Here's Your Trance, Now Dance! (Shadow Ray remix) (10:18)
Review: Absolute beast of a track from Omar S here - a real statement of intent for the FXHE boss and a shoe in for those end of year lists we all like to indulge in. "Here's Your Trance Now Dance!" is a pretty self explanatory title as the waves of glistening synth patterns that rise throughout are truly trance inducing. Beneath this constantly ascending processing of gleeful melodic touches is simplistic yet delicious sounding crisp machine rhythms, subtle arpeggios and infectiously warm bass nudges. This is a track that bears repeat listen through headphones to let the magic fully seep in so imagine the devastation it will cause at 2am in a sweaty basement somewhere. Essential.
Review: After more or less owning 2011 with a surprise album, a collaboration with urban crooner Colonel Abrams, an ahead-of-the-game reissue of Marc Kinchen and the all-conquering "Here's Your Trance Now Dance", FXHE don Omar S kicks off a new year with Wayne County Hills Cops Pt 2 (where, we ask, was Part 1?), a hook-up with the mysterious OB IGNITT. The eponymous A-Side is characterised by the kind of glistening synths last seen on "Here's Your Trance...", with a rugged analogue bass line giving the track with the requisite bump. A tired cliche it may be, but this could easily soundtrack an 80s cop movie: clearly Omar has this in mind given the 12"'s title and the fact the record's centre label features a doctored image of Eddie Murphy from Beverly Hills Cop! On the flip, Omar S provides his own remix, drowning the synths in dubby textures and showering them with shuffling hats for a more heads-down take. Another killer 12" - business as usual at FXHE, then.
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: Such is the prolific nature of FXHE at the moment, which ever pressing plant Omar S uses must be pretty happy with their contract. Following swiftly from Omar S's ode to the Axel F sound comes the debut missive from Aaron "Fit" Siegel. Named so thanks to his work at the helm of Fit Distribution, Siegel is a key figure in ensuring the ongoing healthy output of Detroit's house and techno militia and "Tonite" proves to be an auspicious debut. Featuring the vocal talents of L'Renne, the track is one of those eminently soulful house tracks with a sparse approach to production, all the elements sounding so crisp and distinct in the mix but judged perfectly. Such a track and the tougher B Side Detroit Mix just demonstrate how on top of their game FXHE are right now - big tip!
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 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.
Confess To U (The Three Stooges Of Hamtramck mix) (5:30)
Review: Alex "Omar" Smith has something he wants to get off his chest. The much-lauded Detroit producer has teamed up with re-born Italians Do It Better sorts Nite Jewel for "Confess To You", which comes in two distinctive variations. The A-side "Mix" revolves around a tactile, boogie-era synth bassline, late night AM radio synthesizer chords, drifting sax solos and a crunchy, deep house-influenced rhythm track. Arguably even better is the flipside vocal version, which naturally sees Smith, Romana Gonzalez and company deliver a near perfect chunk of '80s soul/deep house fusion. It sounds like a softly spun summer anthem in waiting. Don't take our word for it, though; check out the clips and revel in the track's breezy brilliance.
Review: Omar S teams up with Atlanta based producer Kai Alce for this killer new 12", with the FXHE boss openly suggesting the second B-Side offering is 'ringtone worthy'! The Jive Time EP features three original productions - "Not Phazed", which takes up the whole A Side, while the EP's dancefloor-friendly eponymous track shares the flip with ambient house track "Incognigro". Alce, a Detroit native who now resides in Atlanta, has had a fine year, releasing a tidy little 7" on FXHE back in April as well as a collaborative EP with Englishman Phil Asher and Atlanta vocalist Kayenne. Killer release.
Review: It is hard to believe this EP is now more than 15 years old, because it certainly doesn't sound like it. It is one of literally hundreds of Omar S tunes that has more than stood the test of time for the way it so beguiling blends cold machine sounds and mechanical rhythms with irresistible synth craft. 'The Further You Look The Less You Will See' is all low-fi low end minimalism and glowing melodic warmth. 'Tecky Alexander' is a playful take on that with jittery rhythms and poppy melodies that allow your mind to wander and get lost in the subtly shifting loops. Perfection.
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: 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: 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: 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: 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: Detroit heavyweights Omar S and Theo Parrish link up for a one-track release that lives up to its bold title. 'The Grand Son Of Detroit Techno!' stretches over ten minutes of raw, hypnotic movementidusty drum programming, looped keys and a low-slung groove that simmers with intent. Omar S keeps the arrangement locked and heads-down, while Theo's unmistakable fingerprints surface in the swung percussion and deep jazz-inflected textures that evolve across the track's longform structure. It's a meeting of minds that feels completely unforced, rooted in lineage but defiantly forward-facing a release that speaks in fluent Motor City dialect without ever turning nostalgic. Unapologetically stripped, functional and soulful.
Review: FXHE maintain their monthly heat emission for 2012, with label boss Omar S displaying all aspects of his production prowess (as well as skill for a humorous track titles) across four productions - one of which features the button bashing assistance of one Patrik Sjeren. There's something icily brilliant about the restrained "Income Tax Refund Dance" melding a dark piano riff with snapping 808 kicks and rippling lo fi rhythms which only further justifies the title of Omar S's killer 2011 LP. It's complemented by the far rowdier box jam "The White Castle Song" which jackhammers a simple yet highly flammable key riff over low rent percussion for FXHE's most potent ode to the perfect warehouse moment since the all conquering "Here's Your Trance..." Given the lack of additional info, we presume the Patrik Sjeren that produces the B Side "Untitled" track is the same Patrik Sjeren that released in the mid 90s under a multiplicity of aliases, and his contribution is every bit as incendiary as the track preceding it, whilst "3c 273" sees Omar S slip into pensive utopian electro mode with aplomb.
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: 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: Any new material on FXHE has us in a frenzy! 2018 looks like a good start for the Detroit label, with boss man Omar S bringing the jams in style. 'Your Socially Awkward' features two fine servings of modern, Motor City techno-soul. There's the evocative A side cut "Games That We Play", a life affirming journey awash in uplifting pianos plus uplifting arpeggio sequences above its steely shuffle - and all supported by local heroine Diviniti's powerful vocals. On the flip, the deep groove of "Potawatomi" takes things down a notch or two, but this late night number still has a heap of bounce and emotion to it still. This follows up the late 2017 release 'Tap Dat Ass' and the debut album from local veteran Norm Talley.
Review: The unique thing about Omar S's music is that no matter how much later you listen to it after its initial release, it still sounds mad futuristic. His dusty grooves and otherworldly synth sounds take on many different forms and atmospheres and for this one back in 2010 it was all about occult cosmic worlds. 'Kosmos 1402' has rickety kicks and hits that spit and fizz with grit and grime, while 'Plesetsk Cosmodrome' then sinks into deep astral worlds with rubbery bass bouncing beneath warped pads and 'Skynet 2 B' has a more playful feel with cute chords and a nice skipping rhythm.
Review: Luke Hess delivered a stunning, dub techno masterclass with this rather unexpected gem on the FXHE label back in 2017 with fellow Motor City great Omar S on production. The superb title track opens with shimmering dub chords and hypnotic rhythms that evolve slowly but powerfully. 'Renewal' offers a more direct approach by channelling the spirit of Brendon Moeller's Beat Pharmacy. On the flip, 'Sacred' strips things back with a staggered groove, airy pads and a one-note bassline circling deep into the night. Closing track 'Motor Dub' nods to Deepchord with its swirling delays and spacious, bass-heavy mix. For fans of Basic Channel and immersive, textured techno, this is irresistible.
Review: Omar S is clearly having fun this year - the subtle euphoria of "Here's Your Trance Now Dance" was followed by a new studio album, released recently with about six days notice - and now he's popped up with a new 12" featuring Colonel Abrams on FXHE. The legendary urban crooner turns in a typically soulful vocal turn on "Who Wrote The Rules Of Love", which comes in three versions: two R&B mixes (short and long) and a remix from Shadow Ray. It's the Shadow Ray tweak that will turn on the house heads, with a beefy acid line and chopped up vocals forming the backbone of the arrangement. Those who get in quick can grab the lovely coloured vinyl version!
Review: Dub techno don Luke Hess has been a mainstay of Omar S's FXHE label for as long as we, or anyone in fact, can remember. The Motor City talent dropped this particular EP, 'Dubout EP #3.13', back in 2011 but it now resurfaces and has aged to perfection with some extra touches from Smith himself. 'Narrow Road' is strident and direct dub techno with signature FXHE chords. 'Leads To Life' is more liquid and paired back with an undulating bassline and a cosmic feel to the swirling pads. 'Unity Excerpt' closes with more icy beats, hi-hats and skittish synths that snake throughout the mix.
Review: 'These Complimentary Track'x' is a classic 12" from Omar S - though to be honest, which of his releases aren't classics? - that came back in 2010 and features four of his firing cuts. 'Solely Supported' is a deep and slow burning house sound with a menacing energy. 'Under Jamaica' layers acid synth lines into raw, dusty analogue drums as the claps get increasingly coarse. 'Columns' brings out the 80s r&b loving side of Smith with a heart aching female vocal over deep kicks and 'Boot Hill' shows his fucked up and textural techno side with a twisted sound for dirty warehouses.
Review: This EP from 2010 is an oldie but a goldie, which is pretty much something you could say of everything that this Motor City maverick has ever put out. It finds the former Ford factory worker in techno mode from the off: 'Ultra Fine One' is a pounding mid-tempo cut with airy hi hats and kicks that never quit. The whole thing is marbled with fuzzy synth sounds and a corrugated acid line that pries ever deep. 'Ultra Fine Two' is, in essence, the same cut but with broken beat patterns and different filters applied to the acid line. 'Mid 90's' is gloppy acid techno with warped bass and loopy kicks designed for 5 am freakouts.
Review: Originally released back in 2011 in conjunction with Scion Audio/Visual now repressed by Omar S on his FXHE label "Who's In Key" features Theo Parrish!
In My City (feat John FM - Rick Wilhite mix) (6:27)
Don't Leave Me Standing Yeaa (5:44)
Mell'like Boom Boom In'dair! (4:28)
Washtenaw County Horn Section (6:03)
You Gotta Beat The Clock (4:24)
Simply (7:16)
Review: There's been plenty of online chatter about the confrontational title of Omar-S's latest full-length outing, and arguably not enough focus on the music itself (or the fact that the guest list contains Rick Wilhite, Norm Talley and OB Ignitt for that matter). This is unfortunate, because as usual Alex 'Omar' Smith has hit the spot. The six untitled tracks are impressively varied, with Smith effortlessly moving between 21st century P-funk (track one), cowbell-powered deep house funk (track 2), sparse and synth-heavy acid house hypnotism (track three), disco-house jack (track four), sub-heavy Detroit-meets-Sheffield minimalism (track five) and sunrise-ready dancefloor dreaminess (track six).
Review: By Alex "Omar" Smith's standards, "I Wanna Know" is something of a curveball. It sees him joining forces with vocalist James Garcia to lay down the sort of spine-tingling vocal house cut that would have once been associated with Chicago acts such as Fingers Inc. Admittedly, it contains plenty of far-sighted Detroit electronics and Smith's usual percussive shuffle, but there's a genuine retro-futurist feel that may take some of his fans by surprise. It's rather wonderful, all told, and sounds like a crossover anthem in waiting. Turn to the flipside and you'll find the Extramental Mix, a superb instrumental version that gives Smith's sublime melodies, vintage synths and sparkling electronics a chance to shine. Artwork of the year too!
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: For his latest trick, Alex "Omar" Smith has crafted a killer new tune out of a distinctive gospel soul sample that he first used on much-played 2004 single "Day". Pedants will point out that "That's Me" actually uses a wider variety of sampled loops from the same source track, rather than one specific repetitive section, but either way the results are fantastic. Bumping, distorted, bass-heavy and soulful with more grunt than your average blue movie, the track is a perfect example of how highly effective, life-affirming house music can be made out of the simplest of elements suitably arranged and tweaked. Basically, it's a jazz-flecked, hands-aloft bumper that will get played at a lot of festivals this summer.
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: Omar S is not only one of the most vital house producers of the last 25 years, but he also has a fine ear for talent. This FXHE Compulation #1 EP dropped a full two decades ago and was the first appearance of now globally renowned headline DJ Seth Troxler. As Young Seth he offered the moody, minimal house gem that is 'Moment' with its dry, gated drums and subtly chord work. Elsewhere, Underground Quality founder Jus-Ed got weird with 'Am-Mix', DJ Snotburger bright raw jack with 'Snotann' and Omar S showcased his icy and futurist style on 'Groove-On'. A historic EP.
Review: You have to admire Alex "Omar" Smith's work rate. He's been slinging out regular releases now for the best part of a decade and shows no sign of slowing down. "1992" is his second EP of 2019 and contains a trio of contrasting cuts in his distinctive, hardware-driven sound. Perhaps the biggest surprise is closing cut "Homey Trinitron", a techno-tempo workout that wraps fuzzy, lo-fi synth motifs around weighty and distorted, ghetto-house influenced drums. He provides a chunk of loose but locked-in deep house drowsiness (see the warm, shuffling and punchy title track), as well as a cheery, piano-driven A-side that's as warm, rush-inducing and anthem-like as anything he's released to date.
Review: No-one embodies the sound of Detroit quite like Omar S. The badman beatmaker has been touring out his idiosyncratic jams for more than two decades and rarely ever misses. Right now we've got a bunch of restocks of his earlier works landing and this one is from right back in the early days of his FXHE label. It opens with the wonky acid and whistle madness of 'Polynesia' then take sin the clunking, mechanical house of 'Churchill', scratchy sounds and wispy synths of the experimental 'Micronesia', low slung house sleaze of 'Frontwardsflip' and phased and drunken bassline madness of 'Nikademas'. Superb.
Review: Something slightly different here from one of Detroit's most storied producers who - somewhat surprisingly - has gone against type and decided to include a full vocal on "Poor Fake (Remix)", the mesmerising and melancholic A-side of his latest release. The vocal in question comes from an uncredited Kate Bush sound-alike, whose distinctive drawl works in perfect unison with Smith's moody Detroit bassline, snappy machine beats and celestial chords. Over on the flip the former Motor City street racer makes merry with some classy disco samples on feel-good workout "Bullshit Baby", before brilliantly playing around with the same Diana Ross sample he used on 2004's "Day", on the throbbing, peak-time ready loop jam that is "75&Day".
Review: As he often tell us himself in his track titles, no one does it quite like Omar S. Even listening back to his earliest material from 20-odd years ago, it still sounds fresh and like no one else, which is why it's time to get excited about a bunch of reissues we're got hold of. 'Track 8' is an EP from 2004 with two brilliantly, beautifully raw house cuts that typify exactly what Smith is all about. The first one is eight minutes of scruffy kicks and brushed metal drums with eerie and alien melodies snaking their way through the beats. The second one is very similar in style with even more rawness and an unsettling but intriguing melody.
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: He's as consistent as he is prolific so it's no surprise that Omar-S is back yet again with yet another EP well worth copping. This latest 12" direct from the Motor City features two different versions of the same tune and what a tune it is: first up is 'Can't Get' (vocal mix) which is signature stuff from Smith - dusty beats from an old analogue machine, slowly evolving synth leads that convey plenty of emotion and raw hi-hats. The mood is late night and sultry with a hint of menace and a gorgeous vocal hook is the icing on the cake. Flip it over and you'll get the Sub Mix with more stark synths and melodic edginess.
Review: When it featured in its original mix form on Omar-S's Pain EP, 'I Love Your Girlfriend' was something of a blink-and-you-miss-it gem: a two-minute fusion of piano-powered balladry, seductive soul vocals (provided by guest singer John FM) and sparse, occasional house beats. It was crying out for an extended mix, and the Detroit legend has duly delivered. Now five minutes in length, with more prominent drums, extensive use of P-funk style synth squiggles and auto-tune effects, the mix effectively re-imagines the track as a fluid, soulful, piano solo-laden club track that's as classy as it is tasty.
Review: Detroit legend Omar S returns this week on his always different but always unmissable FXHE label with the bouncy and neon-lit groove of 'Hard Times', which sees him collaborate once again with Megan Louise of Canadian outfit Desire (Italians Do It Better) on vocals. The original comes backed with a handy instrumental mix and a dreamy, plus an evocative rework by IDIB chief Johnny Jewel over on the flip.
Review: New Year, same old Omar S - turning out the top quality tunes on a regular basis, all with his own unique sonic imprint but always with a fresh twist each time. This first outing of 2024 on his own FXHE opens up with 'Life Force' which pairs Smith's unique drum sounds - brushed metal, scruffy, raw - with his super sweet synths that always bring the warmth and soul. 'All The Little Hand's Around' is another metallic sound tech house cut with celebratory chord loops up top and well-treated samples, then 'Evil J' shuts down with rasping basslines and glistening 80s keys. Another fine 12" from the Detroit don.
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: 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: Detroit house maverick and FXHE boss man Omar S is back with a new EP named seemingly in honour of himself. And why not? Few house producers can touch him even 20-plus years into his career. The title cut 'O Maarr' is dry, paired back but immediately catchy with a loved-up vocal loop and knackered kicks that bump along nicely. The second track 'Glass' is for lovers of lo-fi sounds of the sort that this man has made his signature. Searching synths circle the dusty analogue drums and coarse claps add some raw texture. 'Bug Off' is another archetypal Omar S cut - pensive chords that are whimsical and inwardly reflective over chunky beats and bass with brighter chords bursting out of the mix to bring a hint of optimism.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.