
Number one in a series of three remix ep’s featuring tracks from the Trus’me album ‘Treat Me Right’.

Number one in a series of three remix ep’s featuring tracks from the Trus’me album ‘Treat Me Right’.

February 2013 sees the release of ‘Treat Me Right’, a new album from Trus’me. Its his first album in 3 years and to a certain extent marks a change in direction from the predecessors. Here’s what the man himself has to say as way of an introduction to the new album. “Since ‘In The Red’ I found myself traveling as far as Japan and South America and experiencing new scenes and people that has influenced my sound both in the studio and behind the decks. Traveling so much has forced me to change my way of making music, I would say now I have a more ‘anoligital’ approach to my production techniques. The final production stage will always remain an analogue process but the creative process has become more digital. You can’t take all those lovely synths and machines on the road with you. With ‘Working Nights’ I wanted to create a cohesive hour of music from start to finish, whereas ‘In The Red’ was a way to push myself and learn new engineering and production techniques, working with live musicians such as Amp Fiddler and Dam Funk. ‘Treat Me Right’ saw me move into the realm of synths, drum machines to create the sounds of the scene I had been submerged in over the last 4-5 years. Working on new music while on the road is hard, and fragmented sessions all came together once I was stationary in Manchester. I stayed away from the impulse of my love of sampling and musicianship and trapped myself in a room, so that the final outcome would be a true representation on the sound they call analogue.”

Ben Klock hypnotizes you with his signature style on Trus’me’s most popular club track to date ‘W.A.R Dub’. Ryan Elliott takes you on a similar journey, looping the fundamentals of Trus’me’s debut release ‘Nards’. Closely followed by an acid workout of huge proportions of another popular Trus’me hit “Need a Job’ by the ever shape shifting Vakula.

Nick Sinna has been on the radar lately with his debut release for Prime Numbers “PN 13”. Sticking to the dark corners of the dance floor as of late, the label has commissioned the spaced out bass child, Conforce and Spectral’s secret weapon, James T Cotton to add their touch with edits on 2 of the tracks. Conforce takes Sinna’s “Real Time” further down the worm hole, adding molten pressure to the percussion, and cutting up the vocal to reinforce “time seems to feel more slow”; while the acid warrior himself, James T Cotton stays true to his roots on his rework of “Voyager”, taking the edge off the snap and slicking the groove down to a more deep, melodic trip.

As Trus’me steers himself further into techno territory after his emergence as a champion of funk-rooted house music, this latest set of remixes further highlights how the man has impeccable taste to match his production abilities. DVS1 creates a cavernous beast out of “In The Red”, as a sumptuous metallic reverb provides the centrepiece for fluttering hats and flat kicks in a masterful exercise in techno restraint. Meanwhile Terrence Dixon proves his worth in the world of leftfield Detroitisms with a mesmerizing melodic hook and an insistent yet restrained bassline as he tackles “Shakea Body”.

Prime Numbers returns with a series of remixes of Trus’me favourites, including treatments from a host of current cherished producers. The 12 features the MDR records duo Marcel Dettmann & Norman Nodge. Dettmann takes a diversion from his more familiar techno blueprint, working ”Sweetmother” into a tight house groove. Intensifying all parts of the original he creates an insistent and deeply pressured production. On the flip ”Good God” gets dubbed & smudged into a beguiling ghostly haze. Nodge completely reworks the mix stripping back & filtering the elements to fantastic effect.

“Shake Your Body Down Spiraling” out of an original live studio jam, this track has been tearing up clubs this summer. Showing due respect for early Chicago acid house & first-wave Detroit techno,it reverberates with the influences and atmospheres experienced amidst the clubs and out-door parties of 89-94, yet sounds like the here & now. “Twilight Another” edited live Discreet Unit session, flowing in and out of a huge pulse line, the track just sounds just like it should.

Firecrackers Fam’s Fudge Fingas drops three heavily romantic house paeans on Prime Numbers ahead of his debut album. The breadth and scope of this EP shows Fudge’s versatile abilities, from slo-throbbing 100bpm house songs like ‘It’s About Time’ which sound like Larry Heard in a dream sequence to the stunning house odyssey ‘MmmHmm’ tipping his cap to Juan Atkins and Tortoise with a crafty 3/4 time signature made for massive dancefloor appeal.

Trus’me’s Prime Numbers label may only have notched a handful of releases in 2009, but counting Linkwood’s System and Trus’me’s own In The Red albums among them, it was a successful year for the Mancunian independent. Barely into the new year and Prime Numbers 11 hits us with three further reasons to count the imprint as one of the most exciting purveyors of house music around right now.