rumbles in: It’s a massive bass that creates a monstrous sound, and when the scant melody arrives, it’s content to follow along in the shadow of the bass. The effect is a distorted, techno, funereal cacophony. And you know what? It works.
Without breaking any new ground, this is still a quality effort from the consistent Williams. Both Pitch & Hold and Bodzin & Romboy bring fresh approaches without diverging too far away from the formula, completing a decent debut for Love Triangle.