Opening with the incidental but ambiently funky broken beats of 'Follow Me', Tiefschwarz's delicately groovy debut album displays all the attention to detail that has made their 12 inch releases such collectors items.
'City Sounds' takes in floating jazz aspects, while the sublimely rhythmic 'Monday' moves through Afro-Latin conga patterns layered with achingly simple bass and floating Seventies incidental jazz-funk keyboard, summoning up the title sequence of myriad TV cop shows.
'Acid Soul' settles into a chunky hip hop break beat and nudges along on a squelchy acidic 303 bass that melts into the click house-come-broken beats of 'Schwanitz' and then rises into the sweet-synapse tickling chords of 'Never'.
The middle of the set is dominated by the wind-down to 'Bye, Bye Baby', a soft, string-ladden lament that brings the record to a lull that will inevitably draw comparisons with Zero 7 and, less plausibly, 'Air'.
Having cooled the party down, the album immediately starts to build again, ascending through the shuffling percussion of 'Tuesday', the album kicks into the perfectly executed shuffling disco-funk of stand out track, and 12 highlight, 'On-Up'.
'Emma (Dub)' is a satisfying Samba work out that leads to their classic 'Music' release - the oldest track to be included on the album.
Having jumped back to feel-good vocal house, the brothers shift things straight-up to date with the bass bin rupturing broken beats on the intro of 'Nix'.
By now we're on the play out and the duo naturally want to leave with a party, which they do to some extent with the lush arrangements of 'You' and the disco stomp of 'Trouble'.
by Ben Osborne