Review: When it comes to churning out sweat-soaked, rave-era revivalism, few producers are quite as adept as Chrissy, in part because he's genuinely studied the turn-of-the-90s styles he's emulating (and has the record collection to prove it). For proof, check the cut that kick-starts this EP, "Can't You Feel It". Built around bustling breakbeats, fizzing synth bass, simmering strings and sweaty female vocal samples, it's a thrill a minute ride - as is the stomping, acid-powered, bleep-laden track that follows it, "Depeche Moines". Soundbwoy Killah kick-starts the remix portion of the EP with a hybrid UK funky/UK garage revision of "Can't You Feel It" that boasts one of the weightiest sub-bass drops we've heard for yonks - seriously, it's massive - before Denham Audio re-casts "Depeche Moines" as a breakbeat hardcore-goes-tribal house smasher.
Review: Having spent 2019 flitting between Chiwax, Super Rhythm Trax and the Nite Owl Diner labels, San Francisco-based rave revivalist and party-focused musical fusionist Chrissy kick starts 2020 by making his bow on Dusky's 17 Steps label. He's in predictably formidable form, too, with opener "In Paradise" delivering a near perfect fusion of energetic, hardcore style breakbeats, booming Jungle-esque sub-bass, swirling synth chords and the kind of wavy female vocal samples that set pulses racing at intoxicated outdoor raves. Ghere's naturally plenty to set the pulse racing elsewhere across the EP too, from the jacking cheeriness of "New Atlantis" and the stomping ghetto-tech rush of "New Instruments", to the deep breakbeat hardcore warmth of "Composition for Sampler, Flexatone & Vibraslap".
Review: Chrissy is a hugely diverse producer who makes everything from booty to acid and whose catalogue boasts appearances on Planet Mu and Classic. For his debut on Jerome Hill's label, he dons his Chicago house hat; "Truth Bomb" is a stomping 303 workout featuring a soulful vocal sample and tough drums, like Chrissy's own take on "I'm Strong" by Fingers Inc. "Stumble" is more down tempo and teased out, while "We're Movin" sees Chrissy combine uplifting vocals with a pulsating electronic bass.The only divergence of sorts from this acid / Chicago theme is "24 Hour Puppy People", where a driving New Beat rhythm track hammers away, but it took is cloaked in wired, warbling acid.
Review: Since ditching his juke-focused "Murderbot" project a few years back, Chris "Chrissy" Shively has found success as a producer of giddy, good-time dance music shot through with references to all manner of classic UK and U.S styles and sub-genres. "Resilience", his first full-length as Chrissy, continues on this theme, delivering a whirlwind trip through three decades of sweaty, party-starting UK and U.S dance music. Shively begins with the smile-inducing rave revivalism of "Like A Fantasy" and the "Sweet Harmony"-esque "Do What You Feel", before in sequence turning his hand to 1980s piano house ("Your Ghost"), heavy London hardcore ("We Need Love"), acid-fired ghetto-house ("U Can't Stop"), Kariya (the "I Want You Tonight" style brilliance of "So I Go Dancing") and early jungle/drum and bass ("Call On Me").
Review: Since ditching his bass music-inspired Chrissy Murderbot alias some time back, Smart Bar resident Christopher Shively has become a man in demand. Following a string of hot deep house productions for Classic, Freerange and Chi-Steez, he pops up on Razor 'N' Tape with a quartet of killer re-edits. He begins with the bassline-driven disco-funk stomp of "Discoglide", before applying his magic touch to Ragtyme's forgotten 1987 hip-house jam, "Fix It Man", in the process toughening up the original's classic Chicagoan groove. Shively successfully dips the tempo to deliver a dubbed-out, extra-gritty interpretation of Double Exposure classic "Everyman" (here re-titled "Every Person"), before reaching for the horns on the righteous disco stomp that is "Standing Passengers".
Review: You have to admire the work ethic of Smart Bar resident Chrissy, whose reputation as a house and disco DJ/producer has recently grown following years championing Juke under the Chrissy Murderbot guise. Here he pops up on Freerange with an EP of perfectly pitched deep house grooves. "Growl", featuring the unfussy vocals of Shaun J Wright, offers a great balance between quiet soulfulness and frayed, analogue-inspired deep house sleaze. The producer's love of wobbly, analogue sounding riffs and classic drum sounds comes to the fore on "Presidential Astrologer" (which is also smartly remixed by Savile), while "Loudness Wars" is a Classic Music-style stomper that's guaranteed to get 'em sweating out on the dancefloor.
Review: "Your Ghost" was one of the standout cuts from Chrissy's surging, rave-tastic 2019 album "Resillience". Here the revivalist, turn-of-the-90s style piano house vocal number gets the remix treatment via Needwant. Chrissy steps up first, offering up a chunkier, weightier and arguably even more potent "Club Edit" rich in echoing drum machine hits, addictive synth-bass, hammered-out piano riffs and rush-inducing vocals courtesy of Maria Amor. Brooklyn-based X-Coast takes the track in a totally different direction on his sweaty and throbbing remix, cunningly re-casting it as a piano-heavy slice of mid-90s "hardbag" (think muscular, trance-influenced house grooves, rave style piano motifs and addictive vocal snippets). 21st century ravers will love it.
Review: Since first popping up on Classic back in 2015, Chicago stalwart Chrissy (once famed for his juke productions as Chrissy Murderbot, but not embracing his house and disco roots) has barely put a foot wrong. "Back in Time", his third single for Derrick Carter and Luke Solomon's label, is another surefire hit; a delightfully celebratory vocal workout blessed with nods towards classic disco, Maurice Fulton's Syclops project (check the meandering analogue synth bassline) and sing-along house. Of the producer's two versions, it's the Extended Mix, with its additional bassline pressure and punchy drum fills, that's the superior choice. Arguably even better is Crackazat's swinging, piano-heavy Extended Remix, which comes on like a long-lost vocal house anthem from the mid '90s.
Review: Following the juke/footwork-isms of his recent Greatest Hits album, Chicago's Chrissy Murderbot teamed up with pawn for the more dancehall inspired Original EP. It went down so well that they've now commissioned remixes of the EP's tracks to keep the booties shakin'. Calculon & Austin Speed distort the kick for a punishing electro-bass meets D&B version of the title track. Meanwhile it's all about the minimal doom-bounce vibes on Moresounds' rejig of "Your Words". Werk!
Review: You can't really go wrong with an album that's called 'Nothing But Drum & Bass Weapons'. And, to be honest, it does exactly what it says on the tin. Opening this album up is a little bit like walking into a sweet shop as kid, it's just tasty things everywhere you look, all of which you want to consume at once. Unfortunately you have to listen to these one by one, but it's worth the time commitment because there are some hidden weapons, like 'Being You' by Cedex and Higher Underground, which is dystopic, distorted and desperately dirty; or 'Behemoth' by regular collaborators Synthforce and DJ Ransome, which rolls out into a full-on banger. This is wide net with lots of fish in it - definitely worth a go.
Review: Since launching back in 2012, Brooklyn imprint Razor-N-Tape has been responsible for releasing some of the finest reworks the re-edit scene has to offer. For proof, check out this second trawl through the label's rapidly expanding back catalogue. There's nary a duffer in sight, with highlights including the mid-tempo, eyes-closed disco brilliance of Michael The Lion's "Any Time", the swirling deep house/disco fusion of Junktion's "I'm Wishing" and the tactile boogie throb of Deep&Disco's sought-after "So Tight" (the best Thelma Houston rework we've ever heard), to the spiraling saxophones of Tom of Brooklyn's tasty "Summer Jam" and COEO's wonderfully evocative and slightly beefed-up Escort rework, "Light Star".