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V.A. - MDC Mates (Melbourne Deepcast)



If you peeped our 'best of 2012' list we put up earlier this year, you might have noticed we got a bit excited about discovering the indisputable talents of Max Graef, one of the driving forces behind the supreme 'Box Aus Holz' label. Apparantly, we weren't the only ones noticing young Herr Graef's chops. His particular branch of disco meets dusty, Detroit-y deephouse made its way to Australia, where Melbourne Deepcast curator Andy Hart immediately recognized a kindred spirit. While in Europe for a tour slash trip last year, Hart met up with Graef in Berlin, they hit it off like Batman and Robin and got dirty in the studio together very succesfully. They've been pinging some amazing tracks back and forth ever since. We cottoned on very quickly and snapped up three of their collabs for Black Ops 4. A quick listen to the fifth release on the Melbourne Deepcast imprint should make it obvious we're very excited about signing this intriguing duo.

Hart & Graef start things off on the A side with Super Strain, a deep as you like chunky stomper filled to the brim with cheeky vocal samples and driving percussion, complete with extra vinyl crackle for that nostalgic feel. It's one of those rare tune that's equally at home in a glammy disco as in a sweaty basement. Kris used it on his recent 'Music for Serious Jogging' mix and it's one of the highlights of the ride.



Max Graef gets to shine on his own on the A2 with the irresistable 'Sensation', which starts out as a sloppy discoclap fest but slowly turns into an epic slice of rolling deephouse thunder. It really is uncanny to see/hear with what ease Max Graef fuses the fun of Disco and the grit of Detroit. Strong contender for set starter of the year, have a listen below:



On the flip, MK5 provides a bit of melancholic and synth-heavy slow techno with 'Moon Vexed' and The Tortoise (Undertones, Under The Shade) comes correct with a wobbly groover that cleverly flips a vocal sample that sounds familiar but it actually The Tortoises own voice we're hearing (thanks for the slap on the wrist guys, we'll sack the factchecking interns right away, useless cunts) . Both tunes are fine fodder, but chances are you'll never get past the A side. It's just too damn good, and proof deephouse can be exciting without relying on big garage drums and those pesky 90s chords.

Go pick up a copy, you won't regret it (next Box Aus Holz is also insanely good, keep 'em peeled)

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