Riva Starr - If Life Gives You Lemons, Make Lemonade

With so many styles under this thumb, it was hard to know how Italian producer Riva Starr (formerly breaks guy Madox) would present himself on his debut album. He’s spoken previously of his “SNATCH!” style of producing (which basically means sampling anything and everything and putting it into his own saucy house grooves), but until the album samplers arrived, we were none the wiser.
 
The Balkan / Gyspy theme runs strong on this album, with the infamous I Was Drunk kicking off the proceedings in ludicrous fashion (French pissheads Noze giving one of the most memorable vocals of recent years), while Bulgarian Chicks chooses a more percussive base, with infectious handclaps, eerie Bulgarian vocals and little else required. Black Cat, White Cat was the flip to I Was Drunk and rocks manic violins that are typical to the energy-packed gypsy music of the Balkan region. It’s not the first time a dance music producer has sampled the delights therein – but it’s probably never been done with such aplomb. In Naples by contrast, is the end-of-night Romany fanfare, a haunting flute-like sample softly playing in the background.
 
China Gum goes down a farting electro bass route, a little of the Dirtybird sound present in its slick, fuss-free stomping. Likewise Dance Me focuses on tight, snappy beats and incessant, rolling sub bass – but topped with brooding, tough dancehall style vocals and acid squelching, it makes for something altogether bolder and more memorable. Very sexy, and his crisp production style shines through.
 
He’s wisely included his classic Maria on here, full of rolling tribal drums, chanting group vocals and a jaunty little salsa/merengue section in the middle to distract your attention. Caballeros makes for the perfect follow-up – rolling still with sexy cowbells pumping alongside a throbbing monotone b-line – while album closer Tribute is effectively a cover version of acid house classic, the stunning Can You Feel It? by Mr. Fingers. Along with the classic hip-hop horn sample on Black Mama, it gives a little insight into his electronic inspirations from over the years.
 
Although there’s little variation in tempo or meter, it’s a very listenable album from start to finish. All tracks would wreck havoc on the dancefloor, it’s all beautifully produced, and each track has a distinct hook that ensures it doesn’t blend into the rest of the album unnoticed. It would be interesting to hear what he could achieve if he diversified his palette more – but for now, this should be one of the year’s great housey albums.