The Mole

“As High As The Sky”

#WAG038LP scanZoom inLabelWagon Repair
Cat. No.#WAG038LP
Orders fromThu, 27 Mar 2008
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After years of encouragement The Mole has finally caved in and recorded his debut album. A Wagon Repair veteran of numerous singles and member of The Modern Deep Left Quartet with his comrades from Cobblestone Jazz, Colin De La Plante has established a strong reputation for his jubilant house and humble attitude. Originating from the West Coast of Canada, The Mole moved to the French-Canadian capital as resident at Laika bar for 7 years, during which time he made numerous appearances at Montreal’s burgeoning Mutek festival. He’s released on Itiswhatitis, collaborated with Paddy from Cobblestone as the ‘Smokin Posties’, created a 5 turntable experimental techno project referred to mysteriously as the ‘Starchy Root Machine’ and is currently planning to start a 7 inch label of disco edits with fellow Canadian Koosh. Opening with a bouncy intro, ‘Still In My Corner’ begins with deceptively dark melodic tones and a funked up bass plunge before growing into a mid pace house treat. ‘Aint The Way It Supposed To Be’ leads with sustained pads, infectious latin percussion and cinematic string samples, climbing to close with a bass heavy disco drive. ‘Alice You Need Him’ builds around looped dripping melodies, taking things deep with shimmering soundscapes and modulated synth. ‘Hey Girl (I Feel So Good)’ is an anthemic house number, building on sampled ride riffs and prodding synth to the sound of an excitable audience. An edit of recent Wagon Repair single ‘Baby, You’re The One’ follows, with stabbed key melodies, deep reverberated percussion and looped soulful vocals creating a deep house sweat fest. The wobbled melodies of ‘Gracias A Los Ninos’ plunge us deeper, with pulsing submarine style pads offering a brief breather. Equally chilled, ‘Like The Way’ builds slowly around an eccentric drum pattern and mantric vocal sample, before ‘Smiling and Running’ gathers pace with funk percussion, deep pulsed synth tone and panned bass rhythms. ‘Knock Twice’ sticks to the funk them

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