Review: Alex Attias welcomes Michigan natives Julian De'Angelo and Specter from Chicago to Visions Recordings, with the long-serving Swiss producer promising "deep music to dance to". De'Angelo goes solo on A-side cut 'Tango', an excellent 11-minute workout rich in addictive piano refrains, heady synth-string stabs, deep sub-bass and loose, languid, ever-shifting drum machine beats. Specter joins the fun on similarly epic flip-side 'Drunken Noodles', with the pair jamming away on electric piano before introducing slipped hip-hop-goes-house machine drums, trippy electronics, spacey chords and warming bass. It's deep house, but not as we know it, and that's no bad thing.
Review: Aaron Andrew's Chubby label doesn't rush things. Since launching in 2018 and now only just hitting its sixth release though the music sure is worth the wait and is proof that quality will always win over quantity. Leonid's twin brother, Al Smith opens up with the cuddly and cosmic depths of 'Drama Room' before getting more dark and unsettling with his twisted synth modulations on 'Full Of Music', which then becomes a gorgeous downtempo cut with star-gazing pads and splashy hits within the Specter remix. Dan Piu picks up the pace for some delightfully warm deep house dynamics on 'Days Gone' and 'Snows Of Solaris'. Last of all is the more scuffed up, heads down deep house murk of Rai Scott's remix of Dan's intro tune, 'Day's Gone'.
Review: Specter remains a steadfast pillar among the select artists on Theo Parrish's esteemed Sound Signature label. His latest album, Brutus, reaffirms the trust placed in him, delivering a distinct blend of house sounds. In this CD version, Specter masterfully fuses synthetic and organic elements, echoing the signature style of Parrish. Much like Parrish's own compositions, the house sounds on Brutus exhibit a harmonious blend of weathered, rustic tones and vibrant, futuristic visions. Specter injects profound meaning into his melodies, and the drums, whether subtle and elusive or bold and confrontational, consistently captivate, locking listeners into the rich tapestry of his grooves.
Review: Specter has long been one of the very few core artists on Theo Parrish's righty-revered Sound Signature label. Now he returns with his latest album Brutus which once again returns the faith shown in him by the label boss with some truly distinctive house sounds. This one comes on double vinyl and is another perfect melange of the synthetic and the organic. Like Parrish's own music, these house sounds are part dusty and ramshackle and part bright, futurist visions. He manages to get some true meaning into his melodies and the drums never fail to lock you in whether subtle and barely-there or raw and more in your face.
Review: Forbidden Dance Records sure does know how to signup the big boys with previous EPs from Patrice Scott and Dego making a fine impression. Next up is another house don, this time from Chicago: Specter can really go wild with his rhythms and raw textures as shown on EPs for Theo Parrish's label, but here he starts off with something soulful, dusty round the edges and deep. 'Putazo' then finds him embracing the occult with edgy and glassy synth lines zipping about more turbulent groves. 'Run The Course' is a grinding and mechanical groove of the sort he does so well, then 'Humble Pie' is all fizzing lo-fi synths and scuzzy drums patterns.
Review: An integral figure on the Motor City scene for the best part of two decades, Specter has always been a particularly prolific producer. Built To Last - appearing on Theo Parrish's significant Sound Signature label - is his first album-length excursion. It offers an expansive summary of his inspirations and influences - many will notice subtle nods towards local deep house, techno and electro heroes, as well as more experimental synthesizer music, off-kilter electronic jazz-funk, deep space dub and eyeliner-clad early '80s synth-wave - while also showcasing a trademark sound that's every bit as dusty, warm, loose and lo-fi as his lauded Detroit peers.
Review: been four years since Chicago producer Andres "Specter" Ordonez pitched up on Theo Parrish's Sound Signature label with the smoky, bleep-laden killer "Pipe Bomb". Here, he returns to the Detroit veteran's imprint, bringing with him three more slabs of fuzzy analogue oddness. "The Gooch" is the real killer, a 10-minute freakout that sounds like a jazz band making murky techno with just analogue machinery to play with - all wonky electronics, subtle acid and loose but relentless cymbals. The bolder "Zodiak" impresses with its 303-driven aggression, while "Body Blow" sounds like Hieroglyphic Being jamming with Buddy Miles. On Mars. That's gotta be good, right?
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