180g Vinyl! Vital Sales Points: - 3rd record from the Los Angeles based producer - Free digi download of “Handbrakes” included

Tracklist
A1. At Interfaces A2. Onda B1. Tariff B2. Clear To Me (with DJ B)

Shortinfo:
Cromie's quietly become one of LA's most vital house producers. Following a killer debut for NYC-based label Peach alongside fellow Eastsider Sage Caswell (with a remix by none other than Kyle MF Hall), he's been patiently honing his craft. His unique, amped-up vision of house music comes into full view with his Amadeus debut, At Interfaces. Cromie, real name Nikola Hlady, is liberal with the soulful samples. In his case, they're simply a flourish to his fully formed productions. Take the title track. In the breakdown, he introduces a beautiful saxophone solo and the occasional vocal, but they serve only compliment the massive bassline and percolating pads which form the backbone of the song. With Onda, Cromie's melodic gift is on display. A vibraphone lead takes us down a path to some beautiful, nostalgic chords. The B-side is all fascinating rhythms, for the DJs. "Tariff" is pure peak-time business. For the closer, "Clear To Me," he's roped in James Del Barco, with whom he throws underground raves in LA. The B2, or 'inside cut,' mixes a hyperactive 2-step kick with a jacking snare and just the right amount of LA G-funk action, with a sampled diva sweetening the mix.
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Ratcatcher lines up two killer tracks with remix support from Leon Vynehall (AUS Music) and Benjamin Damage (50 Weapons)
Support from: Mike Huckaby, Trevino, Maya Jane Coles, Jonas Kopp, Nikola Gala, Norman Nodge, Joris Voorn, Lorca, XXXY, Vince Watson, South London Ordnance, Eats Everything, Totally Enormous Extinct Dinosaurs, Shenoda, Iron Galaxy, Atjazz, Randomer, Komon, Physical Therapy, Doc Daneeka, Braille, Thefft,
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After recently inaugurating its run with a crop of tunes aimed squarely at the dancefloor, Brooklyn's newly launched Peach label—an imprint headed up by TURRBOTAX® co-founder Rem Koolhaus—has shifted gears on its second release, broadening its vision beyond the club and offering up a pair of wonderfully immersive tunes from Earth House Hold. The Earth House Hold moniker may not be familiar to everyone, but the man behind the name—veteran producer bvdub (a.k.a. Brock Van Wey)—has been notably walking the line between deep techno and ambient music for nearly a decade. And while most mentions of Van Wey's name almost inevitably lead to talk of his highly prolific nature—he's issued something like 20 full-length albums since 2007—his output as Earth House Hold has been far less frequent. It's ostensibly his "house" project, something that can be traced back to his days as a regular in San Francisco's deep-house scene during the '90s. It was an influential time for Van Wey, and though his music makes no attempt to revive that sound—the aesthetic is unmistakably his own—the era has certainly left its mark on him. That said, there's nothing "retro" at work here. Both "Back Where I Belong" and "A Little Late for That Now" clock in at nearly 12 minutes, and find Van Wey constructing a delicate lattice of shimmering, crystal-clear melodies and soulful, slow-burning vocals atop a slow-motion house skeleton. Without question, the music is "deep," but there's an undeniable—albeit subtle—pop current running through these compositions. It may be adventurous to say that the tracks recall the sultry glow and hypnotic excellence of artists like Sade, but Van Wey's vocal-heavy approach harkens back to a time when soul and R&B singers could actually sing, and his tunes carry a similar emotional wallop. Someone could easily get lost in the expanse of Earth House Hold's compositions, but even if that happens, it's a safe bet that they won't be in any hurry to find their way back out again.


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