Chinese Takeaway
The advent of affordable, accessible music production software at the turn of the century saw an enormous surge in, not only emerging artists and independent record labels, but an explosion of new music from places you would never expect. While the Netherlands’ second largest city isn’t exactly the first choice vacation destination for tourists, Rotterdam’s resident rhythm-smith, Taras van de Voorde, swooped on the opportunity to produce his own music in 2007 after years of slaving away behind the decks at European underground clubs. That was several EPs and plenty of coffee shop trips ago. Now, with his latest rave-tacular release, “Manila” and “Hong Kong,” Taras is saturating the lines in front of venues once again.
Layers upon layers of “uhn” mixed with “tiss” what make “Hong Kong.” Pepper in some lasers, signature trance synths, high-hats galore, and you have got yourself some well made electronic dance music. “Manila” isn’t a whole lot different – it’s got hooks, leads, builds, breaks, and plenty of loops. In fact, these two new tracks from Taras embody the stereotype of what is often overgeneralized as techno. When laid back to back, both tunes clock in at just under the 15 minute mark and deliver a sustained release of dance floor grooves for the poi dancer in all of us.
While there is nothing particularly standout about either song, they are by no means ugly or poorly produced. Those who are deep into the dance club scene can expect to hear “Manila,” “Hong Kong,” or a hastily made mash-up remix bootleg coming to a dance floor soon. If you’re not one to “get” electronic music, stay far, far away.
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