Pure warehouse fuel, and I mean that as the whole review. Lost In You is Max Chapman locked into the rolling, stripped-back tech house he’s spent years perfecting. The bassline is a single elastic figure that barely changes across eight minutes, and the magic is that you stop wanting it to. A breathy two-word vocal drifts in and out, more texture than lyric, the sort of phrase that dissolves into the kick after a while. What makes Chapman good at this is patience, the nerve to let a groove ride long past where a lesser producer would panic and force a build. There’s a subtle acid squelch that creeps in around the halfway mark and gradually takes over the back half. By the last two minutes the squelch and the bassline are basically arm-wrestling, and neither one wins, which is exactly the fun of it. It’s built for a dark room at an unreasonable hour, and heard anywhere else it would probably just sound like a loop. Heard right, it’s a trance state.
January
Chrome Daydream
Chrome stars, jelly hearts and holographic colour. A nod to the glossy, optimistic graphics of the early web.