Review

Phil Asher: Rhythmical Whims (RSTLSS TRX)

What do you get if you cross Phil Asher, Dwala, Matt Bandy and Toni Economides? The answer would be some seriously well written, played and produced house music that has had thought poured into it, not just been put together on a whim!

Rhythmical Whims is the latest offering from west London based Phil Asher, on his relatively new RSTLSS TRX label. So what’s the difference between RSTLSS TRX and Restless Soul? Well, in Phil’s own words, “The Restless Soul label is for the songs, the soulful more musical pieces, whereas RSTLSS TRX is strictly for tracks. They both do what they say on the tin, please enjoy them both equally.”

The three tracks on this release are all much more on a deeper electronica tip and show Phil Asher has many musical making facets.
Up first is Juno (a name that anyone into their dance music will recognise) and starts off with a spoken word sample, before the reverb heavy bassline unveils itself. Phil’s music always features some tight and thoughtful percussion, and Juno is no different. The track builds nicely, with the vocal sample running alongside it until 2m 2s before ceasing. And then voila, at around 2m38 you can hear subtle pads, Juno pads no doubt. Oh yes, oh yes the keys are subtle as hell but the melody enticing and moving. I love the analogue sound of Juno’s and this particular effort pays homage to THE keyboard of house music perfectly, but without being too in your face.

Next up is Piano, another simply named but appropriately titled track. Piano is on a slightly faster tip, with a funkier bassline and some really well filtered piano stabs. At around 2m 14s the whole thing takes off with the introduction of the hats. Using open hats to emphasise a certain point in the track resonates well with me. I think it’s a really good way to grab the listener and say, “Oi, have some of this son” (or daughter - I’m not sexist!) The piano also evolves at this point, turning into riffs and melodies rather than single stabs and it sounds so warm and friendly. I really like this, when you listen to it a few times you realise it’s a musical journey and expresses itself without words via your emotions and psyche. It’s like going on a first date where things are cool but you’re both a little shy at first, then your barriers come down, you talk, laugh, flirt and finally you find that point of the night where you both realise you really like one another and have a lot in common!

The final offering on this EP is called Rhythmic and lends its alliance to good old drums and percussion. Let’s see, to start off we have Tom Toms, a click that I know but can’t quite place, hats, cowbells…Mardi Gras time people! This really has a carnival-esque atmosphere about it, not so much Notting Hill, but more Rio. There are also subtle filtered stabs that wouldn’t be out of place on an Andy Weatherall production, again showing Phil’s talent for thinking out of the box.
As much as I love a good vocal, I also absolutely love electronic music because a lot of it has soul and depth without the need for a vocal to convey this. This EP falls into that category and put it this way, after my first date analogy, I’ll definitely be seeing her again as she is gorgeous.

Great piece of work.
Words GARETH MORGAN