Reviewed By: Matt Sever
Forthcoming on seminal label Mote-Evolver, its 50th release – Deep Heet Vol. 4, produced by label boss Luke Slater himself under his most famous pseudonym, Planetary Assault Systems. The Deep Heet series span the life of the Mote-Evolver label. Deep Heet Vol. 1 being released in 2006, bearing the prestigious catalogue number of mote 001. Volumes 2 and 3 of the series came out in 2011 and 2012 respectively.It seems fitting that the 50th release should be the 4th volume of the Deep Heet series, linking back to the beginnings of the label and this series and showing the evolution of his sound.
The press release says, ‘With a unique ‘engine room’ ambience and a focus upon maintaining a continual surge of pure energy, each volume in the Deep Heet collection has lived up to that title, subtly suggesting the kind of sustained and voluntary temperature rise that has traditionally given way to spiritual or visionary experiences.’
A bold statement but once you listen to the series you get the idea.
The first track of the EP Desert Races starts with a solid four four kick, rhythmic stabs, occasional blasts of white noise and the subtle changes Slater is so good at. When the hats come in it adds that groove and urgency to the track. Things build and drop in intensity in all the right places, but never loses the flow.
Second is Life Rhythm, this actually sounds like it was recorded in an alien spaceships engine room. Four four kick, percussion, bell like stabs, and an electronic noise folding in and out of the background. More hats come in increasing the urgency of the track, the stabs morph and change. This track engulfs you, it’s almost claustrophobic – in a good way of course!
Track three is Random Kingdom, this is some sort of bubbling electronic madness, it’s one of those tracks that slightly disorients and hypnotises you at the same time. Metallic sounds ride the track like they are somehow trying to contain it. Its simple but very effective – dancefloor destroyer.
The final track is Lazer Organical. This starts with a lone kick, and then the faint sound of something ominous, something big starts to come through. The off-kilter sound is like a laser attacking the track, it bounces off and around throughout the track trying to find a way in.
Expert percussion contain it and gives it pace and groove. About two thirds in to the track another spinning, swirling electronic noise comes in which adds a new dimension to the track, almost like its fighting the ominous lazer that dominated the track until then. This is a big track.
All in all this is an absolute belter of a release, every track is amazing, my personal favourites are the last two tracks of the release, but I will play all of them. Like with a lot of P.A.S. material the genius lies in the minimal nature of the elements used and the skill that Slater has for those minute, subtle changes that change, build and drop the intensity of his tracks.