Review: Two techno heavyweights come together for their debut collaboration - and naturally Drumcode is the perfect outlet. In its original format, "We Don't Know.." draws on Fitzpatrick's trademark drums and and Mull's ability to craft searing, impactful basslines. Combined with Frangie's ponderous vocal narrative and tranced out synths, these elements all come together to create a compelling track. The release is also remarkable in that it features the first remix in over two years from label boss Adam Beyer. In his hands, it morphs into a lean, linear affair. Centred on dubbed out drum, snappy percussion and a menacing bass - the perfect backdrop for those alluring vocals.
Review: Alan Fitzpatrick is a busy man, and Immortal Daydream follows a flurry of releases on Drumcode, Hotflush and most recently, Rekids itself. This four-tracker sees the UK producer do what he's best at and delivers impactful club techno. "Everlasting" is shot through with dramatic stabs and underpinned by steely thunder claps, making for a powerful dance floor track. "Titan" also sees Fitzpatrick deploy musical elements - on this occasion it's a repetitive organ riff over a combination of relentless kicks and driving hi-hats - while "Droid Disco" marks a departure in style, with Fitzpatrick going deeper to deliver a seductive cacophony of tonal frequencies over a dubbed out groove."The Underdog" presents a further surprise, as the We Are The Brave boss deploys rich chords and crashing snares to deliver his own take on Detroit techno.
Review: For the latest instalment of We Are The Brave, label owner Alan Fitzpatrick hooks up with Reset Robot aka Dave Robertson. Fans of lean club techno will be familiar with Robertson's work under this alias for labels like Truesoul - and the pair's opening salvo, "Angstrom", is a steely, grinding rhythm that's supported by cheese-wire percussion. Robertson flies solo on "Lucky Pig", where doubled up claps dive-bomb in over a hammering rhythm track, while Alan Fitzpatrick's own "The Light" is just as forceful. Built on his signature breeze block kick drums, the UK producer conjures up nightmarish synth scapes.
Kusp - "Nobody Likes The Records That You Play" - (7:03) 140 BPM
Alessandro Grops - "Beyond" - (7:01) 130 BPM
Charly Schaller - "Moonshine" - (8:40) 133 BPM
Review: For the second instalment of the Electric Soul Music series, Alan Fitzpatrick has recruited some new producers alongside well-known names. Embodying the label's tough but soulful approach is
Niereich Vs. Shadym & Linus Quick's "Don't Let Me Down", where pounding kicks and lithe break beats underpin haunting female vocals. Konrad delivers a similar sound, albeit with more brash vocals delivered over a rolling, filtered groove. Meanwhile, Tenzella represents an intense version of Fitzpatrick's sound, as acid lines are fired at hyper speed over the pounding drums of "Excuse". Representing better known artists and the more extreme end of We Are The Brave's sound, Filterheadz drops the rave siren and hardcore bass-led "Emphasis".
Review: Techno might be hunkered down in a locked tresor (or vault) for the time being but it's been a hugely busy year so far for Drumcode spearhead Alan Fitpatrick. Having already dropped records on REKIDS and Hot Creations with Jamie Jones in 2020, the first release for Fitpatrick's We Are The Brave label comes from the man himself. Aimed directly for the warehouse play he's most used to, I Still Remember combines European and Detroit techno signatures with touches of rave, EDM, trance and dub. With suggestive vocals to boot in the all inspired "I Still Remember", Fitpatrick's "Buttered Otter" on the flip goes a shade harder with staccato synths, vocal samples and ringing crash cymbals. Deeper still is "Emergency" - a classic trance and dub techno number - with SAMA turning in a melodic bassline remix in his version. For extra weight still there's a rock solid Mark Broom warehouse mix for the arsenal, with Brennen Grey's apocalyptic take on "I Still Remember" not something to forget.
Review: Alan Fitzpatrick has released on some of the world's greatest techno labels, including Figure, Unknown To The Unknown and Drumcode - and thanks to this EP his catalogue also boasts anb appearance on Rekids. Surprisingly for Fitzpatrick, the title track is a deeper affair, as the ghost of Detroit techno past haunts his steely drums with evocative synth melodies. In contrast, on "The Forgotten", he opts for a pared back approach, with insistent electronic riffs bubbling up over a lean, wiry rhythm. The label has commissioned Luke Slater to rework "Step Away". Working under his Planetary Assault Systems guise, he strips away the dreamy synths to make way for a pile-driving techno banger that brings the release to a grinding climax.
Review: Fresh from delivering a booming EP of warehouse-ready techno on Rekids, Alan Fitzpatrick pops up on Unknown To The Unknown with another quartet of sleazy slammers and speaker-bothering stompers. Fitzpatrick makes his intentions clear via the fast-paced drums, relentless ride cymbals, growling electronics and fizzing stabs of "The Hole", before doffing a cap to the nastiest Belgian techno of the early '90s on rave-melting banger "Raid". Acid fiends should check the razor sharp TB-303 lines, ricocheting drum machine handclaps and booming beats of "KD6-3", while "Awkward Desire" is a deeper and groovier affair built around swinging drums, dreamy chords and lilting lead lines.
Review: It has been quite a year for the Toolroom institution. Celebrating their 15th birthday last year, they weren't ones to rest on their laurels, instead going full steam ahead with a bunch of genre defining compilations this year. But most importantly they have been instrumental in the comeback of funky house after a 20 year dormancy, with killer releases by the likes of Weiss, Cashio and boss man Mark Knight himself. Add to that one banging party at Chicago Social Club for Amsterdam Dance Event and it's evident that these guys are proper 24 hour party people. With a glorious year sadly coming to an end, celebrate a wonderful one that was on Best Of Toolroom 2019 with highlights not limited to: the rework of the Cevin Fisher classic "Freaks Come Out" by Jack Back, Hannah Wants & Kevin Knapp's deep down and dirty "Call Me" (extended mix), UK heroes Alan Fitzpatrick & Wheats delivering the certified banger "M27" and New York legend Todd Terry teaming up with Tuff London on "Psychodrama" featuring Jasmien Nanhekhan. If that was not enough, ascendant producer Maxinne delivers two mixes compiling all the tracks: one smooth House mix followed by a thumping Tech House mix.
Review: Amsterdam Dance Event holds a special place in the electronic music community's calendar, and it just wouldn't be the same without the Toolroom family putting on a very special showcase for the industry and punters alike. The Dutch capital's clubbing culture is one of the best in Europe and there's only one place to be this October. They join the fun once again this year and this are kicking off the week at Chicago Social Club for an opening to ADE like no other. In celebration, Mark Knight & Co. anticipate the event with this solid collection of sonic arsenal with highlights not limited to: label staple Weiss serving up classic vocal funky house on "Let Me Love You" (extended Club mix), legends Dirty Vegas getting remixed by CamelPhat on the extended remix of "Days Go By" (which reaches near acid moments), the ever impressive Alan Fitzpatrick providing austere peak time tackle on banger "The Approach" and rising stars like Jacky (with Example) on the wonky tech house of "Another 24" and label newcomer Maxinne dropping the riveting main room thriller "The Message" amongst many more. Comes with two continuous mixes: the first by Romanian upstarts Sllash & Doppe and the second by Swiss scene hero Mendo (Clarisse).
Review: The Bek Audio anniversary celebrations continue apace with this fine second volume. First up is PTTRN with the percussive, drum-heavy "180621 S61.1", which is every bit as purist as its title suggests. Label owner Gary Beck takes the tempo up a notch with the rolling groove and snappy percussion of "Disgraced Loon" - but smart vocal snatches and chord stabs ensure that it doesn't veer into banging sameness. Petter B's "Second Day" approaches intensity from a different angle, thanks to the use of shimmering woozy chords, while on "Patterns", a collaboration between Beck and Alan Fitzpatrick, melodies also make an appearance - although on this occasion they flit in and out of the duo's steely drums and crisp percussion.
Review: With Ibiza's extended summer season almost upon us, Toolroom has served up a suitably epic collection of cuts that it expects to be big on the White Isle this summer. Label boss Mark Knight has provided a trio of DJ mixes ("Poolside", "Club" and "Afterclub") and the unmixed tracks included all fit into these loose categories. There's not enough room to list all of the highlights, but we've been enjoying the funk-fuelled disco-house rush of Illyus and Barrientos' "The One", the sleazy, bass-heavy bounce of Max Chapman's "Steppa", the acid-powered tech-house-jack of Del-30's "Gravity" and the weighty, mind-altering thump of "Low End Theory" by Eli Brown.
Review: Alan Fitzpatrick has said that the title of his latest release 'represents a significant change in my life and reminds me to focus on new beginnings', but regardless of this background, his new EP is a no-nonsense floor filler. "11:11" is built on lead-weight percussion and a searing bass, as muffled vocals insinuate their way through the arrangement. In a similar vein, "Stand Up" resounds to a robust rhythm track before a euphoric bass kicks in. Although "Ego" is also powered by firing percussion, it moves into a dreamy, filtered build. Maybe Fitzpatrick is in the middle of a spiritual awakening, but he hasn't lost touch with the dance floor.
Mono Electric Orchestra - "Neutral Density" - (8:37) 126 BPM
Fairmont - "Brothers Keeper" - (6:50) 123 BPM
Jimmy Van M & Juan Hansen - "Kobalt" - (6:55) 121 BPM
Edu Imbernon - "Indenait" - (9:37) 121 BPM
Quivver - "On & On" - (6:57) 124 BPM
Alan Fitzpatrick - "Vibes" - (8:03) 128 BPM
Reude Hagelstein - "Chromapark" - (6:55) 123 BPM
Review: John Digweed looks back on a terrific year that was 2018 - not to mention the 20th anniversary of his Bedrock label. This last year saw him serve up the Bedrock XX box set, team up with good mate Nick Muir on the terrific "Crazy Diamond" in addition to his awesome Live In Tokyo mix CD - so there's plenty to celebrate. Featured here are some of the year's highlights and exclusives alike by heroes of deep tech house such as: Booka Shade with their moody cruiser "Rosebud", Belgian veteran Jimmy Van M appears several times but is most on-form on "Cobalt", Systematic head honcho Marc Romboy with his impressive sci-fi epic "Cosmo" and the return of trance legend Oliver Lieb on the riveting "Epoxi".
Review: Adam Beyer's label notches up the seventh A-Sides compilation in as many years. In keeping with its approach of featuring well-known Drumcode artists alongside newer artists, Volume 7 shines a light ion emerging techno talent. This includes the deep and dubbed out "Portable Paradise" by Anna, alongside upcoming Canadian artist Weska with the searing acid of "Other Places" and recent Drumcode debutant Boxia with the dreamy but rolling "Final Call". These emerging artists sit alongside techno veteran Thomas Schumacher, who drops the eerie but jacking "The Unseen", Alan Fitzpatrick collaborating with Scuba's SCB offshoot to deliver the tough tribal techno of "Untitled" and Dutch producer Bart Skills weighing in with the ominous big-room monster that is "West Of The Moon".
Review: Alan Fitzpatrick is one of the UK's most talented techno producers, and the latest release on his own label shows just how adept he is. "Dancing Astronaut" sees him bring together firing, steely percussion, doubled up claps and a rumbling bass as a back drop for building, searing chord sequences. It's a menacing but atmospheric arrangement that breaks down into an evocative vocal sample before reaching a snare-led crescendo. On "Together Until the End", the approach is less direct, with Fitzpatrick delivering a broken beat-led rhythm and an evocative vocal sample. However, soon enough, he's back on the dance floor with the pounding kicks and lead-weight percussion and wild rave stabs of "Joy Rider"
Review: On his latest release, Alan Fitzpatrick does a lot to deconstruct the myth that he is all about linear, big room techno. The title track is a dramatic, evolving affair, with the UK producer taking influence from acid acts like Hardfloor as a cacophony of 303s squiggle and screech their way over a meaty bass and razor-sharp thunder claps. Just when you thought that the arrangement couldn't get any more intense, a siren shrieks across the spectrum - in reverse. While "Magnetic Dog" is a euphoric affair, the release is also tinged with sadness as it features a remix from the late Trevino. The respected producer opts for a more restrained approach, laying down churning chords and a ghostly strings.
Review: Alan Fitzpatrick always makes sure that techno music doesn't get too serious or precious. The UK producer's latest release is a good example of his ability to draw a sonic smiley face over purist identities. Drawing on hardcore hoover riffs, out there vocals - from the drugged up to diva wailing - and atmospheric piano keys, the title track harks back to a more innocent time for electronic music. Of course it helps that Fitzpatrick frames these elements amid a driving, funk-heavy backing track. On "Rhino", Fitzpatrick uses a similar backing track, but this time it's all about euphoria inducing trance builds married to metallic snare rolls. The purists may hate it, but there's no doubting that for everyone else, Fitzpatrick's irreverence is hugely infectious.
You Got Me (Slam Track Series remix) - (7:21) 129 BPM
Review: No one does the big room sound like Alan Fitzpatrick and the UK producer showcases his expertise once again on You Got Me, the latest missive on his We Are The Brave label. The title track centres on his trademark lead-weight kicks, firing percussion and powerful thunder claps, but also resounds to a screeching diva vocal sample and rather unexpectedly boasts a rave riff-led break down. Soma duo Slam's take doesn't pull any punches either; focused on a linear, hammering rhythm and concrete kicks, it sees the veteran Scottish producers add a more malevolent riff, redolent of the Hoover excesses of Belgian techno, amid a seething acid line.
Review: Alan Fitzpatrick returns to Drumcode, marking his first appearance since late 2016 when he remixed Moby's hit "Porcelain".The release opens with "Brian's Proper Dun One", a track which caused a storm on his Twitter profile when he first started playing it last year. Loaded with sharp and pounding drums, this is a no holds barred, certified main room anthem! "Wait A Second" has been getting a lot of play on Drumcode Radio of late. This rave inspired track takes a raw, stripped back approach and delivers a killer blow. Alan sampled the vocals of MC r1bbz from an LTJ Bukem tape pack from the early 90s and the record tips its cap to early jungle raves around the M25. The release closes with "Trance, Init?" a homage to Fitzpatrick's days as a raver before he became a DJ. The breakdown is sure to be a hands in the air moment at festivals all over the globe this summer.
Friday Night Dancing (Skream remix) - (7:22) 129 BPM
Review: Anyone who had Alan Fitzpatrick categorised as merely a big room minimal techno artist should think again. Sure, the UK producer has enjoyed a long and fruitful relationship with Adam Beyer's Drumcode, but he has also released recently on Mosaic, the home of all things deep and dubby. As Dancing shows, Fitzpatrick also brings a depth of knowledge and musical history to his productions. Over a rolling, low slung groove, he adds in the kind of dubbed out vocal sample that used to prevail on San Fran house records at the turn of the millennium. Combined with a woozy rave riff, this makes for an intoxicating underground groove. The label has tasked Skream with the remix; upping the tempo, he delivers a rolling, bleep-heavy rhythm that breaks down into Fitzpatrick's frazzled rave stab before proceeding on its juggernaut course.
Review: A big congratulations to Adam Beyer and his esteemed Drumcode imprint celebrating 20 years in the business. His techno powerhouse has continuously and effortlessly remained relevant, championing the work of fellow Swedish legends Cari Lekebusch, Joel Mull and Christian Smith, to late noughties heroes like Paul Ritch, Kyle Geiger and Pig & Dan to present day stars like Nicole Moudaber, Joseph Capriati and Luigi Madonna. There's a lot of serious peak time artillery on here, rest assured. But for us, the highlights weren't limited to Alan Fitzpatrick's uplifting and downright epic "Terra Firma" with its massive drop, head honcho Beyer and Mark Reeve's "Nine Of You" with its darkly fierce and tunnelling groove plus Truncate's killer remix of Dustin Zahn's "Miss You". Honourable mention to newcomer Boxia; he's surely one to watch if the banging "Revolution" is anything to go by!
