Review: ** FIT REPRESS ** Naturally for a producer who prefers to remain anonymous and call themselves A Drummer From Detroit and name their debut EP Drums, both tracks here veer into dextrously percussive house territory. Amidst the dizzying, jazz influenced rattle of Shake Shakir style rhythms that characterise the A Side workout our erstwhile protagonist weaves in desperate vocal strains and overtly dramatic piano and horn stabs which only serve to increase the panic inducing pace. The flipside treatment is slightly slower in its execution, yet increases the jazz funk melodic elements which make it the less a hectic and more involving production.
Review: Fresh from his impeccable Fabric mix, in which he lays down nothing but his own creations, Dan Snaith finally unleashes some of the mix's many highs for our own mixing pleasure. "Face To Face" has been anticipated for a while thanks to its sultry stripped-back loose-stringed groove and late-entering vocal, "Tin" sees Dan incorporating the same rising, crisp euphoria you find in his Caribou work as synths flutter over a chugging late 90s style house beat while "Xing Tian" shuffles and twists with a little more fuzz and unpredictability. Classic Daphni.
Review: Donato Dozzy has surely booked his place at the top of the techno game by now, thanks to an impressive catalogue spanning over ten years and an exquisite selection of labels. Although he has been focusing on his collaborative projects over the last few years - check Voices From The Lake in case you've been living under a rock - his solo productions are always an absolute pleasure. For his latest outing he lands on compatriot Carola Pisaturo's Claque Musique, a label that floats between house and techno at its own pace. The A-side, "Cassandra", is more laid-back compared to Dozzy's recent performances, its mid-tempo swagger gives the percussion and floating melodies enough space to mould into a skin-tight groove. "II" on the B-side is totally different, where Dozzy eliminates beats, basslines and sonics in favour of Asia-sounding didgeridoo's, all electronically treated and tripped out, of course. Recommended, particularly for those wishing to hear something new from the man.
Review: Polyrhythm-loving dancefloor experimentalist Harmonious Thelonious is finally releasing a sequel to 2016's "International Dance Record", an album that remains amongst the prolific producer's most potent works. This is not an album, though, but rather an EP that boasts two previously unheard cuts and some fresh remixes of tracks featured on its' predecessor. Opener "Shark Dance" is exotic and Middle Eastern in outlook, with bleeping electronics and foreboding refrains riding a mixture of synthetic and acoustic percussive, while "Blinky" is a chugging, mind-altering affair that reminded us a little of the 1988 version of the KLF's "What Time Is Love?". Remix wise, Tolouse Low Trax goes bass-heavy and mind altering on his revision of "Rivera", before Jan Schulte's alter ego Wolf Muller turns "RFS" into a hallucinatory lo-fi drum jam.
Black Loops - "Mia Negrita" (feat Felipe Gordon) (6:02)
Demuja - "J On G" (6:02)
Review: Berlin's Toy Tonics crew are back with some of last year's exceptional highlights finally made available on vinyl for all you black wax junkies out there. On the A side of Top Tracks 06 we have the loveable Aussie maverick Jad & The on the loved-up disco loops of "Strings That Never Win", followed by London's Harry Wolfman (Dirt Crew/House Of Disco) with the lo-slung funk of "The Accord". Flip to the B-side where you will be treated to Italian duo Black Loops and their uplifting boogie-down jam "Mia Negrita" (feat Felipe Gordon) and ascendant Austrian Demuja doin' his thing as always on the sultry late-night groove "J On G".
Review: Off The Meds are a Swedish-South African crew based in Stockholm, consisting of producers Adrian Lux, Carli Lof and Mans Glaeser with vocalist Kamohelo Khoaripe. "Belter" is their first full solo release which arrives on local institution Studio Barnhus. A fierce, bass-driven roller that has been championed by top London selector Joy Orbison, it combines classic rave elements with cutting edge production techniques and Khoaripe's pitch-shifted/rapid-fire vocals. On the flip - lo and behold - we have none other than Joy O himself delivering one seriously mind-bending, contorted remix that's the perfect tackle for the afterhours.
Don't Waste Another Minute (with Merachka - TP Classic Piano mix) (7:33)
God Loves Detroit (The Resurrection) (8:09)
God Will Provide (6:53)
Just Like Muzik (with Merachka - main mix) (7:17)
Latter Rain (with Coco Street - The Healing Rain mix) (3:36)
Latter Rain (with Coco Street - TP After The Storm mix) (9:59)
Let's Go (7:40)
Lift Yo Hands Raise Em High (feat Coco Street) (7:41)
The Sabath (7:19)
Will You Ever Come Back To Me (3:18)
Review: As the title suggests, Terrence's Parker's first album since 2014 was inspired by the two constants in the experienced producer's life: his Christian faith, and the ongoing struggles of Detroit. Musically, it's an unashamedly retro-futurist affair, with Parker largely delivering a range of feel good tunes that draw heavily on techno, gospel, New Jersey garage and Chicago house. Highlights are plentiful, from the warm sci-fi ambience of "The Sabbath" and rich, late '80s soulfulness of "Transition", to the bubbly techno shuffle of "Let's Go" and the rush-inducing piano house stomp that is "Don't Waste Another Minute". "Latter Rain", which is served up in two distinctive versions - the beat-less, string-drenched soul of the "Hearing The Rain Mix" and the classic US garage skip of the "After The Storm Mix" - is also superb.
Review: Ten months on from his last EP (which, amazingly, was his first in four years), Shonky returns with a four-track trip into off-kilter tech-house territory. The experienced producer begins with the layered helium voices, bustling electronic melodies, alien noises and bouncy groove of "Tyrolien", before opting for a more bustling, bumping feel on the low-slung thrills of "Beat Street". The razor-sharp alien funk of "Torro Rosso", where mutant rave stabs and fizzing electronic motifs cluster around a rolling rhythm track, sees him begin side B in confident fashion, before rounding things off via the heavyweight late night wonkiness of "Serpent A Sonnette".
Review: Canadian producer James Teej is hard to pin down. His glittering, heavily electronic productions sit somewhere between deep house, nu-disco, old-fashioned progressive house and downtempo beats, with occasional nods to the early '90s "intelligent techno" of Orbital. This second album, his first for Last Night on Earth, continues this trend. At its best, it glistens with positive melodies and acid-flecked dancefloor shuffle (see "Leaving the Island" and the bright and breezy "The Last Request"), while there's enough odd turns (the Meat Beat Manifesto-ish "Renunion" and decidedly Balearic "Sun Waltz & The Landing") to keep things fresh.