THE house ofAnton Ramos aka The Chillout Project has many rooms. On his latest compilation, he regales his listener with club shakers that recall the early days of disco as well as more recent influences courtesy of the Buddha Bar series. A constant thread is chillout either as starting point or as a breather amidst an especially intense house groove.

This third release from The Chillout Project is intended as an exclusive soundtrack for Ayala Greenbelt. Where sonic wallpapers are not supposed to intrude into shoppers’ perceptions. House Sessions Three can weave in and out of a typical mall rat’s consciousness in a smart way. You put a keen ear to Anton’s latest compiler and you’d hear stuff not normally associated with background music.

There’s the cool mix of Spanish guitars, hip hop breaks and nu jazz piano in "Worlds (Theme 2)" by Passion Dance Orchestra. The hot, snappy funk of "Aziza" by Satin Souls or "Asa" by Sean updates Kool and the Gang for the ‘00s. Those strummed guitars in the middle of Kaskade’s "Everythng" can be reworked into the main motif of a pop-rock tune. (Orange and Lemons has done the trick so there’s a precedent hereabouts.)

Displaced as ambient soundtrack and into the car stereo, Anton’s newest project is partly mood music but mostly roof raisers. There’s no arguing the hard slam of the taut basslines from the opening to the closing track. Over the long haul, it’s enough to unsnap tight undergarments in well-endowed ladies.

Over the entire stretch, though, the more critical listener will also get the nagging impression that the CD deals with genres which have been pretty much played out in the late ‘80s. For example, where are techno and electro-rock for all their worth as trend-setting dance music?

Fact is, House Sessions Three is built on a specific architecture following the concept (and probably playing true to the strengths) of its compiler. Check out earlier Project releases and you’ll see that they have been built on almost the same foundation. As one disembodied voice intones, "This is house…this is house." It’s the essential stuff in studio-crafted electro-house.

Forget any other intents or some semblance of art in the mix. This house was made to accompany, if unobtrusively, the rise and fall of the flow of commerce in a mall. Anything more will be to impute a larger motive in an artifact of disposable consumption.