Revolutionary artist CruSz released his latest EP, Liquidz on the 11th of May via Enchanté Records.
The rhythmic French-touch EP was mastered by Soda Sound (FKJ, Fakear, Møme, Caravan Palace, Kitsuné) and its artwork was provided by the H5 agency (Étienne de Crécy and Mirwais). CruSz is known for his previous hit album, Whispering XXI which featured one of the classic underground club tracks, ‘Whispering’, that made itself at home at the Le Rex Club in Paris, the Limelight in NYC, the Womb in Tokyo or the Pacha Club in Ibiza and received an official remix from The Toxic Avenger. CruSz himself would go on to create an official remix for ‘N’importe Comment’ by The Toxic Avenger and Orelsan. His more recently released in-your-face Okay Boomerz EP also gained notoriety around the world.
Hailing from Paris, CruSz has been creating music since 1998, marking himself as a legend of the underground Parisian scene. The producer has since lain low, allowing the years of music to sweep over him but staying in touch with the timeless styles of Metro Area’s ‘Miura’, Purple Disco Machine, Daft Punk and Lifelike. His own sound calls to mind modern contemporaries such as Boys Noize, Justice and Breakbot.
Join us as we embark on a startling contrasting journey of retro flourishes and modern productions in CruSz’s latest EP. Each turn holds something new, whether it’s unstoppable riffs, catchy vocal samples, effective disco rhythms, bewitching strings or a “liquid” bass. Across the Liquidz EP, creeping, sinister tones here and light rolling embellishes there manage to find their home in a nineties-esque tech sound.
CruSz takes us step by step through the creation of the EP: “I had just released a somewhat dirty, somewhat 8-bit banger called “Okay Boomerz” on when I wanted to return to a sampler and more house composition. While looking in my vinyl bins, I got my hands on several founding records of my musical culture which would also be likely to inspire me. To compose, I like to start with samples and sound banks. I come from the culture of sampling, and I don’t deny my origins by pretending to play the keyboard. On my sofa, I find a loop of strings that are hot on the net. No need to ask me: I never give my sources. I program a simple and warm rhythm in 4/4, small open hi-hat. I avoid the cliché of the big track house à la TR909 so as not to overdo it. The first bass is a simple and sub accompaniment.. but I will recompose it for my heady worms thanks to the Arturia synth suite. The small voice sticks perfectly and the mix is placed naturally to give bite and glue.”
