Review: Retromigration – Cloudin’
An album for endless chill sessions with depth
There are albums that are celebrated when they are released, but quickly disappear in the endless stream of new releases. And then there are albums like Cloudin’ by Retromigration – records that you play on repeat and can’t get out of your head. Now, a year after its release on Wolf Music, this album sounds as fresh as it did on the first day. Retromigration has established himself as one of the most interesting producers in the deep house cosmos in recent years. Raised in Germany, with Nigerian and Ghanaian roots, he now lives in Amsterdam and moves stylistically between house, jazz and hip-hop. His productions stand out because they don’t adhere to strict genre boundaries, but instead draw on influences from different musical directions and translate them into his own recognisable sound.
Although he has only been releasing music for a few years, his name is already associated with labels such as Wolf Music, Healthy Scratchand Ravanelli Disco Club. His music is based on flowing grooves combined with a distinct electronic signature – a mixture of rich bass, playful chords and a bright, often jazzy atmosphere. His DJ sets have taken him to stages in Amsterdam, Berlin, Switzerland and the UK. Cloudin’, released in April 2024, is his most mature work to date – a work for true house heads.
A modern fusion of house, jazz and electro
The six tracks on Cloudin’ don’t rely on obvious dancefloor hits, but all build organically. The album sounds distinctly house, but brings broken beats, jazz elements and a lot of groove-oriented details into play.
1. ‘Cloudin’opens the album with a driving, groovy bassline that immediately pulls you forward. The kick drum provides the right push without being overbearing, while robotic synths give the track a futuristic edge. In between, flute sounds reminiscent of birdsong appear, giving the beat an airy, natural touch. The combination of natural and digital elements gives the track a fresh, soulful yet mechanical character. A mix that is danceable but also smooth at the same time.
2. ‘Only Well’ remains groovy, but with a more relaxed structure. The driving vocal snippets and subtle piano in the background create an almost dreamy atmosphere. The use of vocals is strongly reminiscent of ‘All You Do’ from his previous Straight Foxin’ LP – a similar sound approach that clearly reveals Retromigration’s signature style. Suddenly, broken breaks break the balance and give the track a surprising dynamic. The combination of soft harmonies and rhythmic complexity creates an electro-jazz vibe that unfolds in a pleasantly fluid manner.
3. ‘Just Take It’ starts with a funky, almost disco-like lightness. The first few bars are reminiscent of a classic boogie track, but gradually a deeper, more hypnotic level unfolds. The bassline remains warm and funky, while subtle dub elements add breadth. The percussion shifts slightly, giving the track a pleasant restlessness without seeming hectic.
4. ‘Everybody Knows’ relies on a calm yet driving soundscape. Deep, soulful and hypnotic, the track unfolds in gentle layers. The common thread here is clearly recognisable. The synths seem to float above the beat, while the groove remains relaxed but steady. The melodies have a sweet, dreamy touch that makes the track seem almost weightless. Everything is reduced to the essentials – clear and precise. That’s precisely why you might wish for a little more narrative movement in some places.
5. ‘They Hatin’ brings an experimental touch to the album. The track also features broken beats and African-inspired drums, combined with a hint of jackin’ house. The textures are multi-layered – some sounds are reminiscent of a cassette tape rewinding over and over again. Trumpets appear intermittently, creeping into the mix for a moment and adding a jazzy twist.
6. ‘You Win’ ends the album with a broad, almost dreamy soundscape. Broken beats, echoing synths and small effects such as telephone keys or drip-like vocals create a slightly surreal, almost cinematic atmosphere. The track takes its time, remains minimalistic and consistently maintains its vibe, which is also its strength. At the same time, this means that it lacks dynamism in places: over its entire length, it seems a little too monotonous. Nevertheless, ‘You Win’ works as a quiet finale that gently cushions the album without having to turn up the volume again. More of a slow-motion farewell than a dramatic departure.
Cloudin’ once again demonstrates how confidently Retromigration handles groove, space and sound. The tracks flow effortlessly between house, broken beat and soul, creating a dense atmosphere that is finely balanced. Even a year after its release, the album still feels fresh, well thought-out and self-contained – a sound that grows rather than fades. At the same time, there remains a slight feeling of restraint. The subtle breaks, surprising elements and sonic twists typical of his work are there, but they seem more subtle and less boldly placed than expected. Some tracks are similar in structure before they ultimately set themselves apart in the details. A kind of ‘between what you know’ and what suddenly sounds different.
Compared to the previous Straight Foxin’ LP, Cloudin’ almost seems like a breakbeat-oriented sequel. This is stylistically consistent and its clear characteristic remains a plus point. But precisely because there is so much potential in his sound, a little more risk or contrast would have been desirable. Expectations are high, but rightly so.
In summary, it can be said that Cloudin’ is an atmospherically strong, detail-oriented album, even if the big surprises are a little quieter this time around.