Theo Parrish continues to unhook jaws with this latest deployment of dusted 4/4, dissociated vox, euphoric pads and free-floating jazz levity. Always good, u already know.
We're not sure how he continually does it, really. 'In Motion' is a liquid delight - two tracks of aerated, deep funk that doesn't so much exist as it does flex in its own timestream. 'Don't Play' is feathery and slender, with improvised electric piano shrugs ducking and diving around a driving, inverted 4/4/. Parrish's grooves defy contemporary logic - there's no pumping kick that threatens to strangle the rest of the music, instead he lets the harmonic throb of the other elements launch the track into propulsive euphoria. And when that vocal hits, it feels like a pent-up release of emotion after endless months of frustration.
'In Motion' is even wilder, brushing husky jazz percs around the sort of stargazing Detroit tech pad work that Carl Craig practically patented on "Landcruising". "Emotions, keep you in motion," whispers in the distance as the drums threaten to fall apart completely.
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Theo Parrish continues to unhook jaws with this latest deployment of dusted 4/4, dissociated vox, euphoric pads and free-floating jazz levity. Always good, u already know.
We're not sure how he continually does it, really. 'In Motion' is a liquid delight - two tracks of aerated, deep funk that doesn't so much exist as it does flex in its own timestream. 'Don't Play' is feathery and slender, with improvised electric piano shrugs ducking and diving around a driving, inverted 4/4/. Parrish's grooves defy contemporary logic - there's no pumping kick that threatens to strangle the rest of the music, instead he lets the harmonic throb of the other elements launch the track into propulsive euphoria. And when that vocal hits, it feels like a pent-up release of emotion after endless months of frustration.
'In Motion' is even wilder, brushing husky jazz percs around the sort of stargazing Detroit tech pad work that Carl Craig practically patented on "Landcruising". "Emotions, keep you in motion," whispers in the distance as the drums threaten to fall apart completely.
Theo Parrish continues to unhook jaws with this latest deployment of dusted 4/4, dissociated vox, euphoric pads and free-floating jazz levity. Always good, u already know.
We're not sure how he continually does it, really. 'In Motion' is a liquid delight - two tracks of aerated, deep funk that doesn't so much exist as it does flex in its own timestream. 'Don't Play' is feathery and slender, with improvised electric piano shrugs ducking and diving around a driving, inverted 4/4/. Parrish's grooves defy contemporary logic - there's no pumping kick that threatens to strangle the rest of the music, instead he lets the harmonic throb of the other elements launch the track into propulsive euphoria. And when that vocal hits, it feels like a pent-up release of emotion after endless months of frustration.
'In Motion' is even wilder, brushing husky jazz percs around the sort of stargazing Detroit tech pad work that Carl Craig practically patented on "Landcruising". "Emotions, keep you in motion," whispers in the distance as the drums threaten to fall apart completely.
Theo Parrish continues to unhook jaws with this latest deployment of dusted 4/4, dissociated vox, euphoric pads and free-floating jazz levity. Always good, u already know.
We're not sure how he continually does it, really. 'In Motion' is a liquid delight - two tracks of aerated, deep funk that doesn't so much exist as it does flex in its own timestream. 'Don't Play' is feathery and slender, with improvised electric piano shrugs ducking and diving around a driving, inverted 4/4/. Parrish's grooves defy contemporary logic - there's no pumping kick that threatens to strangle the rest of the music, instead he lets the harmonic throb of the other elements launch the track into propulsive euphoria. And when that vocal hits, it feels like a pent-up release of emotion after endless months of frustration.
'In Motion' is even wilder, brushing husky jazz percs around the sort of stargazing Detroit tech pad work that Carl Craig practically patented on "Landcruising". "Emotions, keep you in motion," whispers in the distance as the drums threaten to fall apart completely.
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Theo Parrish continues to unhook jaws with this latest deployment of dusted 4/4, dissociated vox, euphoric pads and free-floating jazz levity. Always good, u already know.
We're not sure how he continually does it, really. 'In Motion' is a liquid delight - two tracks of aerated, deep funk that doesn't so much exist as it does flex in its own timestream. 'Don't Play' is feathery and slender, with improvised electric piano shrugs ducking and diving around a driving, inverted 4/4/. Parrish's grooves defy contemporary logic - there's no pumping kick that threatens to strangle the rest of the music, instead he lets the harmonic throb of the other elements launch the track into propulsive euphoria. And when that vocal hits, it feels like a pent-up release of emotion after endless months of frustration.
'In Motion' is even wilder, brushing husky jazz percs around the sort of stargazing Detroit tech pad work that Carl Craig practically patented on "Landcruising". "Emotions, keep you in motion," whispers in the distance as the drums threaten to fall apart completely.