God's Child (Hott Like Detroit remix) - (5:51) 123 BPM
God's Child (original mix) - (7:11) 127 BPM
God's Child (acappella) - (0:52) 127 BPM
Review: Chunky house veteran Seamus Haji revived his Big Bang Theory project a few months back via the double A-side "Touch Me/Saw Your Face". That was Haji's first release under the alias for five years. In its original form, this speedy follow-up is a sweaty and energy-packed treat, with filtered disco strings, bass and orchestration riding a bustling, occasionally driving drum track. In other words, it's exactly what we've come to expect from the veteran producer, whose first single dropped way back in 1996. Remixes come from Siege, who opts for a tougher, DJ Sneak style approach, and Hott Like Detroit. The latter's interpretation effortlessly joins the dots between bass-heavy stomp, angular electro-house heaviness, and the shirts-off potential of classic disco.
Review: Seamus Haji can now certainly be considered one of the UK's tech-house veterans, but he is not credited enough with that sort of status. The man has been active since the late 90s, dipping and diving into all sorts of house permutations while always keeping his mind focused on what gets people DANCING. He's back on his on Big Love imprint, another pillar of the 00s UK house scene, with a Semedo remix of his own "God's Child" bomb; unsurprisingly, this magnificent house anthem is made even more progressive, even heavier on the beats, and absolutely marvelous to mix into at the peak time hour.
Review: Just in time for the festive party season, Seamus Haji has gathered together some of Big Love's biggest cuts of 2018. While the package does contain two tidy DJ mixes, it's the wealth of unmixed, DJ-friendly cuts that makes this a "must-buy" for those who enjoy the funky, soul-fired end of the house and disco spectrum. Highlights are naturally plentiful, from Dr Packer's rolling, acid-flecked revision of Haji's big room nu-disco cover of "Last Night a DJ Saved My Life" and the piano-sporting disco-house positivity of DJ Meme's "re-touch" of Belezamusica's "Inside Out", to the swirling peak-time disco rush of Birdee's "Dancin", the low-slung, bass-heavy grooves of Cool 45's "We Still Here" and the chunky, stab-happy early morning house bump of Oliver Knight's "I Feel It".