Review: As a self-confessed Terrence Dixon obsessive, this writer found it difficult to accept the concept of his work being remixed at all. That said, Ben Klock does a fine job of imbuing the Detroit producer's music with a sense of dance floor abandon. Klock's main version sees the Berlin producer lay down an insistent, stripped back groove, its shrieking stabs hitting the listener like the icy jolt of a winter morning. Klock's dub is more rolling and filtered, but contains a punch thanks to its metallic percussive licks. Edwin Oosterwal also delivers a high quality take on "Minimalism", with a slamming rhythm and dry hats providing the basis for a dramatic, sweeping chord sequence.
Review: The Tresor crew spent much of the early 1990s creating links between Berlin and Detroit, so it seems fitting that the label's latest release is a double album-length collaboration between local legend Thomas Fehlmann (most famous in recent years for his work with Alex Paterson as the Orb) and Motor City stalwart Terrence Dixon. Utilising what sounds like a range of modular and analogue equipment, the duo rolls through a sextet of cuts that skillfully combine elements of jacking acid, stomping analogue house, twisted techno, Detroit futurism and Conrad Schnitzler style experimentation. It's rather more fun than many may have expected, with Dixon ensuring that the grooves, bleeping melodies and angular electronics come laden with dancefloor funk.