JEX OPOLIS 黑胶唱片和CD

Review: The fourth release on the Good Timin' label is a four-tracker from Conga Radioia project helmed by Jex and his pal Roberto. With sun and synth echoing the first trio of Good Timin' joints, the Conga project pushes the palette into Burrell territory, thanks to Roberto's 20-year tenure as a DJ and producer in Toronto. the A-side features the flute and guitar-driven tropic-not-tropic of "Naturalmente" and the robotic, Hancock-meets-acid vibes of "Timekeeper." The flip stretches out with two versions of "Slumber Dance," which takes its cue from the Nu Groove years but balances the gritty beats with plenty of New Age glory.

Review: If you dig analogue-rich retro-futurism which enthusiastically doffs a cap to vintage dance music of the '80s and '90s, there's a fair chance that you already own a clutch of 12" singles from Jex Opolis. If you don't, then this EP - the latest in his nostalgic house-focused 'Bad Timin' series - is a good place to start. There's plenty to set the pulse racing throughout, from the hypnotic synth loops, addictive bass and rolling beats of 'Know Yourself', to the dreamy and immersive bliss of jaunty closing cut 'Instant Motion', whose memorable lead line and sumptuous pads are both things of beauty. Sandwiched in between you'll find the buzzing riffs and glassy-eyed organ stabs of 'The Best Ever' and the gorgeous, sunrise-ready swell of '100 Electronic'.

Review: Jex Opolis launched the Bad Timin' imprint four years ago as an alternative to his better-known Good Timin' label, with the intention of using it to deliver tracks that were a little more rave era-influenced than his usual boogie and proto-house informed fare. This belated second volume slightly tweaks the blueprint, but mostly sticks to the script. Our picks of a very strong bunch are the warming, spacey deep house/early techno fusion of 'Scott Says' and the jaunty, intergalactic electro/breakbeat house hybrid 'Fought Experiment'. That said, the two mixes of 'Soft Guidance' - the rolling, breakbeat-driven vintage deep house of the 'Metamorphasex Mix' and the denser, trance-tinged house psychedelia of the 'Insominia Mix' - are also decidedly delicious.

Review: Canadian musician Jex Opolis has rebased almost exclusively on Good Timin' over the last decade. There have been three albums and countless singles of dazzling electronic disco dust and here comes another firing five tracks of the stuff. There is retro charm to the sci-fi pads of 'Listen To The Band' that make it immediately lovable. 'Net Worth' is heartbroken, r&b tinged lo-fi disco boogie, but you can't wallow for long as 'What Am I Gonna Dub?' once again takes off to the stars of see arps and squelchy bass. Add in the two final cuts which go slow and deep and more acidic and prickly and you have another brilliantly cosmic EP.

Review: Over the last five years, Good Timin' supremo Jex Opolis has developed and fine-tuned a trademark sound that's more focused on dreamy synth sounds and dusty drum machine beats than any specific style or sub-genre. It's Me Jexy, his latest album, continues in this vein. After opening with the head-nodding, street soul-inspired warmth of 'It's Music', the Brooklyn beat-maker lays down a series of loved-up, breakbeat-driven turn-of-the-90s deep house gems ('Belly (Dance)', the impeccable 'Drive Safe', before using side two to variously offer up 8-bit electro ('Blue Quills'), tactile, synth-laden instrumental hip-hop ('Grab The Camcorder') and hard-to-pigeonhole slabs of colouful, tactile home listening bliss. In other words, it's another dreamy and kaleidoscopic excursion that's on-point from start to finish.

Review: After a six-month hiatus, synth-wielding proto-house and boogie badman Jex Opolis returns via a first ever appearance on well-regarded Dutch imprint Dekmantel. Interestingly, the Good Timin' boss has mixed things up a little here, seemingly drawing as much influence from mid-'80s European synth-pop as NYC electro and synth-powered electrofunk. A-side "Earth Boy" is particularly good, with Jex Opolis layering waves of sun-kissed electronics and cheery synth-pop melodies atop a rolling electro rhythm. Those after something altogether sleazier should check the two flipside versions of "Desolation", a throbbing affair that sits somewhere between Bobby O's forgotten productions for the Pet Shop Boys, UK Hi-NRG and life-affirming Italo-disco.

Review: Having started his career by making synth-heavy cuts inspired by proto-house, disco and NYC boogie, Jex Opolis has recently moved further towards Balearic territory. Human Emotion, the New York producer's final 12" of the year, smartly touches on all of these influences and more. "Human Emotion (TV Dub)" is loved-up, slick and groovy, with cut-up vocal samples rising above a dreamy, drum machine-dominated groove, while "Fifth Wind" layers saucer-eyed piano flourishes and head-in-the-clouds chords over a killer analogue bassline and near-horizontal rhythm track. Elsewhere, "Botanico" is a Fairlight-wielding chunk of Balearic instrumental synth-pop, "Infinity Room" sounds like Andreas Vollenweider jamming with Moon B, and closer "Human Emotion" is a low-slung, proto-house style treat.

Review: "First Stomp", a bubbly chunk of Clavinet-laden electrofunk/Balearic fusion with Latin influences and clear nods to proto-house, was one of the highlights of Jex Opolis's recent debut album, Ravines. Here it gets the remix treatment, with the producer himself delivering a pair of club-ready interpretations. On the A-side you'll find the dreamy but club-ready "NYC Dub", a swirling, dreamy and loved-up affair that makes greater use of the original's Latin chants as well as some fresh new cowbell rhythms. The B-side "Vocal UP Mix" is an altogether more radical transition, with Jex Opolis re-imagining the cut as a cheery chunk of Puerto Rican proto-house complete with Latin piano riffs and locked-in drum machine percussion.

Review: Given the quality of his output to date, hopes are naturally high for this debut album from Good Timin' boss Jex Opolis. Predictably, it's a thrilling set, packed with undeniably Balearic moments rich in kaleidoscopic synths, rich boogie bass, jammed out electrofunk solos, tapped out drum machine rhythms and breezy, summer's afternoon chords. While the overriding vibe is laidback and sun-kissed, there are naturally occasional sprints towards the dancefloor, with the Afro-tinged Balearic boogie of "First Stomp" and exotic "Mt Belzoni" standing out. As debut albums go, Ravine is something of a peach.

Review: Following outings on Running Back and his own Good Timin' imprint (the latter as one half of Conga Radio), Jex Opolis was arguably one of the underground success stories of 2015. He's at his best when focusing on vintage drum machines and synthesizers, knocking out cuts that sit somewhere between proto-house, early Chicago deep house and melodious, AM radio-friendly boogie. He touches on all of those influences on this super-limited 12" for Good Timin', variously impressing with the sun-kissed beauty of "That's My Beach", the Moon B on anti-depressants brilliance of "Stay Cold", and the synth-heavy, house-flavoured dancefloor goodness of "Circle of Drums" and "Echo Harp".

Review: From DVAS to "DZE", Jex continues his solo adventures with this crystalline instrumental disco 12".Sumptuous lounge instrumentals soaked in juicy synths, each cut shimmers with just the right amount of jazzy narratives and layered arrangement. We lead with the piano-primed "DZE" which features legendary Italo pianist Steve Galante! The straight up synth boogie "Please Be Good To Me" follows and is developed further with the more dancefloor-focussed Norwegian sounding "Please Be Bad To Me". Beautiful.

Review: For his latest outing on the Good Timin' imprint he set up some years back, Jex Opolis is joined by Ian D Knight. The St Louis-based performance artist notably makes his presence felt on "Look At My Car", delivering a vocal inspired by "consumerism and rampant motorism" over the NYC producer's superb, Padlock-inspired, boogie-dub groove. The Compass Point influence also comes to the fore on closer "Guitar Sands", where intertwining guitar and synthesizer motifs stretch out across a Larry Levan-friendly backing track. The EP's other cut, "Rimini Nite", successfully pays tribute to the halcyon days of Italo-disco. It's every bit as thrilling as the rest of this superb 12".

Review: Absolute DJ pleasure... Most Excellent take a break from their buy-on-sight Krivit edit series with this beautiful collection of groove tools that will bring rhythmic, loopy magic to any mix in any dancefloor style. Intricate and refined enough to vibe to as stand-alone tunes, but best when places in the heat of a mix we range from lean percussive hypnosis such as Phil Moffa's "Kings & Queens" and Photay's "J Tain Squeak Break" to gutsy soul persistence like Justin Van Der Volgen's "High In NYC". Those looking for total gospel immersion should jump on Devin Dare's "WatCanUDo4Me" while those in need something grittier and more machine-funk need to be acquainted with Non Stop's "Whatever / Whatever" and Jex Opolis's "CR78 Sharing" stat!