Fresh off the kitchen counter from CCC Recordings, Harry Bennett provides us with the Body Remixes EP that contains four remixes from Till Von Sein, DJ Nature, SONNS and Traxx, all of whom are stellar producers. Harry appeared not too long ago on the second volume of our Dubco Sessions, and has been keeping himself quite busy since. He released Ponytail 12″ on CCC Recs back in early September, and this month has seen the release of the remixes available on vinyl and as a Beatport Exclusive.
Harry Bennett is originally from Texas, but currently resides in Brooklyn. He released his first 12″ when he was 21, and draws inspiration from the rave music of yesteryear. He founded CCC Recordings in 2010 with the release of Night Plane’s STR8 2 UR HEART 12″, and has been building the label incrementally over the years. Now with his latest release he makes a new statement of house music, fusing the old with the new for a great handful of tracks perfect for the club.
Off of September’s Ponytail 12″, the original mix of “Ponytail” certainly sounds like a derivative of the old acid rave music. The build ramps up with an appreciating bass line that gains in value and volume that is accented by filtered percussion and traditional house drum patters. Chopped vocals lead into the main chunk of the track with a bigger, distorted bass line complete with filtered spoken word and electric guitar accents. Pads are also introduced before the original bass line comes back in and continues to take the listener on the journey.
The Till Von Sein remix has a more chilled out aesthetic to it, with a pad growing in volume that leads right into the breakdown. When the kick come back into play, the spoken word makes an appearance with a new funky bass line. More leads and chopped vocals are introduced and former elements reappear to show a great sense of arrangement. SONNS also gives a remix of “Ponytail,” and it starts off with a drum pattern that could be in a rock song before the four-to-the-floor kicks chime in after a couple bars. The breakdown cuts up the original spoken word vocals, giving the track a while new sound. As the remix progresses, synth chords are introduced before another short breakdown that drops back into the main part with new synths with similar melodies and harmonies.
The B-Side on Ponytail 12″ is “Body Language,” and it start out of the gate with plucky percussion and pads that are just subtly side-chained to the kick. A bass line is gradually introduced before a reverberated claps hits and the song continues. Delayed synths, keys, and crunchy spoken word vocals become the focus without any breakdown. It progresses into a breakdown eventually, with the center of attention just on the kick, bass and airy pad. The song builds up again with all the main parts after a tom-tom fill, and comes full circle. The DJ Nature remix for “Body Language” beings at a slower tempo with new tribal drum loops and guitar, giving it a whole new spin. A gritty bass is heard under the commotion along with the original’s vocals that are cut up and delayed. The track continues into its breakdown about halfway through, and new synth elements are introduced that sound almost dissonant. A new spoken vocal that sounds like James Brown appears in the last bit, giving it a new energy before it reaches the outro.
The final original mix from Harry Bennett, is “Jack My Body,” which in my opinion is the cleanest sounding out of the bunch. A clean sine-wave bass fluctuates on every beat over the kick before the kick cuts out a female vocal recites the title over new bass drums before the kick is reintroduced. The vocals are cut up over the main course of the song, with appropriate claps. The original bass line returns as it heads into a second breakdown down with new wavy synths giving a very trance-like feel. The Traxx remix is jacked on some electro energy reminicent of Mr. Oizo, and the energy only builds with house kicks and a snare pattern. It continues to build with high hats and a new synth melody that clashes with the bass. It continues on this way with more vocal samples that give it a certain darker energy that feels much more gloomy than the original.
Harry Bennett and his compadres are another testament to how great these boutique labels are for pushing the underground dance music. Brooklyn seems to be the epicenter of this house music Renaissance with other labels like Safer At Night and Serkal, and it is very exciting to see the underground dance music scene take a serious hold on city clubs. You can catch Harry Bennett spinning next week at our upcoming event at Good Room on November 15th.
Till Von Sein