Ramahtak

At 120 the kick is a given; what carries Ramahtak is the percussion above it — shakers and hand-struck tones sitting unusually forward, giving the groove a busy, almost restless edge despite how smoothly it tracks. The danceability figure tells you nothing snags: everything lands where the body expects, which is both the appeal and the limit.

In B major the harmonic material is bright, yet the record keeps shading it — a melancholy in the chord that undercuts the surface cheer, and some pressure in the low end that reads as tension rather than aggression. It's a daytime thing, best used to lift a set out of its opening hour or to bridge two warmer selections. Well made, functional, not quite memorable.