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: Here's something to set the pulse racing: a collaborative debut album (on Sound Signature, no less) from London broken beat veterans Dego and Kaidi Tatham. As with their previous joint releases on 2000 Black, Rush Hour, Eglo and, of course, Sound Signature, it's the duo's love of rich, jazz-fuelled musicality, sun-kissed melodies and loose, languid rhythms that shines through. There are naturally nods towards disco, boogie, jazz-funk, Afrobeat, hip-hop and classic "bruk", with a stellar cast list of guest musicians and vocalists swinging by to lend a hand. If Herbie Hancock decamped to Ladbroke Grove and made an album with Bugz in the Attic, it would probably sound like this. In our book, that's a very good thing indeed.
Julion De'Angelo - "Chase The Summer" - (6:59) 118 BPM
Thomas Xu - "Alottochewon" - (4:54) 113 BPM
Julion De'Angelo - "Pocketfull" - (5:52) 130 BPM
Thomas Xu - "Acceptance" - (6:40) 117 BPM
Review: As a rule of thumb, if Theo Parrish chooses to promote a producer, you can bet your bottom dollar that they're doing something right. That's certainly the case with Julion De'Angelo and Thomas Xu, who each contribute two fine tracks to this inspired Sound Signature EP. De'Angelo gets things going with the hazy, spaced-out goodness of "Chase The Summer" - all locked-in synth bass, rising and falling melody lines and skewed, jazz-tinged deep house percussion - before returning later with the gently distorted, two-step garage-goes-deep house wooziness of "Pocketfull". As for Xu, he somehow joins the dots between krautrock, wonky analogue house chug and distorted jazz on "Alottochewon", before mellowing things out on "Acceptance", a jazz-funk driven slice of fireside positivity that may be the EP's standout moment.
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.
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