Review: Alan Fitzpatrick's label welcomes a new talent, NANCY Live, to the fold - and this fine two-tracker showcases her tough techno credentials. The title track is a full-on warehouse banger, with screeching rave sirens underpinned by pummelling kick drums and relentless bursts of percussion - it comes across like a contemporary update on 90s Frankfurt Trax. Despite its name, "Gizeh Trance" is as far as possible from day-glo friendly sounds: resounding to a searing acid line that keeps on building, it's a tripped out but impactful affair. Both of these tracks shine a light on this emerging Irish artist's production skills.
Review: On its latest split release, We Are The Brave continues to showcase emerging producers. First up is Daniel Rifaterra, with "Narnia". Deeper and more introspective than much of the label's output, it revolves around broken beats and moody synths and is closer in sound to Dial than big room techno. Buridan picks up the pace on "System Disarmed", where a frazzled bass and relentless kicks support chopped up vocal samples and insistent tones. Meanwhile, Modea delivers a stunning peak-time track on "Strength and Power" - centred on a menacing, pulsating bass and powered by doubled-up claps, a series of builds and drops ensures that the track will have maximum impact.
Review: For the latest instalment of We Are The Brave, label owner Alan Fitzpatrick hooks up with Reset Robot aka Dave Robertson. Fans of lean club techno will be familiar with Robertson's work under this alias for labels like Truesoul - and the pair's opening salvo, "Angstrom", is a steely, grinding rhythm that's supported by cheese-wire percussion. Robertson flies solo on "Lucky Pig", where doubled up claps dive-bomb in over a hammering rhythm track, while Alan Fitzpatrick's own "The Light" is just as forceful. Built on his signature breeze block kick drums, the UK producer conjures up nightmarish synth scapes.
Review: Having appeared on a label compilation last year, Silence is Modea's first full release for We AreThe Brave. The title track recalls the golden years of 90s German techno-trance, with a repetitive vocal set to a mixture of spiralling acid and tranced out melodies. In contrast on "Chosen", the young Irish producer delivers a more contemporary sound, as epic synth stabs are fused with a prowling, menacing bass. "Concentrate" combines the best of both worlds, as arcing acid lines and a ponderous vocal sample are combined are underpinned by a rolling rhythm, while on "Body Language", Modea drops the kind of lead-weight drums and searing groove that Alan Fitzpatrick's label is synonymous with.
Review: Up next on Alan Fitzpatrick's label is Smyth with a three-tracker that stays true to the label's distinctive sound. "Cosmic Girls" is a jacking, driving affair: laden with sensuous vocal samples and underpinned by tough kicks, it breaks down to the backdrop of ominous bass licks. On "Redefined", Smyth drops a powerful albeit more stripped back dance floor track; led by tough kicks and lean percussion, it nevertheless contains some dreamy synth passages that will prove to be irresistible. Meanwhile, "To The Top" is a more soulful cut, with the UK producer dropping seductive vocal samples over a shuffling rhythm and a bass that builds gradually throughout the arrangement.
Kusp - "Nobody Likes The Records That You Play" - (7:03) 140 BPM
Alessandro Grops - "Beyond" - (7:01) 130 BPM
Charly Schaller - "Moonshine" - (8:40) 133 BPM
Review: For the second instalment of the Electric Soul Music series, Alan Fitzpatrick has recruited some new producers alongside well-known names. Embodying the label's tough but soulful approach is
Niereich Vs. Shadym & Linus Quick's "Don't Let Me Down", where pounding kicks and lithe break beats underpin haunting female vocals. Konrad delivers a similar sound, albeit with more brash vocals delivered over a rolling, filtered groove. Meanwhile, Tenzella represents an intense version of Fitzpatrick's sound, as acid lines are fired at hyper speed over the pounding drums of "Excuse". Representing better known artists and the more extreme end of We Are The Brave's sound, Filterheadz drops the rave siren and hardcore bass-led "Emphasis".
Review: Techno might be hunkered down in a locked tresor (or vault) for the time being but it's been a hugely busy year so far for Drumcode spearhead Alan Fitpatrick. Having already dropped records on REKIDS and Hot Creations with Jamie Jones in 2020, the first release for Fitpatrick's We Are The Brave label comes from the man himself. Aimed directly for the warehouse play he's most used to, I Still Remember combines European and Detroit techno signatures with touches of rave, EDM, trance and dub. With suggestive vocals to boot in the all inspired "I Still Remember", Fitpatrick's "Buttered Otter" on the flip goes a shade harder with staccato synths, vocal samples and ringing crash cymbals. Deeper still is "Emergency" - a classic trance and dub techno number - with SAMA turning in a melodic bassline remix in his version. For extra weight still there's a rock solid Mark Broom warehouse mix for the arsenal, with Brennen Grey's apocalyptic take on "I Still Remember" not something to forget.
Review: Deja Vu is Spiteri's third release on We Are The Brave and builds on his growing reputation as a purveyor of effective but unusual warehouse techno. The title track resounds to tough kicks and a rolling groove, but the UK producer manages to put his own stamp on this sound, using vocal snippets, hypnotic chords and subtle snare builds. The label has recruited A.S.H, who featured on the Electric Soul Music compilation last year, to remix the track. Toughening up the rhythm and adding an extra layer of acid, this reshape is just as effective as Spiteri's distinctive original version.
Review: Dirtybird and Relief regular Will Clarke teams up with UK house music don Huxley for this smart but impactful big-room release on Alan Fitzpatrick's label. On the title track, acid lines are fused with vocal loops and waves of percussion to create an unusual combination. However, factor in the booming kicks and searing bass, and it's also clear that the duo's arrangement also makes for a dynamite club track. On "What to Do", a similar concept applies; looped vocals are combined with dubbed out drums, hyper active percussion and huge break downs to create a deadly effective peak-time banger.
Review: Following releases on Beard Man and Hardgroove, Anthony Cardinale aka Avision drops this stunning EP for We Are The Brave. "Retro" is an impressive tribal workout, powered by staccato drums and blasts of icy filters. It's tough but funky, perfectly aligned with the label's approach. "This Way" is more inventive; it sees Cardinale loop piano keys over doubled up claps and a swirling, building filter as evocative vocals play out in the background. Maintaining this mood till the end is "Trip", where Avision deploys a tough, rolling rhythm populated with vocal snippets and acid-frazzled builds to devastating effect.
Review: Alan Fitzpatrick has said that the title of his latest release 'represents a significant change in my life and reminds me to focus on new beginnings', but regardless of this background, his new EP is a no-nonsense floor filler. "11:11" is built on lead-weight percussion and a searing bass, as muffled vocals insinuate their way through the arrangement. In a similar vein, "Stand Up" resounds to a robust rhythm track before a euphoric bass kicks in. Although "Ego" is also powered by firing percussion, it moves into a dreamy, filtered build. Maybe Fitzpatrick is in the middle of a spiritual awakening, but he hasn't lost touch with the dance floor.
Review: Alan Fitzpatrick's label has put out music by household names like Gary Beck, Darius Syrossian and Sasha, but it also deserves praise for releasing Vortex. The work of upcoming producer A.S.H, it's not hard to understand its appeal. The title track is a rolling tribal groove that unfolds to the sound of jungle sub-bass and sinister, building riffs. On "Stranger Things", the newcomer also impresses; led by niggling percussion and a tearing rumbling bass, it maintains a menacing edge despite the use of shimmering chords. According to Fitzpatrick, there's plenty more to come from A.S.H - for fans of effective warehouse techno, it's great news.