While at my local record shop recently I was flipping through the new arrivals when a paper sleeve Mojuba stamped 12” caught my eye. It appeared to be a re-press of the 2009 deep house smasher Time Visions 2 by Chez Damier. I handsomely paid the clerk and headed home to enjoy the sweet sounds.
When I checked the Internet later, sure enough I couldn’t find much on this mysterious release. Discogs only has the various 2009 releases listed, and a google search yielded essentially one result at a Russian online record store where it appears to be sold out. I started to become a bit more skeptical now, but when I placed the record on the platter and set the needle to it, instantly it was clear that this was a high quality, top notch repressing that if not official is one of the best bootlegs I’ve come across.
The record is soaked in creamy deep house goodness from beginning to end. The A side “Why (D’s Deep Mix)” is a marvelous 10 minute slugger that loops and swerves way down at 113 BPM. This is classic Chez, with a glowing and pulsing chord loop setting the mood and never falling from the mix as bongos and tight bass blips repeat bar over bar. Eventually, a legitimately groovy harmonica solo cuts through that’s not hard to love.
On the flip side “Help Myself (Unreleased Reshape)” stylistically brings things back to popular ’90s house fare. Fitting as it’s Carl Craigs unreleased edit of the classic KMS tune. A 16 bar live drum sample sequenced rhythm with resonant synth melody loops with perhaps the most tasty upright jazz bass samples. Something about the crash cymbal ending phrases in classic house tunes just feels so right. The tune is atmospheric while remaining organic and would burn down any 21st century dancefloor.
The record closes with what is probably the crowd favorite of the trio, “Soul Minimal” on B2. As the name suggests, it’s a fairly stripped back soulful house number, but there’s a bit less depth compared to the other two jams. This one is more strictly party material with the main feature being a fat and round bass synth that bounces up on swung out 16th notes. The sharp reverbed pads behind everything start to mix with sax samples and a lively bongo line. The tune works quite well in 2017, as it’s structured in a way where the core of percussion never leaves the mix. In so doing, it lends itself well to the driving syncopated rhythmic adventures popular in minimal and house right now.
I wish I could tell you how to find this record. While I’ve never owned any of the previous presses, the sound quality is excellent on this one. Even the website for the store I bought it at never listed it online. Keep your eyes peeled for the all-text red stamp center label seen in our picture here. If you do fancy the slab and want to purchase a 2009 copy from Discogs it trades at a pretty agreeable price depending on which version you’re after (the limited red translucent press will cost you). However you come across it – repress or not – this piece comes highly recommended. It’s thoughtful, heady, and just the right mix of tech and deep; new and old.
Wax Runoff is a weekly feature that will showcase new finds and crate favorites. Nick States, of Boston, bought his first vinyl record in 2010 and has been hooked ever since. The record shop tends to be his first stop in an any city he visits.