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A dusty, sticky burst of vinyl noise gathers like a pool at the outset of Paume's hugely impressive debut EP Transalpine, and while much of the dirt may only rest on the surface, we're quickly drawn into the young producer's particular blend of echo chamber ambience and bit-crushed percussion.

Drawing on early Underworld and the pallet (if not the construct) of more recent Trentemøller releases, Paume keeps this small but substantial first collection moving along at a brusque old pace, squeezing a good selection of beats into a cohesive whole.

The organ gongs that announce 'Follies' are delicious, opening out into a deliberative acid house banger. Each vocal sample is tidily clipped and delayed, snipped short and arranged like fresh flowers. Pitch bent keyboards provide a playful melody, layered over higher frequency synth chord sweeps that daub a smooth, pastel background. On the surface it's pretty commercial stuff.

If 'Follies' is Paume at his most self-assured, 'Juno Beach' is his dance floor anthem. Taking Chicago house as its touchstone, the opening beat swiftly evaporates and re-forms itself, plush with gorgeously filtered vocals reminiscent of Disclosure and the various legends they ape. The producer doesn't quite follow the strict pop route that those chart botherers adhere to, preferring tracks stretched out into amorphous lengths that could sit comfortably in the mix. As such, every 4 or 8 bars we get something fun and fresh to revolve around.

Closer 'Love Fifteen' could almost be 'Avril 14th', relying on the same flavour of melancholic piano progression, albeit ramped up with ambient forest rushes like nymph song emerging from a steaming waterfall. Unfortunately, by the time guest vocalist Heidi M appears, it's practically an afterthought, the literal presentation of her vocal line bringing the whole thing sadly back to earth. It's only a minor dampener on a glistening first release.

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