Point G – ‘#6’ (Point G)

Grégory Darsa’s music has often alluded to mystery. Even though the music under this alias is crafted for dancefloors, he effortlessly injects intrigue and intellect into a pure 4/4 beat, without too much interference in its primary purpose. This latest piece is the longest Point G release to date; 8 tracks that stand as, “..a set of sketches and building blocks that he’ll use during his forthcoming live sets”.

‘The Hunt’ is a peculiar mix of whirring pitches that float in the mids – accompanied by subtle off-beat percussion throughout – energetic guitar stabs and a medley of synth sounds that bubble underneath the surface. The kicks are ever-so-slightly too soft and don’t drive the track enough, whilst an oddly placed acoustic guitar threw me somewhat. However the track is flecked with a pretty assortment of percussion riffs and builds pleasantly, before easing back off into the outro.

‘Rumi’ begins in more familiar territory. Reverb-y, powerful kicks are augmented by a blissful string melody, balanced through staccato and legato notes that create an aura about the piece. Lots of micro-elements in the track come to the fore as the dubbed-out atmosphere crescendos into a hypnotic mid-point.

‘Balea’s’ crisp hats and deep, driving tones get the 5am treatment with a vocal/synth combo that could compliment most sunrises. There are hints of moments of ecstasy just floating atop this track that, if dropped into a set at the right time, could set it off. ‘Surdo’ is a far tougher affair with snappy, well – everything. A warm synth breaks up the swift percussion, rattling along to a broken beat – a great pumping, pulsing, (almost) purely percussive track.

‘Mantra Box’ takes the record into much deeper territory; a fuzzy bassline and skipping percussion meld succinctly into one another via constant syncopation. The chanting vocals are a particular highlight that match the droning horns in the background, when it all comes together it is tracks like this that really show off Darsa’s talent for creating something intelligent and intriguing, yet all the meanwhile focused entirely on the dancefloor.

‘Kond’ strides into a different realm; there are still interesting parts to the track, particularly sombre piano keys and odd samples that cut in throughout, but the soft kicks and pads don’t seem to carry the same weight when a hefty, overpowering bassline crashes in. ‘Muz’ also seems to be slightly lackluster compared to the previous tracks; a fairly typified beat bounces along with rattily snares and clicking percussive components, whilst a bored sounding vocal sample that doesn’t add all that much, seemingly tries to alleviate the track.

‘Willis’ does seal ‘#6’ quite nicely. Snappy hi-hats and a rolling crackle give the track an edge, whilst a whistling synth and beefy bassline keep a balance to the punchy kicks that Darsa is so capable of doing well. All in all this is a decent release; with the French veteran displaying an admirable willingness to mix it up across eight tracks. On headphones not all of his gambles pay off, yet there’s no doubt that it could be a very different story in the heat of the moment on a heaving dancefloor.

‘#6’ is out now. Buy it here.

Oliver Todd

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