A loose, rippling drum pattern and shards of Daniel Sanchez's staccato vocals roll out over ten glorious minutes, as the track burrows its way deep into your brain. Whatever the science of creating a groove like this, or the precise imprecision it involves, this record is a triumph for rhythm. Similarly, there are few house tracks in recent years that have combined vocals and digital production to such dazzling effect, and the result is a bona-fide house record that still has a touch of the minimal about it. Or to put it another way, a record that is both classic and new sounding at the same time.
The effects on the dancefloor are irresistible too. Watching floors react over the ten minutes is quite odd, as one by one they are slayed by the rhythm. Eventually, by the time Sanchez is left alone on vocals in the sparsest of breakdowns, the entire club is completely hooked. Even after this nothing is overdone, the loping beat just starts all over again.
It's now December and most of 2007 is behind us, but even if it were January you could predict with some confidence that very few records will equal "Mumblin Yeah" this year. It's low slung, it's low key, but it's absolutely essential, and the only problem with it is that playing it once is never enough.