Like Arrested Development‘s difficult matriarch Lucille Bluth, minimalist German producer Rajko Müller gets off on being withholding. After the Caribbean fireworks of accidental 1998 microhouse hit “Beau Mot Plage,” his debut album as Isolée tucked into its shell like a surly hermit crab; then, with minimalism in vogue, 2005’s We Are Monster went all wonky disco. Ignoring the current disco revival, Isolée’s latest is a Cubist take on deep house, all odd angles and fractured perspective. There’s barely a recognizable riff beneath the bristly textures and faded tone colors, but that’s thepoint: This is house that makes you work for it.
