REVIEW: KAASI – Tramuntana

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From touring with electronic american duo Odesza to wing-manning his pals by being a mutual like on tinder, KAASI is taking deep house by storm.

With a a twitter bio ‘Less is More’ you can already sense his music will be simple yet well executed. Deep house needs a constant stream of artists; the likes of Cyril Hahn have slightly faded after the fame of remixing ‘Say my Name’ (an absolute classic) and French deep house producer Perseus is now venturing to new genres. The fame from Kygo’s deep remixes have propelled his tropical house career which begs the question ‘Who’s going to stay deep?’

KAASI has just released a new EP ‘Tramuntana’ on ANNOA Records, the artwork is what you would expect, simple colours and geometric shapes, but its ok to fall into this stereotype as the music speaks for itself.

The first track is ‘Rain’ which starts echoing vocal cuts, a pounding kick drum and intricate percussion. This evolves without the listener realising. The song begins to opens up and takes on a summery yet reverberated feel. The beauty of deep house tracks is that they can be so easily mixed and used in DJ sets.

The prime example of this is the second track ‘Those Days’ which has a phenomenal chord progression and would kick off any festival just nicely. KAASI sticks to the basics and really pulls it off. Everything about this track is necessary and there’s no evidence of over editing. This is the highest listened to track so far on his Soundcloud: a testament to his work.

Long Time Coming’ is another beautiful deep house tune, with the vocals almost sounding like Florence Welch. It’s heavy on the percussion and baseline again, yet the filters really punctuate the track with jumping keys.

The final track of the EP ‘Hold On Me’ is reminiscent of American DJ Chris Malinchak in the respect of percussion, and the repetition of the title throughout the song.

This is a fantastic EP and credit is due to the producer for staying true to what he knows. Summer is coming, and so is KAASI.

Words by Mark Campion