Review: Will Buck welcomes Eli Escobar to Off Track Recordings. Happily, the Brooklyn-based producer has brought with him his strongest full-length excursion since 2017's 'Shout' on Claassic. Unlike some of his more recent full-length excursions, which were (admittedly expertly executed) tributes to specific styles, 'The Beach Album' takes warmth and sun-splashed sonic colour as its unifying theme. You'll find fine club workouts aplenty - see the gorgeous, synth-heavy deep house shuffle of 'Daywun', the throbbing, Moroder-influenced electro-disco sleaze of 'C@n U F33l It', the mid-tempo dancefloor dreaminess of 'In My Bones' and the squelchy nu-disco of 'Down All Day' - alongside mix-tape style interludes, tactile downtempo jams and DJ Cam-esque trip-hop head-nodders.
Review: Off Track Recordings founder Will Buck initially used the label as a vehicle for his own productions, but last year started showcasing works by other artists. He continues in that vein here, serving up a solid four-tracker from Brooklyn-based producer Malik Hendricks. The headline attraction is arguably title track 'Praise', a breezy, ever-growing, jazz-flecked riff on gospel house (complete with sampled vocals) that fellow New York resident Eli Escobar subsequently re-frames as a stripped-back and more gently spacey sounding house workout that notably features a superb electrofunk style bassline. Elsewhere, 'Melody & Rhythm' is a subtly Motor City techno and Chicago acid influenced deep house gem, and 'Know Me' is an energetic, hard-to-pigeonhole house jam.
Review: We're firmly of the opinion that Felipe Gordon is one of the breakout stars of 2020, thanks in no small part to a succession of must-check releases for such labels as Toy Tonics, Lost Palms and Local Talk. He's certainly the star attraction on this joint EP on Off Track Recordings, first dazzling with the chunky, warming and jazzy solo deep house cut 'We All Got The Time', before collaborating with fellow rising star Will Buck on the similarly Rhodes-laden peak-time workout 'Back Into Time'. Buck delivers two fine solo outings of his own, too: the sparkling jazz-funk-goes-classic house bump of 'I Think It's Too Late' and the riotously good angular acid-funk of 'I'll Be Right There'.