Friday Night Dancing (Skream remix) - (7:22) 129 BPM
Review: Anyone who had Alan Fitzpatrick categorised as merely a big room minimal techno artist should think again. Sure, the UK producer has enjoyed a long and fruitful relationship with Adam Beyer's Drumcode, but he has also released recently on Mosaic, the home of all things deep and dubby. As Dancing shows, Fitzpatrick also brings a depth of knowledge and musical history to his productions. Over a rolling, low slung groove, he adds in the kind of dubbed out vocal sample that used to prevail on San Fran house records at the turn of the millennium. Combined with a woozy rave riff, this makes for an intoxicating underground groove. The label has tasked Skream with the remix; upping the tempo, he delivers a rolling, bleep-heavy rhythm that breaks down into Fitzpatrick's frazzled rave stab before proceeding on its juggernaut course.
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: On his latest release, Alan Fitzpatrick does a lot to deconstruct the myth that he is all about linear, big room techno. The title track is a dramatic, evolving affair, with the UK producer taking influence from acid acts like Hardfloor as a cacophony of 303s squiggle and screech their way over a meaty bass and razor-sharp thunder claps. Just when you thought that the arrangement couldn't get any more intense, a siren shrieks across the spectrum - in reverse. While "Magnetic Dog" is a euphoric affair, the release is also tinged with sadness as it features a remix from the late Trevino. The respected producer opts for a more restrained approach, laying down churning chords and a ghostly strings.
Review: Alan Fitzpatrick always makes sure that techno music doesn't get too serious or precious. The UK producer's latest release is a good example of his ability to draw a sonic smiley face over purist identities. Drawing on hardcore hoover riffs, out there vocals - from the drugged up to diva wailing - and atmospheric piano keys, the title track harks back to a more innocent time for electronic music. Of course it helps that Fitzpatrick frames these elements amid a driving, funk-heavy backing track. On "Rhino", Fitzpatrick uses a similar backing track, but this time it's all about euphoria inducing trance builds married to metallic snare rolls. The purists may hate it, but there's no doubting that for everyone else, Fitzpatrick's irreverence is hugely infectious.
Review: Alan Fitzpatrick is one of the UK's most talented techno producers, and the latest release on his own label shows just how adept he is. "Dancing Astronaut" sees him bring together firing, steely percussion, doubled up claps and a rumbling bass as a back drop for building, searing chord sequences. It's a menacing but atmospheric arrangement that breaks down into an evocative vocal sample before reaching a snare-led crescendo. On "Together Until the End", the approach is less direct, with Fitzpatrick delivering a broken beat-led rhythm and an evocative vocal sample. However, soon enough, he's back on the dance floor with the pounding kicks and lead-weight percussion and wild rave stabs of "Joy Rider"
You Got Me (Slam Track Series remix) - (7:21) 129 BPM
Review: No one does the big room sound like Alan Fitzpatrick and the UK producer showcases his expertise once again on You Got Me, the latest missive on his We Are The Brave label. The title track centres on his trademark lead-weight kicks, firing percussion and powerful thunder claps, but also resounds to a screeching diva vocal sample and rather unexpectedly boasts a rave riff-led break down. Soma duo Slam's take doesn't pull any punches either; focused on a linear, hammering rhythm and concrete kicks, it sees the veteran Scottish producers add a more malevolent riff, redolent of the Hoover excesses of Belgian techno, amid a seething acid line.
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: 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.
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.
Made For Manchester (Alan Fitzpatrick remix) - (6:23) 126 BPM
Review: The latest release on Alan Fitzpatrick's label comes from Darius Syrossian, a DJ who is inextricably linked to Manchester thanks to his work at Sankey's. Fittingly, "Made For.." starts off with a tight, rhythm-heavy groove, but then breaks into a wide-eyed, vocal-tinged break down. It's exactly the kind of interplay that works with the big room crowds that Syrossian plays to. The label owner himself is tasked with the rework, and rises admirably to the occasion. Upping the tempo and toughening up the kicks, the larger than life producer's take centres on snappy percussion, the occasional use of the vocal sample from the original and a clanging, brutal bass.
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.