Like the band's hit 'Happy House,' it digs hard into syncopated, stabbing chords, and Nancy Whang carries the day as only she knows how, a paragon of cool amidst all the throbbing sequences. (It's a nice twist for electronic music: while the machines are close to blowing gaskets, she barely seems to break a sweat.) Her lyrics speak directly to the ecstasy of excess:
„You like it when it's too much
You like it when it gets hush-hush
You like it even when it's not enough
You can't hold it down, you can't hold it down'cause it's good“
And that it is. With its breakneck bass arpeggio and glancing Rhodes details, it's more intense than 'Happy House'more direct, more focused, smooth as an awl. It's minimal in its ingredients, but not in its effects: taking a page from Carl Craig's approach to Detroit techno, MacLean knows how to spin a handful of elements into a dazzling, colorful array. True to its lyrics, it dances teasingly between hush-hush and too much. And at over 10 minutes long, it's just enough.
The Berlin-based Florian Meindl, whose 'Here Today, Gone Tomorrow' plays a key role in the DJ-KiCKS mix, turns in a dark, tightly coiled remix. In the tradition of the B-side dubs from Chez Damier's classic KMS label, it's all about the shuddering, corkscrewing groove, with a grinding drum pattern pushing its way through a field of dubbed-out vocals and chords. It's a testament to an earlier tradition of remixesversions that extracted hidden possibilities from the source material, instead of total overhauls more beholden to the remixer's ego. And it's totally electrifying.