Review: Originally released on Parker's 2018 Dance Music long player, "You're Under..." now appears on Rekids in remixed format. Fadi Mohem's take is a shimmering, dubbed out affair, led by churning chords, while Truncate's version sits at the other end of the techno spectrum. Led by a niggling organ riff and cavernous kicks, it's an expertly executed slab of peak time techno. Label owner Radio Slave contributes two versions; working with P.Leone, they deliver a solid, linear groove, replete with pitch bent vocals and ominous riffs. When he flies solo, Radio Slave chooses a radically different route, with a pulsating groove and shrieking vocal samples prevailing.
When You Gonna Learn (Spencer Parker's Workdub) - (6:29) 133 BPM
When You Gonna Learn (Mella Dee mix) - (6:24) 134 BPM
Review: Spencer Parker makes a rare appearance outside of his Work Them label with this hard-hitting EP. Issued on Mella Dee's label, the release starts with the title track's jagged piano stabs, firing percussion and a gurgling acid line. It's the fastest, most intense track that Parker has produced to date and is a sure-fire peak time bomb. Parker's own 'Workdub' isn't quite as heavy, with the Work Them boss focusing on a dub-heavy bass and relentless snares. The same can't be said for Mella Dee's take; dropping doom-laden vocals and a rising siren riff, the arrangement is effortlessly filtered in and out of a buzz-saw bass.
Review: Spencer Parker is one of the unsung heroes of UK house music, but on this occasion, he hands over the controls to French talent. Rex resident Molly is behind the edit of "The Improvised Minotaur" and she does a fine job, teasing out the flowing piano line to the backdrop of a loose, rolling groove and eerie synth sounds. Fellow countryman DJulz's take on "Romantic" is more direct and less ethereal; the dense drums shuffle in a similar style to Martyn's recent output and are propelled forward with hissing percussion, while the organ riff at its heart lends it a somewhat menacing edge.
Review: Kevin Griffiths' Tsuba label arguably had its strongest year to date in 2011, as this handy 12-track round up of highlights shows. Inhabiting the no-man's-land between deep and tech-house, Tsuba's 2011 output ranged from sturdy and acid-flecked (Subb-Ann) to intensely beautiful (Aybee's delicious, Nu Groove-ish rework of Ethyl & Huxley's "Reflexions") via straight-up late night floorfillers (Mic Newman, Spencer Parker & Ian Pooley, a notable remix from Sebo K). This collection also includes a terrific Larry Heard remix of Moodymanc's "Black Paint", which is as well crafted and undulating as you'd expect from the great man.
Review: Here we have a meeting of house minds courtesy of John Wink's Ovum records. Like a musical Blind Date if you will, with the former dreaded one playing Cilla. "Lerchen Und Eulen" has a jazzy, live feel like that of a 1950s Brazilian hip cat trio, only it's married to house hats and 80s-style claps. "In My Head" is more conventional, throbbing and deep house nouveau. Finally Radio Slave steps in to deliver a whopping 11 minute version of the lead track which is extremely sparse and is fuelled by an incessantly swinging rhythm.
Review: Label casual Spencer Parker returns to Radio Slave's Rekids with the first in a new series of EPs! As the title suggests, "No More Silly Club Songs Vol.1" are just a bunch of no nonsense house jackers without all the gimmicks or the hype. While people nowadays are worried about how 'outsider' or 'underground' they are, Mr. Parker is sitting in his studio making slamming dancefloor music for those marathon DJ sets. From No.1 to No.4, this EP contains four highly recommended tools that'll shake up your dancefloor and throw you off piste. Check em' and stop worrying about the image.
Rights For Men (House Of Ties remix) - (7:20) 127 BPM
Rights For Men (Adriana Lopez remix) - (6:16) 128 BPM
Rights For Men (Young Male remix) - (7:42) 127 BPM
Review: The Work Them boss has commissioned three excellent remixes of his 2014 release. First up is Berlin DJ Mr Ties, with a rare remix. Focusing on a tracky rhythm, he uses pitch-bent vocals and blaring synth stabs to turn the original into a heads-down, tough house jam, reminiscent of the Wild Pitch sound. Adriana Lopez follows with a remix that is redolent of Sandwell District, all wind tunnel hypnotism and insistent sub-sonic bleeps - the only variable is a repetitive vocal sample. Last but not least it'a he turn of Young Male, who delivers the heaviest version, a tough techno workout with just the right hint of aggressive energy.