Cabaret, the Japanese label run by DJ Masda and So Inagawa, has never been afraid to push producers who are still breaking through in the main consciousness of their respective scenes. Binh‘s Cabaret debut was only his second release on wax and preceded further releases on Perlon and My Own Jupiter.
Uruguayan Omar released in 2017 before going on to feature on My Own Jupiter and Time Passages. Not to mention label favourites TC80 and Spacetravel who have both produced some of the label’s best music.
A1 ‘Champions League’ exerts the kind of moody electro that can kick sets up a few gears when you’re starting to build momentum. ‘Redemption in Friedrichshain’ follows suit albeit with a bit more personality, deep kick-drums are overridden by an atmospheric inspired bassline along with similarly chilling pads to it’s A side compatriot.
However, it’s the lone B-side track which really makes this EP stand-out as well as showcasing Dea and Enrica’s production capabilities. Moloko goes against the grain of the EP with a 4×4 drum pattern and seems to take its inspirations some of the early 2000s techno you may hear Binh or Etienne spinning. The bassline takes you through your paces, progressing through pads which seem made for 5am sets aboard Hoppetosse on a Monday morning whilst squelchy chords give this one an extra kick.