DESCRIPTION:
Mendo, Charles Ramirez - No More (Original mix) [ Clarisse Records CR038 ]

Get your own copy here : http://www.beatport.com/release/no-more-ep/1277985

Created in 2003, Clarisse Records illustrates Mendo’s vision of electronic music. Releasing regularly his heartcrushes produced by strongly established internationally known artists or helping newcomers who deserve to be highlighted on the scene.

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Amazing early support from : Andre Butano - Cristian Varela - Darius Syrossian - David Moreno - Gary Beck - German Brigante - Hollen - Ibiza Global Radio - Ibiza Sonica - Igor Marijuan - Mark Knight - Martin Eyerer - Mathias Kaden - Mihalis Safras - Nice7 - Nick Curly - Nicole Moudaber - Oxia - Pan-Pot - Pleasurekraft - Sabb - Stacey Pullen - Tom Flynn - Uner

Off the back of last year's 'Avalon' album, an Ibizan arrow lauded as "open-air tech-house for sundowns and sunsets" and "an absolute five-star LP in the making", David Mendo goes one-on-one and embarks upon a series of collaborations, reaching out to both radar-hugging artists and those that have wormed their way into the headphones of the Clarisse boss.

With ears burning from yet more road-testing praise, first up is a sparring session with fellow Clarissan Charles Ramirez. He of the joker smile who also spins at DJ Patt, is behind the Hall of Fame imprint that has housed tracky, after dark dancefloor pests such as 'My Underground' and 'Bass & Bass', and has blessed Yousef's Circus Recordings in cahoots with regular conspirator Stan Garac also see their bitchin', bristling mix of Pandeo's 'Get Back'.

Most of all, the Spaniard is a kindred spirit in the sense that he knows exactly how to get a dancefloor bottlenecked. And with Ramirez and Mendo calling out 'No More', there must be some subliminal tactic at work in order to garner an inevitable encore or rewind. While a diva rinses her lungs out backstage with a spiky wail bordering on a street-raised purr that sweeps over the track, Mendo and Ramirez pool together a tendon-tweaking tribal push, spinning a starter's pistol to Mardi Gras around their finger. To the shake of percussion coming and going like a rattlesnake darting between carnival floats and pressure valves being released, off rolls the bass, and the party bompity-bomps way into the night.

Having dispatched the diva, the two then go about their business with a sharpened dub workout. Fronted by a riff popping across the dancefloor, the B-side blips and undulates, like the twirl of a digital pocket watch underwater. As a sly disco edge pulls up, a shard of glitterball pushing and pulling into earshot, it keeps on until happy punters, the hum of whom can be heard moving the track along, are satisfyingly stuffed, implying that 'No More' should always equal 'just one more.'