Amongst the plethora of top-notch, dancefloor house and techno releases from the Soma stable are a number of special hidden gems designed specifically for the afterhours. With artists like Slam, The Black Dog, Alex Smoke and Silicone Soul controlling masses of bodies across the world’s clubs, the SOMA COMA series aims instead to bring attention to the atmospheric, melodic and mesmerising side to the label’s music. Exclusive tracks on the album include works from label stalwarts Slam & Silicone Soul.

With the success and support of volumes I, II and III, Soma couldn’t resist the opportunity to peruse the back catalogues again. This instalment of the series has a beautifully thoughtful feeling to it, with some dark, powerful and introspective tracks placed alongside some playful, inquisitive and really rather moving pieces… and, some down-right out-there works, just to keep you on your toes. Included in the comilation are 3 exclusive tracks from label stalwarts Slam & Silicone Soul.

SOMA COMA Vol. 4 opens with Alex Smoke’s Paradolia Intro setting the scene for a dark, challenging yet gratifying journey through the depths of the Soma catalogue. Pablo then takes the reins with an orchestral track, Journey’s End, taken from his acclaimed 2009 album, Turntable Technology. The Black Dog’s Digital Poacher, introduces the first beats of the album, but keeps it murky. Neon Rain Sky from Vector Lovers brings a touch emotion to table, with wonderful production and feeling combined with deep bass and intelligent chord structures. Silicone Soul deliver a brand new and as-yet unheard re-edit of their classic 3am, taken from their 2006 album, Save Our Souls. Another exclusive is the deep and bass heavy, B Movie from Slam. The Black Dog bring their second track onto this edition of the Coma series with the cerebral sound-scape and brilliantly titled, Kissing Someone Else’s D.O.G.

Funk D’Void brings a different angle to the compilation with the jazz tinged Sketch of Spain, followed by the entirely mental Worship from Let’s Go Outside’s second album Conversations with My Invisible Friends. Worship plays on old, distorting organs and incredible use of fx to take the track in a direction no-one else could have. Vector Lovers then treats us to Long Wave, a track that could easily be the soundtrack to the end of a trip, with its rubbery synth and bass tones oscillating back and forth, this brings a slight dizziness to the album. Pablo’s Music Maestro take us back in time and drops us in-amongst some 1960’s millionaire’s playground action, sipping cocktails and enjoying life as one ought to. Following, Silicone Soul’s Dub 4 Toots shows the flip. Heavy and melancholic trumpets preach of lost friends, while mammoth spring reverbs and echoes float in and out, alongside some skanking guitar and suitably southern-hemisphere bass.

Jay Haze’s remix of OK is a tripped out slab of electronic. At an epic 12 and a half minutes long, it meanders through Haze’s head on a dark trip at an upbeat BPM. Continuing with the raised tempo, Slam offer Memoir, a retrospective piece that reminisces of Slam’s yesteryear. Funk D’Void’s screaming Odessa, with its big, bold and brassy synths leaping out from the opening of this track bring you back from the cusp. Classic FDV styling oozes from this track. The Black Dog’s Riphead (v9) brings us back down to the underworld with drones and tones and headaches. Pulsing sounds and swelling textures welcome The Black Dog back in the room. LGO’s You In My Life tinkles and sways its way through its brief 40 seconds existence. Nuance’s sleazy beats and strings keep things cloudy and despondent, typical of Smoke, and introduce the dream-like Hush Now from Vector Lovers. The album is rounded off by Pablo’s The Cuatro Track – a quaint and quirky guitar piece with Puerto Rico’s national instrument.

Label: SOMA
Release: COMA 4
Catalog: Soma CD84