[Juno Records]

The house music revival and the Internet have offered DJs something of an all access pass to rifle through the genre’s dusty archives and play out their findings without hearing clubbers sniff about moldy oldies. For me, doing so has lent context to and exposed the contrasts between the modern deep house being made in droves and the music which inspired it. In the past, producers were more wont to fill their tracks to the brim with melodic, lyrical and rhythmic touches without fearing of being described as cheesy or bloated. Robert Hood, Jeff Mills and their techno cohorts might indulge in minimalism, but less often did the disparate sounds meet. Now that techno and house have survived extreme, mnmlzd diets, it seems many of those flocking back to house music’s roots are still wary of sounding bulky, additional vocals and live instruments be damned (with exceptions noted elsewhere on this blog).

It’s especially noticeable on Juno’s latest anniversary single; Urban Soul’s “Alright” is so complex and voluptuous that its attendant remixes have a difficult getting noticed from behind its big ass sound. Alternately hopeful and downtrodden, the original bass-bound track crams Roland Clark’s woeful story-telling, a host of hushed male vocals, a full-throated diva to belt out the titular hook and swirling organ melodies, leaving every nook coated in sound. Jay Shepheard of Compost Records fame flatly ignores yet still manages to out-schmaltz the original by reaching into the retro toolbox and plunking down what amounts to an 80s TV theme song. His dub is more carefully arranged and fares better for it.

Basement Boys’ Karizma, who recently mixed an entry in the Coast 2 Coast series, makes more use of the vocals on “Movementz Part 1,” but stands them stilted atop an 808 skeleton and, eventually, an ashen piano chord. “Movementz 2” gets my nod for the best cut as Karizma layers vocals judiciously and wrings a decent splash of color over jacking rhythms. Maybe a couple years after we bury the tiny and efficient hatchet that was minimal producers will feel more comfortable taking up space again, provided the house music frenzy holds on that long. I guess these fat old records and their chunky modern companions will have to keep me company in the meantime.