Nearly a year after Presk first appeared with “and Cut” b/w “Mold,” the inaugural release from Ramp sub-label Fourth Wave, the world still doesn’t know all that much about the Dutch producer, apart from one thing: the man makes solid tunes. It’s a trend that continues on his latest single, “Hesitate” b/w “Kook,” a record that also marks Presk’s return to the Fourth Wave imprint that gave him his start. His biographical details may still be murky, or, at the very least, nondescript, but the continuing quality of Presk’s musical output has rendered questions about exactly who he is all but moot.
“Hesitate” resides on the a-side, and quickly occupies the spotlight with its shuffling house rhythm. The drums jump and skitter throughout the track, giving the song an upbeat, bouncy sensibility. It’s probably the most fun thing Presk has ever produced, an effect heightened by the tune’s chunky—and funky—bassline, time-stretched diva vocal, and some playful keys that harken back to ’80s hip-hop and electro. Perhaps the most interesting part of “Hesitate” is its employment of the kinds of crunchy synth tones that made groups like Justice the toast of the electronic-music world in the mid-to-late ’00s. While mere mention of an outfit like Justice is likely to prompt some freakouts, it should not be said that Presk has assembled some sort of electro-house banger. Where many artists in that world did, and still do, use thick, blown-out synths to pummel the dancefloor, Presk tastefully utilizes these kinds of sounds as just a single element in a rich sonic palette. As such, the crunchy notes simply add a little heft to the proceedings while maintaining the song’s joyous spirit.
These tones return on the flip side, but “Kook” is a much different track than “Hesitate.” The drum pattern here is effectively linear, resulting in a more serious number that hews closer to the tropes of vintage techno. Much of the song is bathed in a subtle haze of whooshing white noise, and the song’s melodies are borderline severe, as Presk swaps out the playful notes of the a-side in favor of darker tones and a sharp, almost robotic, sensibility. He also weaves in a vocal sampled from The Breakfast Club, which could have easily been silly, if not downright disastrous, but it actually works, somehow adding to the track’s ominous vibe. “Kook” may not be transcendent, but it’s a quality production and a tune that’s more than serviceable for the club. More importantly, it’s another solid record from Presk, who’s quietly building a rather fine resume.
