Fennec - So That I May See You Again

PING-PONGING OFF BODIES, IN SEARCH OF THE ONE

Make no mistake, House is at its best when humanity shines through. It's robotic, by design, carried by a steady and unshakable 120 BPM's, but the plight of the dance floor body-shakers is what elevates House to ecstasy. Without it, hollow torpidity kicks in. Whether it's Burial or The Orb, DJ Sabrina or Fatboy Slim, I'm never not impressed by producers' ability to manifest something real from a void of artificiality. With So That I May See You Again, Fennec carries on that formidable tradition by splicing a plethora of curious samples - akin to The Avalanches, a clear influencer - amidst steadfast Deep House fixtures, like jaunty percussion, lingering piano notes, and strings swinging on silk from the rafters. Above all this lies a playful spirit, one that quests for a romantic partner 'tween a sea of sweaty, inebriated suitors.

Be it a great introduction or disappointing declaration, So That I May See You Again's best two songs come first, with the closest competition furthest in sight. Perhaps it plays into Fennec's concept, one rife with dusk excitement before fizzling restlessly until that one fateful companion lies their body alongside yours. For 'Reunion,' much in the same way of DJ Seinfeld's closing masterpiece on Time Spent Away From U, relishes in the comfort of intimate amity. Coo calls echo from the shadows, strings glide softly under blankets of warmth, as a near-indecipherable voice manages to make out the words "next to you." It stands in contrast to those energetic romps atop, full of anticipation and sumptuous prospects. 'Apology Diamond' toys with a style that would come to define Fennec's 2020 album Free Us Of This Feeling. Scattered vocal samples, chopped to bits much like Pogo's labor-intensive work, provide a sense of levity and furor, layered endlessly without care for placement or purpose. It's the sight outside a club. Sporadic blurbs from passing conversations find their way not only into 'Apology Diamond,' but the bulk of So That I May See You Again's tracks. This applies to standout 'Maratua,' a stunner of sample work with bubbly vocals becoming a beat all their own. It rivals Four Tet's most intricate works, surpassing the noted Microhouse technician in the fun department.

And though, as mentioned before, Fennec bookends the LP with his best, So That I May See You Again maintains an illimitable grace that's, unfortunately, all too rare in House records, despite being a calling card for DJ mixes. That, of course, is the flow. From one song to the next, Fennec never ends one without keen eyes set towards the imminent future. Sure, some transitions are as simple as incorporating the next track's beat under the former's ('A Forever Kind Of Feeling' into 'Last Time I Saw You' for example), but even then the changeover feels entirely natural. It's a party record. Why any would have even brief moments of silence is beyond me.

There's a few comparisons to name elsewhere, deep in the trenches of these 52 minutes. Though difficult to establish, for just how difficult she is, both 'Collapse' and 'Phantom' manage to imitate DJ Sprinkles' treasured Deep House (Midtown 120 Blues), as romantic Soul samples from the Disco era weave their way into the buoyant fabric draped over the throng of dancers. The cool, nocturnal downturn of tracks like 'Ginseng Heart' and 'Last Time I Saw You' bear a passing resemblance to dj poolboi's it's good to hear your voice (notice the sentimental similarity in all these album names?). Lastly, though it's abbreviated, personal favorite 'Maratua' sure does capture the loving, adolescent spirit of DJ Sabrina's must-listen-to, five-part series. So, despite comparisons being felt often, Fennec's heart still grows strong. Parties would be nothing without the inhabitants and their own personal agendas. The varying textures and invasive samples on display on So That I May See You Again is proof-positive how important humans are to Electronic music.