Review: previous releases on Detroit Underground and Clan Destine Trax. "Cheddar Bae" is a throbbing bass assault with some street style rhyming over the top, reminiscent of the Detroit Grand Pubahs classic from the late nineties, "Sandwiches". Second track "Mouth Work (Feat. Ashbaby)" revives the crass sensibilities of Chicago style ghetto house on this rough and lowdown 808 jam with background sounds that leave very little to the imagination.
Review: Alongside several impressive appearances on the gnarly Clan Destine Traxx, Marshall Applewhite has been sighted making grizzly techno and shady house on the likes of Detroit Underground and the Yo Sucka label, where he returns to now with "Crunching". The tune is a true hybrid, mixing up acid techno with jungle influences, and even a bit of a piano house. "Knock It Off" is the house anthem of the two, a vintage hip house kinda lick with a heavy kick pattern, wild flangers, and a heavy bass tone. Tough DJ tools.
Review: Not to be confused with the hip-hop DJ of the same name, DJ Nasty is a veteran Detroit DJ who's sadly been a bit quiet of late. This EP was originally planned for release in 2008 but has only just seen the light of day thanks to Nasty's old pal Brian Gillespie. "Crusin' Down 7 Mile" is pure booty-shakin electro filthiness, with added deep bleeps, "Black From The Waist Down" is chunky house and "Aphrodisiac" takes deep '70s funk and marries to machine beats in a thoroughly retro-futuristic way.
Review: Hailing from Detroit, you wouldn't necessarily expect Oktored to be making bass music with such a global flavour, but the Golden Zinc EP shows him to be an able producer of such material. Opening track "Bang" combines deep subs and skittish UKF style rhythms with rippling chimes, while "Cry" continues along the same path with a rich slice of future garage. "Heads Up" takes things in a moombahton direction, though with Oktored's own restrained style, letting its percolating synths build up gradually through the whipcrack snares. Despite this there are moments when his Detroit heritage comes to the fore; the minimal analogue ripples of "Push" recall the futuristic tones of Robert Hood, while the jazzy funk of "2,4,6,8" recall the sci-fi moods of early techno.
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