Brinkmann landed on Novamute for his third release as Soul Center, the alias that allowed the producer to merge minimal techno with '70s funk. Like its two predecessors, Soul Center III twists small nuances -- a quick snatch of notes from a bass, a single snare hit, a vocal phrase or just a grunt -- into complete tracks, rather than cannibalizing rhythms, hooks and/or riffs wholesale. The material is better described as funk-based techno than techno-based funk, but in the end, there's little mistaking that Brinkmann's ...
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Brinkmann landed on Novamute for his third release as Soul Center, the alias that allowed the producer to merge minimal techno with '70s funk. Like its two predecessors, Soul Center III twists small nuances -- a quick snatch of notes from a bass, a single snare hit, a vocal phrase or just a grunt -- into complete tracks, rather than cannibalizing rhythms, hooks and/or riffs wholesale. The material is better described as funk-based techno than techno-based funk, but in the end, there's little mistaking that Brinkmann's behind it, his knack for making the most out of something skeletal in tow. The increased visibility with this release might have played a factor in the decreased reliance on samples; while the first two Soul Center records brazenly ferreted through countless bits of rare soul and funk recordings for rhythms, shouts, and other ticks, this one tones it down. Isaac Hayes' version of "Ain't No Sunshine" and the Soul Children's "I Don't Know What This World Is Coming To" are the only acknowledged sources. Otherwise, parts of a George Clinton interview are used so liberally that he could have received an MC credit. What truly distinguishes Soul Center III from Soul Center and Soul Center II is the fact that these productions tend to do round off the crisp angularity that made the predecessors unique. Many of these tracks are surprisingly smooth and lazy for Brinkmann and end up fading into the background, failing to get the blood pumping. And rather than being conducive to relaxation, most of these inert tracks leave the mind wandering. Regardless, a substandard Brinkmann release still has plenty to recommend it. "Easy Goin" is a brilliant fusion of Basic Channel ambience with a jogging funk bassline and merry keyboards. "26 Chicky Boom" is another highlight, featuring a racing, melodic bassline that sounds closer to post-punk than P-Funk, and all sorts of sprightly effects that add to the peppiness. [Note: None of the self-titled Soul Center albums indicate which is which, so one has to go by the artwork. This one features a mechanical puppy.] ~ Andy Kellman, Rovi
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