The king of contemporary-classic Detroit house reminds us “The sound of house music of which people forget” as inscribed on the run out groove of this sublime double header.
As if The Best album wasn’t enough, he spoils us with with the super wide swing, floating chords and ruddy, jabbing acid funk bassline of Desert Eagle up top, and the filtered disco-house banger Cry me A River on the other side, doing that mad raw mixing thing which feels so trippy, almost out of time, with slightly off key strings unusually placed at angles over the squashed groove.
Only he can do eet.
At goddamnlostlast Joe Lewis’ impossible-to-find Lost In Tracks EP sees the reissue and remaster treatment courtesy of Clone Classic Cuts, saving you all those tears over three figure sums on Discogs, if it ever comes available that is.
This is genuine Chicago holy grail business, banging out six tracks of the slipperiest acid jaxx hatched in late ’88 by the legend purportedly (we won’t go into it) behind some of Chicago’s best known classics.
Aaaaanyway, from the pitching metallic acid of Acid Falls to the EBM-styled tunneller One on One and the hands-up house gospel of Just Hold Back, The Feelin’ these are certifiably stone cold warehouse bangers that you need in your life.
The Digital Afterlife catches Jamal Moss in a great mood, recorded in Amsterdam early 2016, and backed with two “prime gherkins from the Hieroglyphic pickle jar”!
That title cut is a richly harmonised house hymn vaulted with heavenly, stacked chords and haywire bleeps that open out on a clattering groove like AFX channelling Sun Ra during a sunday outdoor rave.
His flipside gives up the swanging body jerk and fruity funky house keys of Arras (Instrumental Version) and the astral glyde of Akashic Energies in classic, expressive Jamal style.
Wonderfully irregular, colourful early computer music from Poland, produced 1987-1994 as an animation soundtrack by Andrzej Nowak, but only just reaching the wider world now in 2016 thanks to DUNNO Recordings, the contemporary Polish home to Lutto Lento and Heroiny.
The Cocktail Paint EP is full of decidedly cute, strange little sounds hyperactively arranged into giddy rhythms and curdled chromatics that sound like martian tribal rites or dippy themes for the misadventures of misshaped cuboid characters invented by Mark Mothersbaugh.
It’s perhaps perplexing then, that it was never used for its original purpose; to soundtrack animated movies. We’re not sure why this didn’t happen, and while it would be great to hear these pieces in conjunction with the original visuals, you’re encouraged to fill in the gaps with your own, maybe even make a little flick book of them to play with during rainy playtimes.