Review: Omar S presents this remastered reissue of the 1979 album by this Singaporean disco band led by Ardo Guerzo and Jeremiah Star on his revered FXHE imprint. The name of the band is an acronym of their first names respectively. They mixed disco and salsa in their hit "Classical Salsa". They covered the Ohio Players' classic hit "Sweet Sticky Thing" and they named their 1976 released album after it. Star was also in the short lived Funkgus outfit which is worth checking out, if you can find it! A true diggers delight for those that knew it seems, but now brought to a wider audience, thankfully. Originally on Baal, a UK label founded in the mid '70s by Jay Shotam of October Cherries. The original Baal label was founded in Singapore by his band in the late '60s until it became defunct in 1980.
Review: Quite how this 12" on FXHE from the unheralded Tom Bugs came about isn't clear, though we'd like to think Omar S got chatting to the Bristol based producer and builder of Modular synths over a pint of Guinness in a Stokes Croft pub before a gig. Whilst few people would fancy the unenviable task of following up the huge recent LP from Omar S, Bugs shows enough ingenuity on this Living Leaving 12" to make him a perfect fit for FXHE. Nestling in at the dubby end of the FXHE spectrum, like a sleepy eyed Luke Hess, both parts of "Living Leaving" demonstrate that Bugs mastery of obvious modular synths is also blessed with an innate understanding of lo-fi melodics. Indeed there's a freeform sense to how they unfurl which hints that Bugs committed these straight to tape. Another fine FXHE transmission!
Review: Omar S does what he wants, so we are often treated to some surprises on his FXHE label that come seemingly out of nowhere. If they come with his stamp of approval, though, that is enough for us to find them intriguing, at the very least. This one is from Dastardly Kids aka Sonny Dulphi and Pat2Dope and they bring hi tech styles to hip-hop. The sounds are raw and twisted, with spoken-word bars over dense layers of synth and drums on opener '4 Every Day Dastardly'. There is a metallic feel to the icy cold and sleazy beats of 'Bu$$ The Bank', more depth to 'Pesos' which has a cloud rap vibe and more stoned and late night vibes to 'Dastardly Love Song'. A fresh double 7" for sure.
Review: Omar S treats us to a second release in the space of a week, with a much deserved reissue of some 1996 Roy Davis Jnr rawness across the A Side. The Stevie Wonder classic "All I Do" gets chopped up, laid over a killer Chi town beat filled with instantly gratifying raw drum edits and augmented by some evil bass thumps. Relentlessly brilliant and sounds just as fresh some 14 years on. Echoing a current trend this side plays outwards from the inside groove. On the flip Omar S teams up with DJ B Len D for the bongo heavy deep groove of "Da Teys" a track that's characterised by melodic keys which increase with curveball drama as the track progresses.
Review: It's not often someone other than Omar S releases on his FXHE label. And it is never that he has put hardcore post-punk. But we're not complaining. There's a real dance floor chug to this new EP that would have been masterfully deployed by dexterous DJs like the late Andrew Weatherall. The whole thing has been recorded, produced and mixed by Alex Smith himself, while the trio that is Decliner are the ones who wrote the filthy guitars and laid down the sleazy drum beats. The tunes are mired in fuzz and grime and have snarled lyrics that really cut through the darkened biker disco vibes. Excellent stuff.
Review: DJ B-len-D returns to the FXHE imprint, his only previous appearance on wax being a collab with the label's boss man Omar S last year. Here the producer - real name Leonard Horn - takes the reigns himself with two slabs of grinding Motor City electro funk. A-Side "DJ Blend Detroit" is characterised by a swirling synth hook which rides atop a jacked up beat. Flip over for "Eclat" - our pick of the two tracks on offer - in which a funked up b-line is bolstered by oh-so-danceable chord pumps. More essential business from FXHE, which is enjoying a fine year even by Omar S's lofty standards.
Review: Kontra stalwart Jason Fine makes a long overdue return to FXHE with two cuts of supreme jack material. Last seen on the Omar S hit machine way back in 2007, Fine announces his return in suitably dramatic terms with the cinematic expanses that characterise the opening moments of "Menage At Tois", though proceedings swiftly settle down into a delightfully bouncing house rhythm of crisp cascading drums and swift fingered key stabs - with the breathy, indecipherable vocal yearnings that occupy the nether regions clearly influencing the title making decisions. The flipside proves to be just as impressive - "Jack Yo Bodda" is an obvious ode to the days of Traxx and jack, commencing with some decidedly gloopy rhythms and an insistent female vocal refrain, your senses are sucked in then blown apart by a massive metallic kick drum sound and growling sub bass. The usual big tip superlatives most definitely apply here!
Review: Aaron Siegel's Fit moniker links up with the considerable talents of Gunnar Wendel (better known as Kassem Mosse) for this killer two-tracker on FXHE, and even Omar S gets in on the action with some mixdown assistance. "Track 1" works around sizzling drums, emotive bass and a diverse spread of melodic sources for a simple and direct slice of analogue house. "Track 2" is a real carpet-burn of a track, taking the quality up to a new level with a gorgeous line in lead synths moulded into a thoroughly sexy concoction while the drums stay pert and primed for all manner of sultry floor action.
Review: It's very much a case of expecting the unexpected when it comes to Omar S' FXHE label and this latest effort is no exception. In the US the gap between hip-hop and dance music culture is even wider than it is here in the UK, only not in Detroit and its unique export, namely ghetto tech. FULL BODY DU RAG whips up an idiosyncratic but thoroughly addictive combination of ghetto, house and garage, hip-hop and jazz across eight tracks here, the borders between the genres being fluid at all times. Omar himself makes an appearance on 'Juice', a speedy but classy dancefloor workout, half tech and half house, that along with the hilarious but irresistible 'Trillionaire' boasts a skippy garage swing to the beats to boot. At the other end of the BPM spectrum we get 'Pussy On The Map" (feat NLGHTND) with its r&b strains, only nicely warped and sonically corrupted. Probably best of all is 'FBD X CERT', almost a moody grime exercise until a four to the floor rides roughshod through such conventional plans. Raw, racy - and utterly essential.
I Swear It's A Bop (feat KAYY & ALLGIRLSALLOWED) (2:17)
Fitness By King Milo (2:07)
Review: The spirit of ghetto tech looms large over this full length offering from duo Hi Tech, surfacing on Omar S' FXHE label. That said, the usual straight forward pumped up booty bouncing beats that the genre flaunts are left well behind by an eclectic and well constructed trip across the rhythmic spectrum. 'Milf Milo' is one of the more regular sounding jams, riding a relatively conventional house/garage production, but elsewhere elements of trap, hip-hop, techno, footwork and electro all influence the genuinely innovative and original frameworks. Even better, the cleverness of the arrangements doesn't lessen the alarmingly thuggish timestretched and over-autotuned vocals, giving us the best of both worlds.
Review: Omar S' Detroit proud FXHE now has a staunch reputation as one of those buy on sight labels for a reason. This new release by rising star John FM follows up the well-received Alone and Where My Roots Lie EPs. Starting with the soulful machine funk of "Jehks" truly capturing the sounds of the city of industry in its heyday. There's then the fine R&B jam of "Motion" somewhat reminiscent of Theo Parrish & Andrew Ashong, but it's his smooth vocal delivery which undoubtedly makes it his own! On the flip, the mysterious and melancholic Omar-S remix of "Alone" is absolutely sublime, but just wait for the tough acid fuelled groove of "Gump" which truly takes it home in right fashion.
Review: A White Bear's Heaven... Is A Black Bear's Hell is something of a departure from the smooth, deep and undulating sound we've come to expect from Omar-S's FXHE label. It signals experienced producer Brian Kage's first outing for four years. While that release for Beretta Red paid tribute to atmospheric techno, this outing is far more inspired by late '80s Chicago house and acid. The standout is undoubtedly "Shut Your Eyes", a co-production with Omar-S that wraps James Garcia's soulful, heartfelt vocals around classic synth-strings, tactile stabs and pared-down, '80s style drum machine hits. He switches off the lights and signals more of a heads-down mood on the First Choice-sampling "It's Not Over" - a thrillingly tactile, synth-laden jacker - while "Bear Gonna Getcha" sounds like a warehouse anthem in waiting.
Review: Little seems to be known about Detroit native Marc King, whose introduction to most listeners came via Rick Wilhite's 2010 compilation, Vibes: New & Rare, on Rush Hour. King is something of a veteran, and had previously released 12" singles under a variety of pseudonyms during the mid to late 1990s. Here he pops up on Omar-S's FXHE imprint with a belated debut single under his given name. There's a classic house feel about opener "Equality", which boasts bold organs, synth strings and twinkling piano solos riding a vintage groove. There's a similar mid-to-late-90s feel to the deep, bass-heavy and intoxicating "Loquious", while "Water Of Life" sees King move further towards gnarled techno territory whilst retaining his trademark melodious warmth.
Review: MK is now a global house star, but it wasn't that long ago that he couldn't even DJ. Instead, he'd pioneered the dub house sound in the 90s then gone off to become a hip-hop super producer. One of those early gems he crafted was his dub of 'Given' back in 93. It got put out by fellow Detroit great Omar S in 2011 and even today is a crowd-pleasing favourite with the muted horn stabs and garage-inflected, dubbed-out beats. Once you add in Omar S's own 'Sarah', a raw analogue deep house cut with plenty of FXHDE hallmarks like dusty hi-hats and wonky synths and you have a brilliant 12" that is now available once more.
Review: It is remarkable to think that Detroit badman Omar S's star has in no way diminished since this record first came out in 2004. If anything, he is ever more legendary than ever right now. His style hasn't changed much over the years - he still favours rolling drums, smart samples and bright melodies - but somehow he continues to mine new moods and grooves within that. This one was particularly special, though - the tinny drums seem to root you to the groove but also float, the melodic hook is buried deep but brings a haunting vibe that never lets yup. And that's about it, but that is more than enough when each element makes such an indelible impact.
Review: The main track here shows a slightly different facette of Omar S. Thirteen/Two/Eight, released on FXHE, has a handclapping, twitching beat with a quirky lively synth melody, classic italo disco and early 80 boogie sounds from a Detroit point of view. A vivid techno track and a darker ambient outing keep the quality high.
Review: FXHE return with the master of the mysterious OB Ignitt! Arriving roughly a year on from the last slab of Ignitt goodness, Mysterious finds OB on imperious form, once more showing off his penchant for excellent track titles and singular slant on bumping Detroit business. The title track is a veritable epic of unquantifiable emotive stakes, emerging from a heat treated fog and easing into a subtle yet beguiling rhythmic framework which coaxes you into a spell that grows stronger as the track charges electrically forth. Face down, "Celestial Salacious" has that same rough edged bass line growl to it, but the skipping percussion and building layers of instrumentation give the track real energy, whilst you can almost feel the funk dripping off final track "Chocolate City" which sounds like DJ Nature hocked up on MDMA.
Review: FXHE remain in outer orbit following that stellar Triangulum Australe 12" from Omar S, presenting their final transmission of a superb year in the shape of Oh Jabba, two tracks of stargazing house music from O B Ignitt. Last seen collaborating with Omar S on the dedication to Eddie Murphy's finest acting role, the impression that Ignitt likes his cinema is only strengthened here on the Star Wars referencing lead track with some deliciously lo fi art work of that slug like character on the inner label dispelling any possible doubt. The track itself is a wonderfully simple yet melodic house track, crunchy drum machine rhythms rippling away feverishly beneath a calming array of swooping Rhodes and Moog flourishes. Complementing this, "Space Age Stepping" is a more searching affair, relying more on the rugged drums and gurgling analogue bassline to achieve lift off.
Review: FXHE has been brimming with activity in recent times, with a steadfast flurry of singles refusing to let the quality drop, and now the big bossman delivers another two slices of finely cured business in his inimitable style. The lead track is an arresting piece with just a kick to drive proceedings, leaving ample room for a haunting array of bleeps and a 'speak & spell' vocal until the track slowly ramps up with some more prominent drum programming. "Mayall II" on the flip is a less tense affair, with a cheery string refrain and old school jack-in-the-box beats disseminated in a plain and simple fashion.
Review: Omar S is back with 'Psychotic Photosynthesis' on FXHE. This track really does float above the rest, and rather than adhere
to some petty law of nature, it steadily climbs upwards into the realm of the sublime; synths resonating with the tonal vibration
of visceral perfection. Like any other medicine, this record must be prescribed correctly for the above effects to manifest.
Review: Despite some FXHE releases containing playful artistic references to the films that undoubtedly referenced the titles, this Romancing The Stone double pack from Omar S is sadly lacking in any MS Paint renditions of the Michael Douglas and Kathleen Turner 90s vehicle of the same name. It does however contain four more fine examples of the fact no one does it quite like Omar S. Lead track "Leave" sets the tone, as ripples of percussion emerge from a pool of simmering sonic emotion and embarks on a masterclass in slow build dancefloor revelation at breakneck pace. "Romancing The Stone" pulls from the same palette of anthemic Omar S productions as "Here's Your Trance, Now Dance" and "Psychotic Photosynthesis" as a lead array of synths, keys and chords weave with supple grace over crunchy drums - watch out for the track finishing abruptly. On the second 12", "Frogs" dovetails from a simple disco guitar loop into fucked up abstract acid techno territory with little prior warning whilst "Surpass" finds AOS ending with some anthemic maximal piano house.
Review: Alex "Omar" Smith has always come across as fairly militant in terms of his musical output, so it's still a surprise that he's chosen to celebrate the first decade of his FXHE label by putting out a series of mixes. This second installment expands on the first - released earlier this year - mixing familiar staples and scene anthems (Smith's own "It Can Be Done But Only I Can Do It") with lesser known gems. Musically, it's impressively raw, with Smith moving through a range of tough, stripped-back techno grooves and dystopian acid house gems before reaching for more melodious cuts such as the shimmering "Flying Blind" and melancholic "Three Blind Rats".
Review: With a title like Annoying Mumbling Alkaholik, you'd expect this three-tracker from the mighty Alex "Omar" Smith to be full of pent-up anger and bitter frustration. Sure, there's a raging rawness about the third track - an undulating trip into spiraling acid territory - but for the most part the EP is a beacon of simple beauty. The opening track is particularly picturesque, with beautiful, new-age influenced melodies and immersive pads riding a cymbal-heavy Detroit deep house groove. There's more Mood Hut/Future Times style synth work on the Tangerine Dream influenced "Track 2", which contrasts deep, sun-kissed melodic loops with a fuzzy drum machine groove.
Review: The second part of Omar S' You For Letting Me Be Myself album in vinyl form sees another 8 tracks across four sides of wax; aside from the '80s inflected sounds of the album's title track, the 303 workout of "Ready My Black Asz" finds itself with the dubbed out loops of "Messier Sixty Eight". As a bonus for those who already have the album, this part contains two vinyl exclusive tracks; the soothing deepness of "She's Sah Hero Nik" and the delayed organ weirdness of "Broken Bamalance Horn" - both more than worth the price of admission alone.
Review: Despite having already released a 16 track album this year, Detroit's finest, Omar S, proves that there is quite simply nothing stopping him as he issues the four track Nelson County. "Don't Let Dis Be HapNin! Comes on like the classic "Psychotic Photosynthesis" at witnessed through a haze of smoked glass, while "U Heard What Da Man Said Muthafukka!!" is something much more driving, like taking a spin on Detroit's streets after dark in a souped up Dodge Charger, before "Nelson County" sees the tough house-focused denouement take place in a dingy backstreet club. As always with Omar S, this stuff doesn't mess about....
Review: Last time it was only Omar S that could do it; this time he's thanking us for letting him be Omar S. That's right the FXHE boss returns with an eagerly awaited new album brandishing some 14 tracks. Omar S albums naturally tend to sell themselves but, for those still curious, Thank You For Letting Me Be Myself sounds like a perfectly executed culmination of the ideas AOS has explored on the numerous 12"s since his last album. As soon as the crunchy mechanical dramatics of opening track "I'll Bring U Ah Lil Sumpin Back" launch into action you feel like you're in for quite the journey and the subsequent swerves through Detroit flavoured electro, piano flecked house, beatdown and techno come with satisfaction guaranteed.
Review: Omar S has always been something of a maverick, but even by his own high standards, surprise second album It Can Be Done, But Only I Can Do It is something else. Like much of his work, it's an album of acute contrasts: tough and aggressive on one hand (the ragging acid of the opener and "Ganymede"), soft, calming and blissful on the other ("Nite's Over Comption"). Along the way, highlights are plentiful, from the heady deep house of "You Wish", sparse porno beatdown of "Look Hear Watch" and hypnotic rhythms of "Bobien Larkin", to the next generation Motor City techno of "Over You Two" and near-anthemic simplicity of "Here's Your Trance, Now Dance".
Review: Alex "Omar" Smith has never been one for modesty, so we shouldn't be too surprised that he's called his latest full-length - his fifth in total - The Best. To be fair, he is rather good at producing high-grade deep house, and here unveils another eleven gems. Interestingly, he's recruited an impressive cast-list of collaborators and guests, including Norman Talley, Kyle Hall, OB Ignitt and, most surprisingly of all, Bristol-based Tom Bug. Highlights are plentiful, from the dusty afro and blues influences of the tribal "Chama Piru's", and hazy, Rhodes-heavy vocal cut "AhRevolution", to the hip-wigglin' disco-house influences of "Seen Was Set", and retro-futurist, Inner City style Divinity hook-up "On Your Way".
Hit It Bubba (I Want My Dadda's Rekids!!!!) (5:42)
Party Marty (5:47)
Review: The Detroit badman always delivers the goods, but he'd recently focussed on his more house-centric style thanks to a series of sleek, soulful releases. This time, he's come out all guns blazing with this new four-part killer, led by the absolutely nutty groove that is "Sink Holes" - a proper slice of Omar S acid, delivered in fine style and with his inimitable rawness. "HELL ON EARTH" is a moodier, funkier house tip with a jazzy side, while the flipside's "Hit It Bubba (I Want My Dadda's Rekids!!!!)" is a fast, upbeat house bomb with a crazy little disco sample that floats amid the grainy bass drums. "Party Marty" is a no nonsense kind of lick, pouncing away with a steady, yet unmistakably Omar S-style percussion, and a heavy bass blow. This is one hell of a way to make an appearance this early in the year - highly recommended!!
Review: Omar S adopts a new style for his new Side Trakx project. Detroit house meets sample based hip hop... and it really works. Possibly inspired by the passing of the late Jay Dilla, this music is perfect for relaxing and kicking back, or even warming up the early hours of the club. While Detroit hip-hop producers already proved that there's a mutual creative interaction between the cities house, techno and hip-hop scenes, it's now one of the cities hottest house producers laying down some smoked out, next level instrumentals in the vein of the late genius Jay Dilla, Madlib or Underground Resistance's Hipnotech sublabel.
Review: Six brand new shakers from Omar S...This is the sh*t! Never confined to one particular genre, Omar is again blending house, techno and even minimal styles into one big pot of deep Detroit underground funk. There's even some Basic Channel / Deep Chord vibes going on there somewhere. Simply killer.
Review: Hot on the heels of the boastfully-titled full-length The Best comes Desert Eagle, Alex Omar Smith's first 12" of 2016. The title track is as bold and brassy as you'd expect from the Detroit producer, with swirling, minor key melodies and woozy chords complimenting swinging machine drums and a deliciously bouncy, suitably tactile synth-bass line. Arguably better is "Cry Me A River", where soulful vocal samples and wonderfully positive melody lines are expertly combined with bumpin', distorted deep house drums. Throw in some sustained note strings and a bustling bassline, and you have another guaranteed floor-filler from the FXHE boss.
Review: Omar S has always seemingly enjoyed working with other local talents and giving them a platform of his own vital FXHE label. That's what he does here as he looks to Motor City creatives in the young King Milo, Tayloe and old friend John F.M. He kicks off in solo mode with some signature stripped back house futurism on 'Tongue Pecker' before 'Pain' is a high speed and sleazy ghetto bumper. The standout is 'I Love Your Girl Friend' (feat John FM) with its heart aching vocal, gorgeous piano chords and deep, dusty drum bumps. A real classic in the making which is followed by another achingly beautiful mix of soulful vocals and grotty lo-fi synth and drums on 'Some Good Loving' (feat Tayloe).
Review: This is the second edition of a four part series by Detroit icon Omar S called Record Packer - a new video game score as part of his pop-up exhibition in the Motor City, in collaboration with Red Bull Arts. On the A side, we have the dusty dub techno explorations of 'Storm', followed by the raw percussive funk of 'No One Can Stop Me'. On the flip, enjoy the deep and mesmerizing groove of 'Trac 45' followed by a lovely late night boogie-down vibe on 'Mystery Man'. Originally conceived as a physical exhibition, Omar S: Conant Gardens Party Store now lives online as an interactive web environment.
Review: Record Packer is a new video game scored by the one and only Detroit don Omar S. He's mostly reworked a load of tunes of his you will know and love in a crunchy, lo-fi, nostalgic 8bit style and is to real them all as part of his new Detroit based virtual and physical exhibition Conant Gardens Party Store. As well as that, some of them are coming on 7", including 'Set It Up,' one of our personal favourites with its aching vocal sample and ice-cold beats. There are two versions of it here as well one of pixelated melodic house jam 'Desert Eagle'.
Money Hit Da Floor (feat Supercoolwicked & Amir Hassan)
Aaayoooooo (feat Alister Fawnwoda)
Can't Change
Inner Luv (Intrumental mix)
Bend Who (feat Milf Melly & King Milo)
Whale Sex
Multiple Orgasms
Ice Cream (feat Alandra O Smith & Supercoolwicked)
Miss Hunn'nay (feat Mad Mike Banks)
My Momma & 'Nem Said I Don't Have To!!!
Start This Over Again (feat Supercoolwicked)
Jump
Outer Jass Authority (feat Supercoolwicked, De'Sean Jones & Ian Finkelstein)
Review: Omar Alex Smith's development as an artist is such that these days, it's hard to predict what he'll put out next, musically speaking. Can't Change, his first album for two years, is a great example of this. While there are examples of his trademark hypnotic, driving, heavily electronic Motor City house sound (see 'Whale Sex', 'Inner Love' and the acidic 'My Momma and Ned Say You Don't Have To'), these rub shoulders with tracks that more expressly explore his different inspirations, as well as nods to Detroit musical history. The results are predictably impressive, with our picks including the jazzy, soulful and sun-kissed dancefloor pressure of 'Virgil', the mutant R&B/hip-hop of 'Bend Who', revivalist piano house sing-along 'Start This Over Again' and a jaunty workout featuring vocals from UR's 'Mad' Mike Banks ('Miss Hunn'ayy').
Review: As the sweary, confrontational title suggests, this four-tracker from Detroit hero Omar-S is like a musical expansion pack for his much-discussed recent album, F*ck Resident Advisor. The no-nonsense Detroiter starts in fine fashion with 'Gonna Love You', a jaunty, piano-sporting peak-time loop jam crafted from old school vocal samples and snippets from a killer disco record, before reaching for cosmic synth sounds, lilting melodies and a melancholic mood on the starry deep house jam 'Bread Over Bed'. He subtly doffs a cap to Dance Mania style ghetto-house on the quirky, club-ready cheekiness of 'Shut Up', before smothering a classic house groove with heady hand percussion and snaking synth lines on dense and energetic closing cut 'Sloppy Joe'.
Review: Omar S is back on FXHE with a seriously sassy piece of ballroom house vamping crying out for someone to walk. 'Miss Hunn'nay' features an insanely catchy vocal hook which loops out over some killer organ flex and a bassline guaranteed to get everyone grooving low down and nasty. It's Omar S at his party starting best. 'Money Hit Da Floor (Instrumental Mix)' brings it tough and deep, all snappy 909 beats, sharp stabs and those thick, immersive pads he does so well. 'Ice Cream (Instrumental Version)' closes this stellar 12" out with another finely chiseled workout which has all the hallmarks of an FXHE staple, rooted in the Motor City tradition but delivered with a panache that belongs to one man and one man only.
Review: We're so used to Omar-S pursuing a very particular form of Detroit deep house, that when the legendary producer tries something different, it takes us by surprise. Sidetrakx Volume #3 is full of surprises. Take "Uluu", for example; while still a deep house track, its' undulating dub bassline, spaced-out soul vocal and sparse beats are pleasingly different to his traditionally rolling fare. It's mighty impressive, all told, while flipside "Another One 2 Love" almost eschews deep house completely. Instead, Alex Smith delivers a sweet, almost cute soul song built around head-nodding post hip-hop beats and sweet melodies. It, too, is hugely enjoyable, and once again proves his mastery of multiple genres.
Review: As the sweary, confrontational title suggests, this four-tracker from Detroit hero Omar-S is like a musical expansion pack for his much-discussed recent album, F*ck Resident Advisor. The no-nonsense Detroiter starts in fine fashion with 'Gonna Love You', a jaunty, piano-sporting peak-time loop jam crafted from old school vocal samples and snippets from a killer disco record, before reaching for cosmic synth sounds, lilting melodies and a melancholic mood on the starry deep house jam 'Bread Over Bed'. He subtly doffs a cap to Dance Mania style ghetto-house on the quirky, club-ready cheekiness of 'Shut Up', before smothering a classic house groove with heady hand percussion and snaking synth lines on dense and energetic closing cut 'Sloppy Joe'.
Review: A few eyebrows were raised when Omar-S announced the title of his latest album. While clearly meant as a controversial talking point, the title should not distract from what is one of Alex 'Omar' Smith's strongest collections of cuts to date - and one with an all-star cast of Motor City collaborators (Rick Wilhite, Norm Talley and OB Ignitt all feature). Musically, it's pleasingly diverse, with Smith effortlessly drifting between 21st century P-funk ("In My City"), cowbell-powered deep-house funk ("Don't Leave Me Standing Yeea"), sparse and synth-heavy house hypnotism ("Mell'like Boom Boom In'dair"), disco-house jack ("Washtenaw County Horn Section"), sub-heavy Detroit-meets-Sheffield minimalism ("You Gotta Beat The Clock") and sunrise-ready dancefloor dreaminess ("Simply"). This CD edition also includes four cuts not available on the vinyl edition.
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