Saturday 24 December 2016
Spencer Parker new mixxx...
a new mix comprising only his own productions and remixes... and including a few forthcoming
Work Them Records releases...
you can hear the whole mix, HERE...
Monday 10 October 2016
Work Them Records X Panorama Bar...
that was a lot of fun !
massive thanks to all the djs that played, and, most importantly, all those that came and danced...
<3
Wednesday 17 August 2016
Robert Hood X Mixmag X Work Them Records...
big thanks to Robert Hood for including the Spencer Parker remix of Dan Beaumont's "Spirit Talkin'" on his Mixmag mix...
Tuesday 19 July 2016
Pulse Radio review P. Leone EP...
4/5
Spencer Parker’s Work Them Records is mostly synonymous with muscular, concrete-hewn house/techno hybrids that shake the fillings and pump like pistons. But the label is never afraid of confounding its reputations, and its latest from newcomer P. Leone is a case in point: lush, flirtatious techno that is unashamedly melodic and welcoming. If this is the calling card for a new producer’s career then we can only marvel at what is to come.
The opening track ‘Atria’ cascades measuredly into view from restrained, murmuring leads and clicking sonics. With synth lines emerging and coalescing across octaves until they open, bathed in reverb, crashing into the light and lifting a track that harks back to '90s main-room efforts that exalted the dancefloor rather than simply inhabited it. Layers collapse and reform, releasing inertia into the ether in a mesmeric beginning.
‘Sequences Of Attraction’ is a spikier proposition: its metallic, nervous percs housing rumbling subs before the melodies loom into view. Rasping, maximal chords and brash hits wrap up the listener, at once diving into the deep before they re-emerge, replete with slippery rides and reverberating chord patterns in a track that’s throbs with constrained, taut energy, focused on the club.
Closing out a superb and attention-grabbing EP is ‘Miradouro’. A bundle of static and disembodied bleeps at the off, piercing notes ebb and flow, with distorted, blocky hits and scattergun hats in a sleek, effecting cut of modern techno. Just as it appears to resemble an almost tracky, glitchy tool, tumbling bleeps and glowing pads appear, transforming it into a driving groove that permeates up to the end. Stirring and emotive work.
Inverted Audio (UK) review P. Leone EP...
Spencer Parker’s Work Them Records has proved to be a hit with DJs worldwide, establishing itself as a provider of tried and tested dance floor tools. For my money, Work Them has always shone brightest when it stepped away from its rigid percussive workout template. In the past, efforts from White Materials’ Young Male, the kaleidoscopic Pittsburgh Track Authority and SV:T – ably assisted by Arttu in remix form – have stood out with their own unique stamp on the label’s template.
Added to this list is the relatively unknown Brooklyn based producer P. Leone, who hits upon emotive techno form with ‘The Exit 8’. It leads off with ‘Atria‘, which needs to do little more than work a twinkling arpeggio over a punchy kick. The momentum is created by the moments when the decay lengthens until the entire soundstage is engulfed in one decisive movement. Effectiveness in efficiency.
The momentum in ‘Sequences Of Attraction‘ is a different beast. It’s motif is to switch between two distinct patterns. The first is of rumbling subs and an atonal choo-choo sound that gives the impression of a freight train rumbling through the night, illuminating with its solitary dim headlight. The second, the switch incarnate, happens when the large synth drops in, gratifying like umami.
While ‘Miradouro‘ and its “Nuxx” style pan hits doesn’t quite match its companions, as it’s efforts to land a big hook slips tantalisingly between the fingers, it doesn’t really matter. Instant gratification with style is achieved on the leading pair, so much so that they become your defacto choices for tension and release.
Ibiza-Voice review Physical Therapy EP...
Making his debut on Spencer Parker's Work Them records, Physical Therapy serves up an EP of techno that's all set to make dance floors tremble.
‘Baktadust’ fires straight into a thunderous kick and some crisp percussion. The bass lurches towards you with a fire in its belly, whilst keys stumble around the resolute groove, creating an uplifting riff that delightfully compliments the tracks more intense elements.
Setting off in a more seductive manner, the Fried Mix of 'Baktadust' is slowed to a sultrier pace. That same piano riff rolls out, it's urgency now replaced by an inviting warmth, whilst the percussion shuffles and pops around a sweltering bass line, helping to craft a more throbbing groove than the original.
'Push Me' sees vigorous percussion shimmer over a pounding kick, as a palpitating synth careens beneath fluttering keys that trickle around rippling bass line. The track bristles with energy from the start, as it grabs tight hold and refuses to let go.
Shivers of percussion roll forth in 'Spasm', as quivering synths entwine with a clamorous bass line. A bouncing kick stomps through proceedings like a wrecking ball, as a compelling groove that is hypnotic in the same destructive manner that a tornado is unfurls itself out the speakers.
Resident Advisor review Physical Therapy ep...
Considering how colourful his music was early on, Berlin-based American Daniel Fisher has taken a turn towards the greyscale in recent years. On releases for Fifth Wall, Unknown To The Unknown and his own Allergy Season label, his approach as Physical Therapy has been whittled to a point. It's sharp enough to fit on Spencer Parker's Work Them Records, a label probably best known for its straightforward club jams. On Baktadust, Fisher appropriately offers some of his most focused techno yet. The EP highlights his gift for working quirky idiosyncrasies into the confines of elementary club music.
Both versions of "Baktadust" show as much. The original mix, with its pulverizing kicks and a warbly piano sample, sounds like it could have ended up on L.I.E.S. The percussion offers something dynamic to latch onto: slippery hi-hat programming and snares that volley across the measures like an old Ben Klock track. The "Fried Mix" keeps the piano and snares but not much else, transplanting them into a slower, floatier groove that's packed to the brim with hand drums.
On the B-side, "Push Me" is stripped down, just some flanged hi-hats and satisfyingly chunky drums. A few high-pitched sounds and the hint of a piano are the only meat on the bones. "Spasm" closes things out with a left turn: the expanding and contracting basslines and steam-powered hi-hats are both heavier than anything else on Baktadust. Powering through the track's final two minutes, a big emotional lead ties a bow on an EP whose straight-up tools still pack a surprise.
Both versions of "Baktadust" show as much. The original mix, with its pulverizing kicks and a warbly piano sample, sounds like it could have ended up on L.I.E.S. The percussion offers something dynamic to latch onto: slippery hi-hat programming and snares that volley across the measures like an old Ben Klock track. The "Fried Mix" keeps the piano and snares but not much else, transplanting them into a slower, floatier groove that's packed to the brim with hand drums.
On the B-side, "Push Me" is stripped down, just some flanged hi-hats and satisfyingly chunky drums. A few high-pitched sounds and the hint of a piano are the only meat on the bones. "Spasm" closes things out with a left turn: the expanding and contracting basslines and steam-powered hi-hats are both heavier than anything else on Baktadust. Powering through the track's final two minutes, a big emotional lead ties a bow on an EP whose straight-up tools still pack a surprise.
Subscribe to:
Posts (Atom)