raum Schallplatten (or, for us non-Germanic types, Dream Records) has sadly gone fairly undetected under the global minimal tech-house radar since its conception in 1999. It came into being only a year or so after fellow Deutsch imprints Kompakt and the now-dormant Force Tracks, yet those labels have somehow managed to hog the budding scene’s spotlight, leaving little room for other labels to claim a piece of their own. Although most folks in the microhouse circuit would probably be perfectly content receiving new material solely from these two champion imprints, it’s discouraging when other competent labels make themselves known only to be forever seconded. As far as innovation goes, Traum may have stayed a step or two behind its older siblings with slightly higher SAT scores, but it has put out gobs of its own solid material in its brief lifespan. Elektronische Musik: Interkontinental 4 follows this custom.

Upon first looking over the product in question, the Eastern-themed artwork is misleading when paired with the track list’s roster, as all of Interkontinental 4’s participating producers come from Europe (except Jesse Somfay; he’s Canadian). Also, none of the tracks occupy a decidedly Asiatic theme. The theme may not be as transcontinental as the title insists, but there is a theme, and we all know themes rock.

The series at hand presents the healthy facet of unswerving, consistent song bases. It allows each producer to showcase his/her identity without jeopardizing the flow and course of the record. Of the fourth installment’s 11 tracks, only one sees Traum digressing from the DJ-friendly 4/4 house beat. On the contrary, Kompakt 100 saw its respective imprint genre hopping from song to song: from beatless ambience to 3/4 techno to fruity pop escapades and back again. For better or worse, the listener was able to fully explore the label’s sound despite its inconsistencies. But for obvious reasons, it’s nice to be able to put on a record now and again and experience a courteous degree of uniformity, as opposed something resembling a personalized mixtape.

Of course, even with this orderly homogeny, Interkontinental 4 is by no means breaking any new ground with production methods or song structure. It’s retracing the mellower, more accessible steps first taken and sharply honed by those other labels but doesn’t elaborate on what has already been put forth and established. On the other hand, each song is particularly pleasant and on point, employing equal parts bedroom loafing and dance floor potential. Restful digital hum and crystalline, perky percussion are distributed evenly throughout each track, making for an especially high production value. Peter Schumann’s “Ric” flaunts a downcast atonal drone against a clicky retro percussion palette, while Zentex’s urbane groove “Napa” challenges the best work of The Modernist or Crane A.K. With plenty of solid tracks to go around, Traum’s latest may just prove to be essential for any fan of polished minimal house.