Review: There's not much info available about this one, but it's a pretty no-nonsense offering, as Duncan Forbes, Kai Alce and Mr G himself (under the alternative Mango Boy alias) rework tracks from the veteran producer's catalogue. Forbes steps up first, re-imagining 'Next Up' as a subtly jazz-flecked slice of reverb-laden, early morning lo-fi house hypnotism that sounds incredible over beefy club soundsystems. There are two Mango Boy reworks of 'Full A Love' - a kind of deep ambient jazz 'On a Vibe' version and a dusty, Afro-house tinged deep house 'Refix' that's as atmospheric as it is floor-friendly. Arguably best of all though is Kai Alce's flip of 'U Feel Me', which delivers fluid, jazzy, sax-sporting deep house thrills aplenty.
Review: The word 'legend' gets bandied about way too easily, but Colin McBean AKA Mr G is one DJ/producer that truly deserves the tag - his career now dates back over 30 years. And it shows, on a four-track EP that shows a healthy disregard for genre or trends as he blends deep and tech house with elements of techno, dub, funk and more. 'It's All Love' is a spaced-out affair with a spoken vocal about drugs, 'Gratitude' has a blissed-out, comedown-y kinda feel and 'Revolution' has more of an organic, funky edge, while finally closer 'Got My Freek On' is a detour into pacier, more eyes-down territory.
Review: Colin McBean AKA Mr G is having a 'Curry Nite', and he's got company - sometime Spooky member Duncan Forbes, a long-time pal who last collaborated with the tech-house veteran back in 2019. The pair's original mix of the track is a driving, heads-down treat, with drowsy, echoing electric piano motifs, sampled spoken word vocals and spaced-out electronic sounds riding a stabbing analogue bassline and tough beats. It's naturally excellent (as you'd expect from two artists with decades of experience under their belts) but the accompanying 'Reflecting Dub' is even better. It's a notch tougher and more percussive, but also smoother and deeper with more extensive use of dreamy, atmospheric chords.
Review: These days, Colin McBean is so assured of his musical niche that he's happy to drop new EPs as Mr G with little fanfare, fuss or promotion. The Baby Steps EP, which marks the UK tech-house stalwart's first missive of 2022, arrived, unannounced, in such a manner. As usual, what's on offer is trippy and to the point. Following a brief trip into beat-free weirdness (the delightfully saucer-eyed 'Changes'), McBean hits the ground running via the deliciously jacking house drums, creepy electronics, spaced-out bleeps and squelchy acid bass of '3.45am?' 'Old Skool Rider' is a fine example of his tough, chunky, fuzzy and funk-fuelled old school tech-house sound, while 'Hard Fonk' sees McBean wrap skewed and druggy analogue synth sounds around a locked-in drum machine rhythm and foreboding bassline.
Review: With clubs finally open again worldwide, Colin McBean is doing his best to provide DJs with the kind of peak-time-ready fodder that will get the blood pumping out on the dancefloor. Under his familiar Mr G alias, McBean has a strong track record in this regard, and Inner Soul Talkin' is another impressive collection of cuts. Opener 'You Feel Mi' is a spine-tingling, warehouse-ready affair full of stabbing analogue bass, sweaty house drums and sustained organ chords, while 'Next' is a whirlwind of heavy, fuzz-soaked drums and single-note piano stabs. 'Please (v3)' is a slightly deeper and warmer slab of retro-futurist house haziness, while the EP's final track, 'Did You Know', is a swirling, immersive ambient tool full of overlapping electronics and spoken word snippets.
Review: For the third release on his fast-rising Childhood label, German producer Muallem has turned to Colin McBean AKA Mr G. As you'd expect given his impeccable track record over the last three decades, The Forced Force Is Not The True Force - McBean's seventh full-length excursion and first for three years - is really rather good. It sees him draw inspiration not from the tough but funky tech-house he's known for, but rather a combination of warehouse-ready, rave-era house music and vintage electro. The result is a superb set of spacey, sweaty dancefloor treats - with a handful of contemplative ambient moments thrown in - which flit between peak-time ready energy, mid-set weightiness, and the kind of saucer-eyed slow jams that sound superb during warm-up sets. Intergalactic, retro-futurist bliss.
Review: Don't Be Afraid return with the second chapter in a double compilation, celebrating a decade at the cutting edge of electronic music in the UK and beyond. '10.02' sees Semtek's label delving deeper into a fertile underground, further connecting the sense of musical curiosity and willingness to experiment that's been implicit in DBA's namesake from the beginning. Highlights come from Motor City legend Scott Ferguson (Ferrispark) with the knackered mood music of "This Is What I Love to Do", legend Mr G goes back to the Metalbox days on the tough, steely and funked-up house of "Birthday Jam", through to moments of sublime and life-affirming deepness as heard on Pablo R. Ruiz's "El Sol Se Acerca" or Minos's dubby "Laminar Flow" respectively.
Review: Colin McBean is one of the few modern producers who has an utterly distinctive sound. It's audible on every track he makes, with his resonating kicks and tough bass always standing out. On this release, McBean steers his Mr G sound in a slightly deeper direction than usual. While "Soba Shioyaki" does feature his trademark kicks and powerful low end, it also resounds to shimmering filters and dreamy chords. That other trademark Mr G element, the vocal snippet, also looms large here as it rides the insistent bass. On "Komorebi", he opts for a similar approach, albeit with deep synths moving and a dreamy string sequence moving effortlessly through his unique rhythm and drums.
Review: Mr G goes full alien in 2020 with the Extraordinary Abilities EP; a six pack beaming down all the necessary rhythms and drums tracks you would want from the man. All roads lead to the thudding beats of "Late Nite @ Montecello" with its titillating vocal hooks and flexed basslines mirrored by a dubbed out version in "Gathering NYC". Warm basslines and familiar no-nonsense kick drums are the name of the game in "The Made" with stepping breaks and club basslines ruling the day in "Embassy". Jazzed up ambient house interludes in "SoundBath@The Loft" with more beatless cosmiq in the otherworldly "LDBPT3". Phone Home.
Review: Mr G's latest high quality outing was made in cahoots with fellow British techno veteran Duncan Forbes, a friend and former Spooky member (alongside Sasha's go-to engineer Charlie May). Forbes offers up two fresh reworks of Mr G Cuts: a rolling, drum-laden deep house take on "Hip-Shaker" rich in hand percussion, hazy female vocal samples and spacey electronic motifs, and a fuzzy, mid-tempo revision of "Flex D's" that peppers a druggy groove with spacey electro synths and eyebrow-raising French spoken word snippets. Best of all, though, is the duo's collaborative studio jam "D&G Throwdown", a deep but percussively pulverizing techno stomper that benefits greatly from hazy riffs, echoing percussion hits and mind-altering sub-bass thrusts.
Review: Global Underground's Nubreed series has a huge amount of kudos, having brought respected DJs like Lee Burridge, Steve Lawler and Danny Howells to attention during the early 00s with a series of iconic mixes. Although it was on hold for much of the second decade of this millennium, it has been successfully resurrected and now gives the same platform to Theo Kottis. In keeping with its usual format, this instalment sees the Beautiful Strangers boss explore a range of styles and sound across two mixes. Accordingly, his selection ranges from Gigi Masin's melodic piano composition, "Maja", to the Mountain People's sensuous deep house "La Onda", taking in some underground classics like DJ Assassin's garage/house hybrid "Face in the Crowd" as well as left of centre oddities like The Horn's "Villager". It's a fitting testament to the Nubreed aesthetic.
Review: The choice of Tony Humphries to mix Running Back's first label compilation is a significant one. Getting his big break in the early '80s as an understudy for the legendary Shep Pettibone's Kiss FM show, Humphries went on to become one of the defining DJs of house music's formative years, with residencies at New Jersey's Club Zanzibar and London's Ministry of Sound. His previous mixes illustrate his continuing ability to bridge dance music's past and present and his new one for Gerd Janson's imprint will mark its fifteenth anniversary. It is a timely reminder of what has made the Frankfurt powerhouse remain on many favourite label lists for over a decade. It's a mix of golden oldies and recent classics alike: from Todd Terje's smash hit from several years ago "Ragysh" and the anthemic "The Voice From Planet Love" by Precious System, through to more recent bombs. Two by Running back alumnus Shan ("Bassline Party"/"Work It") and the legendary Mr G's Motor City ode "Ben & Gerd" (Killin It M Day).
Review: Back in 2010, UK techno veteran Colin McBean AKA Mr G popped up on Rekids with an album by the name of Still Here. Six years on, he's, erm, still here, offering up a quartet of tracks from that album for the first time on digital download. That album was impressively varied in outlook, and it's the same for this sampler. So, while the loopy, jacking, and thrillingly bass-heavy "Get On Down" and low-slung "Space Bassed" or indicative of his familiar, funk-fuelled tech-house sound, "Plantonic Solids No. 5" sees him wandering further towards rolling, late night U.S house territory, whilst retaining his usual hypnotic, subtly changing approach. More surprising is "Blessed", a jazz-flecked, broken-house groover blessed with rich Rhodes stabs and seductive spoken word snippets.
Review: Colin McBean is the definitive house music machine. "Precious Cargo" gets a series of totally kick-ass reworks on Defected. First up the original is as tough and grayscale yet emotive as you'd expect of Mr G featuring some lovely diva vocals. The "Dark Broke Down Dub" Detroit hero Kai Alce steps up with "KZR's Dark mix" which has all the dust tinted blues and soul you would expect complete with rusty drums and smooth Rhodes keys.