Developing from a bed of choppy vocal samples that take on the effect of a riverside Babylon chant, "Nesrib" begins to cling and bind almost immediately. It's an interesting example of mesmerism via subtle conflicts of sound, shifting from loose slurpy floor textures to moments that are almost too dizzying and transporting—sit me down or take me outside for a moment. Its slanted percolating rhythms and oildrum beat take their time, but soon go echolalia. SIS filters in a dense rush of samples, shards of talk spliced together to sound like too much mouth for two ears. Pulling from bin-deep house textures and the (hopefully) flagging trend of "ethnic" sample-techno at which Cécille's roster has excelled, it's a din that's sometimes a little too disorienting in the best manner, a haze of four conversations, ten drinks and things that didn't actually happen remembered as truth the next day.
On the flip, "Dim Dim" is far more subtle. Hollow woodblock taps and a gentle surge of synth melody set the bedrock. SIS weaves in more stunted vocal samples and effects to build on its minimalism, but ultimately it's a moment of dark-hall intrigue that casts not enough light on what's creepin' in shadow. Meanwhile, "Holly Bolly" is an expendable DJ tool, a jumpy and effusive block of processed guitars and chunky bounce that almost belittles the kind of well-layered head games at which SIS excels. Ultimately, SIS will get more press and set-approval for the overwrought big-globe assault of "Trompeta" on Sei Es Drum. But for my money, "Nesrib" shows far more athleticism in how it restrains itself while allowing such width of movement, a blister of jittery tech-house not for the living room but the beach. Shove autumn back.