Review: Alan Fitzpatrick's latest release starts with the crackle of vinyl and dubbed out drums on "Patience". It marks the beginning of a track - and a release - that is less characteristic for the storied producer. Gentle pulses and a rickety back beat guide these elements, leading the listener to a hypnotic place where woozy chords prevail. Along the way, "Patience" drops into seductive breakdowns. Fitzpatrick teams up with Reset Robot on "Mule Subjective". Led by robust break beats, it sees the duo weave swirling melodies into the arrangement. "Neptune Realms" is even further removed from Fitzpatrick's typical sound, with serene ambient textures flowing and ebbing mournfully.
Review: Techno powerhouse Alan Fitzpatrick teams up with Reset Robot to deliver a varied, impactful release. "Feel The Rhythm" is a tough track, with the duo layering a repetitive vocal over pounding kicks and rasping hi hats. In contrast, "Phantom" sees the pair go deeper, with melancholic hooks unfolding over a similarly weighted rhythm track, while on "Moon Bird", rickety percussion is fused with lush synths without the signature Fitzpatrick drums losing their dance floor lustre. Label owner Marco Faraone also delivers a remix of "Rhythm", which sees him toughen up the drums and add a layer of driving percussion to the original arrangement.
Review: Over the last 15 years, few producers have released quite as much high-quality dancefloor fare as Alan Fitzpatrick. Somewhat predictably, his latest EP - a label debut for Bristol-based imprint Shall Not Fade - is another must-check missive. He's scored something of a coup, too, by recruiting Chicago 'ghetto-dance' legend DJ Deeon to add his evocative spoken word vocals to 'Shake That Thing', a deliciously spacey chunk of analogue house brilliance whose evocative chords and restless rhythm track will bring joy to many dancefloors this summer. Rising star DJOKO remixes, doffing a cap to the early 2000s work of UK tech-house stalwarts Swag on a deliciously swinging, loose-limbed rub. Fitzpatrick then delivers a bouncy, life-affirming chunk of disco-house hedonism, 'Learning to Love', which is pure pleasure from start to finish.
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.
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: 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: 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.
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