[Freerange Records]

There’s no doubt that Freerange Records produces top-shelf music. Birthed in ’96, the label has shifted very slowly from broken-beat, jazz-infused creations to the straightforward, dance floor-aimed house of the past five years or so. Dip in at any of these points and you’ll find not just one good egg (geddit?), but several omelets’ worth. Despite this undeniable consistency, I’ve sometimes found myself wishing the imprint would throw in a few more surprises. Like most oldies, it seems that with time, Freerange has only become more conventional. What better place to measure this march than the Colour Series compilations? Each acts as a showcase for the label, gathering several previously loved tracks and a few unreleased ones into a sort of yearly “this is where we’re at” statement. Grey being the ninth, one has to wonder how many colors are left. Perhaps they’ll be forced to start calling pink “salmon,” and green “moss,” like so many designers do.

Label founder, Jimpster, opens Grey 09 with the husky, seesawing bass line of “Late Night Blues.” This simple cadence proves crucial to the track’s entire performance, lifting gently skywards as we get deeper in, and gradually transforming to a lustrous hook. Nice as it is, this process is really just foreplay, as the cut’s three-quarter breakdown seems the intended highlight. Filled with fluttering synths and golden chimes, its sheer beauty recalls that of “Alsace & Lorraine.” Importantly, however, Jimpster doesn’t get carried away, reintroducing the beat soon after. Set around a brawny, jacking beat and downcast organ, Milton Jackson’s “DSI” is less exciting. Coasting safely along, it neither moves to establish a distinctive motif, nor pauses to allow a bit of noodling. As the vocal advises, “there’s no stoppin’.” Himan’s “Empty Pocket” also jacks a little, but its muted vibraphone and intoning piano feel more artfully arranged. As a result, it’s the most impressive piece of work I’ve yet heard from the young Portuguese artist. However, like the other two, the palette and execution feel incredibly familiar. Matt Masters and Pezzner buck this trend with “Time,” under their Arithmetics moniker. Constructed with spasmodic, pillar-like synth stabs and cantering cowbells, it may not be totally fresh, but it’s different enough to stand out. Which, having the quality part well-covered, seems like something Freerange could stand to do more often.