I bet he has a lovely smile…
Chuck Eddy: Jumping is fun. Especially beneath bridges and undperpasses, where it echoes a lot. On drugs.
Matt Cibula: THS WRTR LVS THS TRCK, T S FNKY ND MYSTRS
Michaelangelo Matos: His gift for the brief vocal snippet that catches you up short, not to mention for simple-sounding silver-lined keyboards and implacable bass grooves, shows no signs of abating. This is slighter than “Hyph Mngo” — by definition it has to be — but it’s as lustrous, and it’s already sounded good in a half-dozen DJ sets I’ve heard, with plenty more to come, I’m sure.
Erick Bieritz: I was slightly underwhelmed by “Hyph Mngo”. There were so many interesting sounds bursting through the seams of this scene, and I wondered if that track had been semi-arbitrarily singled out on the strength of a few good reviews and a catchy nom de plume. So it’s to my surprise that followup “BRKLN CLLN” is sticking with me so much. “Hyph Mngo” can be numbing in its insistence, and the decision to let the vox fall back in the mix makes “BRKLN CLLN” more rewarding.
Doug Robertson: More tripped out aceness that’s not so much music, more a state of mind. It sums up that moment where everything is about the beat and nothing, nothing will distract you from it. It’s as blissful as a summer meadow, albeit one that is at its best in a dark and dingy basement club. This isn’t music to listen to, it’s music to experience.
Martin Skidmore: I find it danceable, exciting and invigorating, and wanted another three or four minutes of it. This will take some beating among dance tracks again this year.
Mallory O’Donnell: While this is not nearly as atmospheric as the (perhaps a bit) over-thought “Hyph Mngo,” it’s loads more fun. Drums so fresh they scrape your ears clean, samples tastefully deployed yet memorable enough, and then that amazing space-funk breaks out all over the place. Whatever dubstep is called this week isn’t to the point — this is nothing more or less than a timeless underground dance track, circa right now.
John Seroff: I imagine that the P-Fork’s crowd carrying of the Joy Orbison standard is prelude to inevitable backlash: “There’s not enough soul in these beats,” “I don’t see what the big deal about retro house is,” “Joker and Guido do this better,” etc. There’s likely some truth to all the above but that doesn’t stop good music from sounding good. Less a single than a passing mood, but I daresay I like it almost as much as “Hyph Mngo”.
Ian Mathers: I actually had to go back to “Hyph Mngo” to make sure this wasn’t just some sort of remix. It turns out that played back-to-back they sound very different, especially in terms of the vocal sample. But now, listening to “Brkln Clln” again, all I can hear is a watered down version of the effect “Hyph Mngo” had and has on me. There’s nothing wrong with this track, per se, but the way it both pales in comparison to its predecessor and kind of drags the other track down with a little are not things I am a fan of.
Kat Stevens: Same chef, same ingredients, but this time the recipe calls for gas mark 6 instead of a low simmer: “Hyph Mngo” took nearly two minutes for the handclaps to burst through the dry clicks, but “BRKLN CLLN” drops the same handclaps after 58 seconds, ensuring the main course doesn’t get cold while we’re eating the starter.