Review: After spending the last few months unleashing much-needed digital editions of some of his most sought-after vinyl releases, the mighty Theo Parrish has finally decided to treat us to some brand-new music. 'In Motion', the title track for this two-track single, is most certainly a treat. 12 minutes of winding, undulating deep house jazz, the track's Latin-tinged percussion, sweet synths and drowsy chords subtle shift shape for well over 11 minutes. It's emotive, musically rich and impeccably produced, as you'd expect from an artist of Parrish's quality. Ava guest stars on the EP's opening track, 'Don't Play', a more heads-down number that smothers a hissing, cymbal-heavy drum machine groove with tipsy jazz-funk synths and woozy electric piano motifs.
Review: 14 years have passed since Benji B and Judah established their monthly Deviation parties in London. This fine compilation celebrates the club's legacy and sound, which famously touched on all manner of soul-fired musical styles whilst keeping one eye (and both feet) on the dancefloor, with Benj B selecting cuts that never failed to rock the party. Expect a mixture of skewed, bass-heavy beats (Dorian Concept, James Blake, 00Genesis), heady instrumental hip-hop (Waajeed, Damn Funk remixing Baron Zen), Afro-funk (K Fimpong), peak-time UK bass mutations (Pearson Sound, Martyn, Mala), high-grade deep house (Gilb'r remixing Rick Wilhite, Theo Parrish) and a smattering of genuine scene anthems (Detroit Experiment, Maurice Fulton's remix of Alice Smith, DJ SPen presents DJ Technic).
Review: Theo Parrish continues to raid his vast back catalogue. This EP features sought-after cuts from two vinyl only EPs (released in 1997 and 2001 respectively) that have previously been unavailable digitally. Opener 'Smile' is arguably one of the Detroiter's most magnificent musical moments of all time: an epic slab of drowsy Motor City deep house built around idiosyncratic drum programming, ultra-deep chords, toasty bass and an effects-laden vocal snippet. 'Lost Keys' is a breezier and looser affair marked out by Latin style piano motifs, jazzy house beats and tactile bass, while 'Dreamer's Blues' is a languid, percussion-and-electric piano rich number that tends towards the hazy and jazzy. Finally, 'Lost Angel' is an ultra-deep affair whose spacey chords seem to stretch out to the farthest reaches of the galaxy.
Review: A trio of recent Theo Parrish productions get the remix treatment, though why these versions are any more or less "special" than others isn't made entirely clear! The laidback and heartfelt 'This Is For Your' (a Maurisse Rose collab first out as a single in 2019) will suit soulful floors, while 'Ain't No Need' by The Unit (something of a 'supergroup' consisting Parrish, Amp Fiddler and friends) leans more towards jazz and broken beat. The standout to these ears, though, is 'What You Wanna C', a deep, jazzy shuffle par excellence and one for the proverbial "heads" for sure!
Review: In his usual matter-or-fact, hype-free way, Theo Parrish announced the release of Wuddaji, his first album for six years, barely two weeks before it hit stores. It's unusual to see such a significant release - Parrish is one of electronic music's true originals - teased in such a way, but then the Detroit legend has never played by music industry rules. The album itself is predictably inspired, with Parrish sashaying between jazzy, hip-hop-influenced beatdown (woozy opener 'Hambone Cappuccino'), wild bruk-up business ('Radar Detector', the free-jazz-funk of 'Wuddaji'), epic slabs of deep, soulful house ('This is For You'), sleazy late night beat science ('Angry Purple Birds', 'All Your Boys are Biters'), and impossible-to-describe voyages into 21st century electronic jazz spiritualism ('Knew Better Do Better').
Review: Back from Fancy Footwork the almighty Theo Parrish is still blazing a trail into instrumental house and live jazz workouts or be they listening sessions. Flipped up alongside the recent What You Gonna Ask For EP, This Is For Your projects the beauty of live elements at play within house music. Whether they be machines or human beings, everything is alive in these two tracks; snappy snare shine through on the instrumental version alongside free keys that shimmy on top analogue kicks done in Detroit. Maurissa Rose gives voice to a fuller mix on the original for something warmer over a charming instrumental workout.
Review: Sound Signature's latest release is an all-star crew affair, with an impressive cast list of vocalists, musicians and producers joining main man Theo Parrish in the studio to lat down the impeccable "What You Gonna Ask For". Parrish takes control on the first of two mixes. It's a jazzy affair where layered twinkling electric piano motifs, spacey chords, jazz-funk riffs and sumptuous deep house grooves combine on a fearlessly loose and organic dancefloor workout. Next up friend of the family and occasional Sound Signature artist Dego offers his interpretation, adding even more warmth and some tasty additional hand percussion parts whilst wisely utilizing most of the original version's intricate musical elements.
Review: Theo Parrish's "Gentrified Love" series hits its fourth instalment with two stunning extensions/takes. First up is a powerful expansion of "Leave The Funk To Us". First spotted on the second edition of the series, it's now full length with the golden touch of Amp Fiddler. "Be Like Me", meanwhile, takes Paul Randolph & Kathy Kosins' Brownswood Bubbler to a whole new cosmos with lavish twists and cleverly subverted layers. Yet another precision trip from Parrish.
Review: It's a well-known fact that Theo Parrish can do no wrong, production-wise at least. Predictably, his first EP of 2018 is something of a delight, with "Preacher's Coming" delivering a typically eccentric, jazzy and soul-fired trip into sparse, gospel-fired deep house territory. This being Theo, though, it's unlike any gospel house cut you'll have ever heard before, with various gospel samples (handclaps, piano stabs, short vocal snippets) riding a darting synth bassline and sparse-but-heavy beats. Arguably even better is "Gullah Guchee", a formidadly bass-heavy, intoxicating house interpretation of a Craig Huckaby-helmed crew spoken word number that also features a hand-clapped rhythm and African style chanting. Happily, Parrish has also included Huckaby's sublime original version, too.
Review: It's a well-known fact that Theo Parrish can do no wrong, production-wise at least. Predictably, his first EP of 2018 is something of a delight, with "Preacher's Coming" delivering a typically eccentric, jazzy and soul-fired trip into sparse, gospel-fired deep house territory. This being Theo, though, it's unlike any gospel house cut you'll have ever heard before, with various gospel samples (handclaps, piano stabs, short vocal snippets) riding a darting synth bassline and sparse-but-heavy beats. Arguably even better is "Gullah Guchee", a formidadly bass-heavy, intoxicating house interpretation of a Craig Huckaby-helmed crew spoken word number that also features a hand-clapped rhythm and African style chanting. Happily, Parrish has also included Huckaby's sublime original version, too.
Review: Motor City veteran and longtime friend Amp Fiddler is the latest artist to join forces with Theo Parrish for the latter's ongoing Gentrified Love series of collaborative EPs. Virtual A-side "Trust (SS Translation)", which also features soul vocalist Ideeyah, offers a perfect fusion of the two producers' work; think dusty, organic modern soul underpinned by typically loose and wayward deep house beats. Arguably even better is near 12-minute virtual flipside "My Soul", a drowsy, woozy and stretched out trip through jaunty, broken house rhythms, Fiddler's impeccable keys work, and the kind of starry synthesizer motifs that were once the hallmark of Detroit techno.
Review: Given that it was originally released on vinyl and CD way back in 2000, it's something of a surprise to find that this is the first digital download release of Theo Parrish's acclaimed sophomore set. It remains a benchmark in the Detroit legend's fine career and arguably the set in which he fully realized his unique musical vision (think cut-up and manipulated samples, major jazz influences, and hypnotic, stretched-out cuts that quietly build throughout). Highlights are plentiful, from the deep Afro-house of "Serengeti Echoes" and leisurely, slipped jazz warmth of "Summertime Is Here", to the almost Balearic brilliance of the suitably epic and saucer-eyed "Violet Green".
Review: Given the talent involved - Motor City deep house legend Alton Miller, with the similarly storied Theo Parrish on remix duties - this has "buy on sight" written all over it. Musically, it's as good as you'd expect. Miller's original version of "Bring Me Down", featuring the sauntering, soulful vocals of Maurissa Rose, is amongst the best things he's done of late; a sinewy, sensual deep house epic blessed with starry electronics, rolling beats, sweeping synths and rich bass. Parrish's similarly stretched-out translation is similarly sublime, fixing elements of Miller's fine original version to swinging, jazz-flecked beats, jammed-out Rhodes lines and typically dusty textures. Basically, it's as good as you'd expect, and then some. Don't sleep.
Review: In his usual no-nonsense fashion, Theo Parrish has not said much about the surprise release of Gentrified Love Part 2, despite it being his first fresh material since 2014. The EP features contributions from two of the Detroit's legends oldest friends: Rotating Assembly member Duminie DePorres, and original Slum Village member Waajeed. A-side "Warrior Code" is a quietly foreboding proposition, with spiraling electronics, jammed keys and cosmic chords riding a chunky, West London style broken beat groove. Brighter and breezier "Leave The Funk To Us", a jaunty and jazz-wise 4/4 excursion blessed with some superb, Herbie Hancock style jazz-funk keys.
Review: Theo Parrish's Gentrified Love series seems to be a collaborative affair. Part two, available separately, contained hook-ups with fellow Detroiters Wajeed and Duminie Deporres. "Ghetto Proposal", which is available in Vocal and Instrumental versions, features sublime contributions from another Motor City legend, veteran modern soul man Amp Fiddler. It's something of a deliciously trippy affair, underpinned by a freaky, delay-heavy groove, fireside-warm Rhodes keys, meandering trumpet lines and - on the vocal version, at least, drowsy female vocals. Both artists jazz influence is clear, particularly in the crunchy percussion hits that begin to dominate as the track progresses. Interestingly, the instrumental moves a little further towards jazzy broken beat territory.
Review: The outlandish and unpredictable "Any Other Styles" from Theo Parrish is finally granted a digital release! Central to the DNA of "Any Other Styles" is a cornucopia of FX dredged up from arcade beat-em up moves and crudely nudged to fit an abstractive, thick set beat pattern that bucks angrily with a frenetic nature that's beyond unpredictable. It's the strangest Theo record we've heard in some time, but when any number of people are treading shallow waters in the name of contemporary deep house, don't we need some people to not even consider "the box" when it comes to approaching music? If sonic boom techno ain't your thing, then the DJ tool "Beat This" might take your fancy, an endlessly restless shimmy through skeletal pitter patter beatdown, with the sort of dextrous drum arrangements that Parrish does so well.
Review: The outlandish and unpredictable "Any Other Styles" from Theo Parrish is finally granted a digital release! Central to the DNA of "Any Other Styles" is a cornucopia of FX dredged up from arcade beat-em up moves and crudely nudged to fit an abstractive, thick set beat pattern that bucks angrily with a frenetic nature that's beyond unpredictable. It's the strangest Theo record we've heard in some time, but when any number of people are treading shallow waters in the name of contemporary deep house, don't we need some people to not even consider "the box" when it comes to approaching music? If sonic boom techno ain't your thing, then the DJ tool "Beat This" might take your fancy, an endlessly restless shimmy through skeletal pitter patter beatdown, with the sort of dextrous drum arrangements that Parrish does so well.
Review: The second Sound Signature repress of the week offers a chance to re-assess the moment that the wider world was introduced to the talents of one of Detroit's most loved selectors. Released back in 1999, the Essential Selections Vol. 1 EP saw Theo collaborate with a certain Marcellus Pittman across three cuts that still sound as vibrant today. "Night Of The Sagitarius" has the loose drum arrangements and gritty low end that will appeal to contemporary ears, but it's also augmented by an almost chilling sense of melody. "Selector's Theme" is the pair in introspective mood whilst "African Roots" belongs in the canon of all time Theo greats.
Review: Given that this is the first album from the great Theo Parrish since 2007, it's unsurprising interest in American Intelligence has rocketed over the course of the year as Sound Signature left a trail of hints. Happily, American Intelligence is a fine album; deep and woozy in parts, undeniably soulful, shot through with jazz influences and full to bursting with killer cuts. By now, everyone should know the brilliant "Footwork" single (arguably one of the records of 2014); soon, clubs will swing to the off-kilter dancefloor jazz of "Make No War", the 21st century broken house of the epic "Fallen Funk" and the decidedly odd - but brilliant - "Helmut Lampshade".
Review: Theo Parrish lays down a marker for a long overdue fifth album, apparently due out later this year, with the sublime Footwork single. Named in reference to the dance as opposed to the breakneck offshoot of ghetto house, "Footwork" is a sublime slab of Theo with many of his trademark production touches. Think lightly brushed percussion, a meandering bassline that juts out with an odd funk, and subtle yet sumptuous musical touches, all topped off by a gruff "let me see your footwork baby" croon. Those Theo fans out there that like the man to get a bit rugged will be all over "Tympanic Warfare" too, where off the grid polyrhythms cannon around the channels, augmented by an ugly bassline and dexterous keys.
Review: When Musical Metaphors first dropped on wax way back in 1997 as the first official Sound Signature release, Theo Parrish was still a relative unknown. It was on this 12" - and the subsequent Moonlight Music & You EP - that the Detroit resident first set out his stall as a deep house producer with a unique voice (and a passion for stretching out grooves over ten sensual minutes). Looking back, it's classic Theo. The beatdown informed "Shadow Dancing" is ultra-deep, with fuzzy keys and whispered vocals riding a hynotic, locked-in groove. Parrish's famous jazz influences come to the fore on the looser - but no less hypnotic - "Carpet People Don't Drink Steak Soda", which gains much of its potency from a combination of shuffling deep jazz-house rhythms and toasty chords.
Review: Given that this first dropped back in 1997 as the second vinyl release on Sound Signature, it's perhaps unsurprising that the long out-of-print 12" version goes for serious money online. It's particularly pleasing, then, that Parrish has finally relented and given it a digital release. Moonlight Music & You features two classic examples of the Detroiter's deep, woozy, soul-flecked take on deep house; the 13-minute groove exploration that is "Music" - all twinkling melodies, undulating beats in his distinctive style, darting electronics and dewy-eyed vocal samples - and "Moonlite", a tougher but no less spaced out excursion blessed with typically stoned chords and dense African drums.
Carpet People Don't Drink Steak Soda - (8:52) 111 BPM
Shadow Dancing - (9:38) 116 BPM
Review: When Musical Metaphors first dropped on wax way back in 1997 as the first official Sound Signature release, Theo Parrish was still a relative unknown. It was on this 12" - and the subsequent Moonlight Music & You EP - that the Detroit resident first set out his stall as a deep house producer with a unique voice (and a passion for stretching out grooves over ten sensual minutes). Looking back, it's classic Theo. The beatdown informed "Shadow Dancing" is ultra-deep, with fuzzy keys and whispered vocals riding a hynotic, locked-in groove. Parrish's famous jazz influences come to the fore on the looser - but no less hypnotic - "Carpet People Don't Drink Steak Soda", which gains much of its potency from a combination of shuffling deep jazz-house rhythms and toasty chords.
Review: Theo Parrish and Tony Allen together on a record? What a combo! Fusing the souls of Detroit and Laos, the unlikely but neatly fitting duo has created two absolutely beautiful soul workouts here. "Day Like This" is a staccato soul roller with emphatic swooping drums, sultry washed-out vocals and big warm organs. "Feel Loved" is a jazzier, more upbeat affair. Again the drums sit at the very forefront of the mix while the rest of the rich, warm instrumentation fits in around them in a soft, dreamy state. The debut release on Theo's new Wildheart label, expect more goodies like this very very soon.
Review: Juno digital exclusive on this slab of 2009 heat from Mr Theo Parrish! Space Station is a Sound Signature masterpiece and it's hard to describe something so seminal but the title track is a shuffling drum machine workout backed with Theo's individualistic bass line style - it's not really acid but it's got enough in it to be seen as techno. "Going Through Changes" takes thing down a notch, delivering a masterfully arranged Detroit house bomb complete with seductive vocals, gorgeous synth keys and the essential madness that is Parrish's percussion. Pretty damn essential...
Review: Third Ear continue their fine form by giving us a remastered reissue of two remixes which have inspired just about everyone in the game. Both versions of "Falling Up" are given an ante up by Stefan Betke and although there isn't really a way to make these tracks any better, the man does a fine engineering job indeed! Carl Craig's take on it is almost too much of a classic to be described into words - if you haven't heard it then shame on thou! Theo Parrish has similarly created a timeless infusion of atmospheric broken beats and deliciously placed sample snippets.
