Review: Lee Burton – FH12 [Finest Hour]

Berlin label Finest Hour are back with their 12th release from Lee Burton. The label boasts a strong selection of releases from their close-knit community of friends, including Audio Werner and Voigtmann, as well as label heads Onirik and Pablo Tarno. Burton’s varying styles have caught the attention of many throughout his career, and resulted in releases on labels such as Taverna Tracks, DisDat and raum…musik.
“I like using analogue equipment, synths with real oscillators like the Roland Juno, Doepfer, and the Veroma for drums. I like to record my tracks live using plenty of hardware. I play around a bit and when I feel I’ve got something, then I record a few takes and keep the one I like the most.”

‘Concreteness’ opens the release up, a cut of stripped back drums and groovy bass lines, sprinkled with some trickling effects. The next track ‘Monolith’ took its title from Burton’s favourite scene in 2001 a Space Odyssey, the spacey atmospheres accompanied with the delayed stabs fits makes for a good representation of this – dreamy and spacey from start to finish.
On to the B-Side. ‘1420Hz’ has a really tight acid bassline which plays a huge part in the track, it really sticks out whilst still allowing the other elements grow around it, whilst the rising pads bring warm feelings of a past summer. Lee explained to me that what you hear in his music is a live recording, sometimes he may add a couple of extra layers afterwards, but 95% of the composition is live. In ‘Roundimage’ there is some use of added synth sounds, which work an absolute treat when hearing this through any system. This one is super cool and loungey, really nice to listen to and take in all the parts that make it up.

Purchase Here:
Deejay  |  Juno

Finest Hour:
Soundcloud  |  Facebook  Discogs

Lee Burton:
Soundcloud  |  Facebook

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