Bawrut – 4×4 Remixes

6.5

Italian-born, Madrid-based producer Borut’s (aka Bawrut4×4 EP has been remixed by a host of top artists, three months after its release. The original EP, supported by a number of artists such as Leftfield and Mano Le Tough, currently boasts a 4.9/5 rating on Discogs. From Tuff City Kids heavyweight Lauer, to composer and technologist Lossy, Bawrut’s work has been warped and morphed into new creations in this remix package spanning nu-disco, deep house and electronica.

The EP opens with Lauer’s interpretation of ‘I Hear Voices’. Whilst the German retains Bawrut’s wobbly acid lines, he chops up the vocals and adds additional drums, which help create an arching crescendo that’s typical of Lauer’s indie take on dance music. Although Lauer’s upbeat version is the ideal opener to the EP, Timothy Clerkin’s later featured interpretation of the track is exquisite. The Londoner stifles the acid and introduces a slowly oscillating synth-line that transports you to a still, serene environment. The vocal – reduced to just a whisper – adds to the unerring atmosphere and helps form the standout track of the album.

Although less impressive, there are other examples of electronica reworks on this EP that should be highlighted. Lossy, a London-based composer, provides a soothing version of ‘Three Sounds’, which would slot perfectly into a sun-filled, late-afternoon set by Joy Orbison. Its breezy piano keys and subtle basslines are excellently positioned, though the track could benefit from more depth and layers. On the darker end of the electronica spectrum, Sano’s take on ‘Ghettoscar’ is commendable, though somewhat disjointed. The African vocals that Bawrut employs are still welcomely present, albeit drowned-out disappointingly by the track’s skewed rhythm.

Delusions of Grandeur’s Jimpster presents a strong, driving remake of ‘More Cowbell’, with the deep hum of bass tones slowly building energy. Later in the EP, Marlon Hoffstadt gives us his ‘Aloe Vera Mix’ of the same record, which takes a completely different angle. Hoffstadt’s decision to lower the cowbell – despite being at odds with the title – is welcomed, as it enables the track to float more graciously.

This remix EP shows the breadth of talent in the house and electronica scene at the moment, with a variety of artists showcasing their work. However, some selections do not do Bawrut’s original versions justice, and lack the clarity and structure of the original tracks, preventing this EP from being deemed top-shelf standard.