• Hardwell’s comeback is not happening sooner
• The duo worked hard on the percussions, the other excelled in the breakdown
• Hard-hitting structure that could have dared experimenting
This marks my first review for this year: a difficult one, because there is a backstory behind this release, which will probably be enjoyed by a specific niche of the Hardwell and Blasterjaxx fanbase.
The Dutch veteran has remained on a hiatus since the fall of 2018, although keeping a consistent release schedule until 2019. “Bootshaus ID” first surfaced after the première done by him in end of 2017. There was no further solid proof of its existence until Blasterjaxx inaugurated it again in a virtual set last summer. Although this is a strong commence for the rumour that the former number one DJ will return, there is much left in doubts about it.
“Jaxxwell” is a funny alias in name, perhaps hinting subtly that Hardwell doesn’t want any hype surrounding this project which will incur expectations and stress on his comeback. It is possible that he wanted to please his long-awaited fans who were anxious about this ID, without taking a major step. In fact, “Bootshaus ID” targets such a specific demography that it disregarded a proper title, and kept the name assigned endearingly by the audience. Genuine and transparent choice which I have to appreciate, even if my anticipations were not much regarding this particular production.
In my opinion, “Bootshaus ID” takes a rank after “Big Room Never Die” and “Fifteen”, which are both ninety plus for me, thus before the disappointing “Going Crazy”. It’s an underground craft which features an excellent work on percussions from Blasterjaxx, while led by a hooking break segment from the latter featuring the recognizable super-saw synths. I enjoyed the vocal loop, dynamic and entertaining, which is often a shortcoming in most Big Room House tracks nowadays due to monotonous placements. The drops, ignoring the drum patterns, do miss something. More experimentation with the leads could have added more, but the result is nonetheless guaranteed to offer a good time in the right mood during any festival or club performance.
In the end, “Bootshaus ID” is a generous present to Jaxxwell’s fans because of how true it stays to that underground and former Big Room sound. I doubt I will remember it in the long run, and in case a fifth team-up occurs, my dream will be to see these masterminds involve themselves in reinventing this standardized genre, instead of sticking to familiar structures.
What do you think?
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