[Tabernacle Records]

Following a small run of purist electro/tech releases, the burgeoning, Scottish-based Tabernacle Records switches the dial to a steadier pace of loose, jacking percussion with The Sentinel EP from little known Swedish producer and photographer, Daniel Andreasson. The two opening tracks, “The Sentinel” and “Ibis228” are the closest examples of this, but each insures its own individuality when the first echoes the brooding, yet, harsh smoke of Mike Denhert, while the following is significantly more Detroit influenced with hazy pads that resemble the languishing deep house/electro crossover of Jason Fine. But as heads down as the two come across, the drum arrangements for each are mighty and playful workouts on the 808 and 909.

After drifting through the Chicago-esque drum work on display, one gets the sense that a trickling of acid is sure to seep through somewhere; and the aptly titled “Flight 303” delivers just that. Compared to the more off-kilter patterns of the aforementioned tracks, the overall arrangement of beats is more reserved. Additionally, the acidic touch doesn’t offer anything particularly fresh compared with the vast examples of 303 modulation, however the progressing shuffle and claps make for a modest jam and further emphasize Andreasson’s love for a classic groove. Closing track “cONCUSSION 36” hints at the overwhelming melancholy of earlier Omar-S trax, although it’s production value is more well-rounded next to the FXHE head’s carefree style. “Gerdsken” sounds more at home in his local Sweden, reminding of crisp, early morning dreamscapes against a dewy, mountainous backdrop. This beatless, ambient wonderment is also a clearer indicator for the rest of the EP’s wintry vibe, bar “Flight 303” perhaps. The overall sound of this EP, and Tabernacle as a whole, delivers a culmination of styles which seem to fit together in a similar way to the vast discography of Clone and Crème Organization’s more retrospective output. Sometimes somber and sultry, other times slightly demented, but nearly always aesthetic. In other words, mood music for the floor. Tabernacle has a long way to go before it can compare with these Dutch heavy weights, but the Scottish imprint, while still in its ascendance, is carving out a laudable niche for itself.