Review: Coming correct with a sizable double pack, Mr G is at it again with his refined and stripped back take on the middle ground between techno and house (just don't call it tech house). "Soulfood" thrusts ahead with an insistent yet minimal beat while the rich spread of synths range from mellow chords to nagging high frequency tweaks, while "Hard Compression" heads in a smoother direction of deep house with hypnotic loops of soul licks. "Black Breds" is all lounge-friendly, Rick Wade-esque house on top and techno kick underneath, and "Womb" heads into the Alton Miller realms of cheery, chord-laden groove with those G-funk synths warbling over the top.
Review: Phoenix G surface in style in 2013 with the appropriately titled Frenetic EP from label boss Mr G that brandishes a rather potent remix from Ben Sims. There's an inherently old school tone to "Bounce" with the looping vocal hook imploring you to do as the title says over a stylish arrangement of firm, deep kick drums and lengthy, echo laden chords. In contrast "Red Line" locks onto a murked out techno groove that ripples with percussive intensity, which goes some way to preparing you for the onslaught of floor wrecking excellence that is Ben Sim's remix of "Bounce" with the UK techno veteran squeezing all the life out of those chords.
Review: Always a man with an unstoppable flow of music coming out, Mr G is at it once again on his own Phoenix G imprint with another three slices of no-nonsense club tracks. "Do This?" is a minimal affair, keeping the drums submerged and letting a plastic keyboard line take centre stage, but things are much more tangible on "Playerz" which pumps with purpose on a solid beat track whilst playing a chord and a bass synth off each other, leaving ample room for the nagging vocal loop. "G Beatz 20" presents a more balanced argument, hitting on a more overtly house tone with a catchy riff, cheeky claps and a good old fashioned "come on!" sample. Built with understated poise and primed for the DJs, you can never go wrong with a Mr G 12".
Review: So far in 2013 Mr G's Phoenix G label has proved a healthy outlet for his unstoppable flow of new music and some timely represses. The VFM EP belongs in the former category and ably demonstrates Colin McBean's masterful understanding of no nonsense club tracks. Despite their stripped back nature, there's something inherently distinct to each of the four impeccably produced tracks here; the warbling diva stuck deep in the machinery of "Let Down (Badly)" will remain in many memories long after it's dropped in a club for example. "Getting There... Detroit" seems quite simple on the surface, gradually revealing it's numerous elements but it's done with real skill and is a worthy DJ tool along with the basement primed "Mangos In Season".
Review: Mr G knows how to make a record, but even more so he knows how to make a club track. But for this Remote Viewing EP MR G offers up three productions of his own for the Mango Boys to dub-out and remix. First is a 'Sunday dub' to "Newmerique" which is straight up, chord-driven, club house, while the 'Hurting dub' to "Mac (Daddy) RIP" is woozy, deep and very danceable with a bassline to boot. For a third option there's a linear 'Red Eye' mix to "Tollgate PO" completing a great selection of DJ tools.
Review: You just can't argue with the classiness of Mr G's output, not least when he's giving himself free rein on his own Phoenix G imprint and this new double-pack of goodness is brimming with the kind of sublime, dub-tinged tech house the man has made his legend on. "Faith!" comes on in blue shades of techno-fuelled tension, while "Life Riddimz" keeps things equally fraut and moody. There are warmer moments as on soulful vocal jam "Hip Flexer" and easy-stomping piano worker "Dad?", and there's a healthy amount of weirdness from fractured percussion-baiter "Haze", bt really whatever shade of G you like there's something to enjoy here.
Review: Colin McBean seems to respond to personal loss in the most positive way. In 2012, he reacted to the death of close friend by writing his second full-length, State of Flux. When his father passed away earlier this year, he did the same, recording Personal Momentz, his third album, in 10 days. While still dancefloor-focused - think heavy, hypnotic rhythms and the unmistakable swagger of his particular brand of loop techno - Personal Momentz is perhaps a little more introspective than previous albums. There's a touch of sadness to cuts like "Life Riddimz (The Conversation)", the organ-laced, retro-futurist G-house of "Lot To Say", the Aaron Carl style Detroit techno of "Dark Heart" and "Angels Ascending", arguably one of McBean's most poignant and heart-aching productions to date.
Review: Last year's Personal Momentz was perhaps Colin McBean's finest long player to date as Mr G, and a fine way to pay homage to his father whose passing away inspired the set. How to possibly improve on the album? What about a 12" addendum featuring a quartet of Mr G productions laid down in the same recording sessions. Personal Momentz (Add On+) is, obviously, quintessential Mr G, four cuts of dub tinged house music that will slot perfectly into any selector's sets with the unashamedly vibrant "Lot To Say..." a stand out inclusion. Mr G you are just too good to us.
Review: Any new Mr G release is cause for celebration, but this coloured vinyl 12" - with hand-stamped labels, natch - is extra special. While details are sketchy, at best, we're reliably informed that these four tracks have been rescued from the vaults. Whenever they were recorded, there's plenty for fans to enjoy, from the sparse, synth bass-propelled 4/4 funk of "Birthday Jam With Extra Rum", to the mutant bass, swinging cymbals and cut-up saxophones of "Summer Finally Here Or Is It?". There's some trademark sparkling deep house in the shape of the US garage influenced "Tommy's Groove", while opener "Weekend Off" - the pick of a strong bunch - is a deliciously fuzzy chunk of no-holds-barred techno-funk with incessant mutant organ stabs and hip hop vocal samples aplenty.
Review: Colin McBean aka Mr G is back with another full length. We know what you're thinking; it's probably awesome? Well duh! Damn right it is, so here's more with the good news; several tracks of slamming tech funk that this man is renowned for and it's all killer. First track "Entrance" is the soundtrack to a techno aerobics class, take a listen! "Sub Level 3 (G's Freak Zone)" uses a nasty arpeggio untypical of his previous work but those strings that come in are just epic! "Interlude @ ?" keeps on with his typical sense of humour and in sound with its tough and dirty sense of funk that's so emotive at the same time. "Thrust" is proper peak time business that reminds you why he was once one half of The Advent; banging, doom laden hard groove.
Review: Colin McBean is back everyone, look out! It's the same quality you expect from the techno don, as he brings the funk, rawness and unadulterated groove on the Infrastructure EP. First up is "Guiness Punch (Xtra Ray Dub), a stripped and atmospheric joint with sweet female vox and a mesmerising keys melody plus bumpy bassline. But wait until those Mr. G trademark open hi hats and cracking claps come in. Next the acidic "Give Thanx!" ups the ante with its ultra sick bassline and hypnotic chime melody which will easily crossover into other techno sub genres impressively. Finally "Invert?" explores sonar techno aesthetics accompanied by sampled diva vocals on this truly sick pre peak time slow burner. Tip!
Review: Life's Changing Face finds Mr G in similar form to the tracks that made up Still Here (Get On Down), last years album for Rekids. Relentlessly driven by bass it may be, but beneath there is a fragile musicality and a soulful edge. This is captured perfectly on "For Those Who Feel (For Lex)" which pounds at your senses with raw , industrial thrust of rasping kicks, hi hats and bass drums but gradually draws out a haunting refrain of soaring pads and vocal loops that flush the track with real emotion. On the flip, "Raw Emotionz" takes a darker turn, drowning a heavily delayed sample deep beneath menacing synth turns and an ever changing surfeit of layered percussion. "Be Free" ends on a lighter note, filled with Mr G's repeated titular refrain, heavenly chords and a bubbling undercurrent of acidic bass.
Review: Colin McBean has been around for ages and this man has seen and done a thing or two for real! Using aliases like Mango Boy, Halcyon Daze, Tommy Atkins and The Reaver he manages to surprise his followers with a super fresh and moving sound. For this latest outing he presents a fantastic gem that can be best described as a solid fusion between deep house grooves and intelligent musical elements. All of this is composed using nothing but analog machinery!
Review: Phoenix G reaches its 50th release in its fifteenth year of business and finds Colin McBean in irrepressible form on this Long Time Coming EP! Should you want some compelling evidence for why so many people regard Mr G as one of the most distinctive production voices amongst the UK house and techno cognoscenti, spend some time with the four tracks here. Lead track "Mandiba" is machine Funk at its most potent, whilst the functional drums of "Distortion (Rita's Soul)" have to contend with the soulful impact of the tear jerking vocal hook and that resonant, earthy synth line. "Zam Zam" is Martian techno at its most sinister, whilst the Mango Boys Red Eye mix of "Where I Feel It Most" is a simple yet very effective DJ tool.
Review: The grandmaster of pure uncut tech-house grooves is back and one thing is for sure: Colin McBean is on fire! He really pushes his limits and creates two analogue groovers that are simply off the planet. Using a warm thumping bass as a firm foundation, Colin takes his time and let's you adjust to the hypnotizing fx of these babies.
Review: Techno stalwart Mr G was inspired to make the tracks showcased on his latest album while prepping "jazzy tracks" for a Worldwide Radio appearance alongside pal Kieran Ifill aka K15. Subsequently it's a fair more varied and musically expansive collection than we've come to expect, with tracks ranging from the vibraphone-laden house shuffle of "Praise" and bluesy downtempo grooves of "Strollin'", to the smoky jazz-dance business of "My F'ed Up Mixer", percussive "Hollywood Swinging" and bruk-up, jazz-funk influenced beauty of "That Blue Moon Feeling". It relies far more on dusty samples, hazy audio textures and non-linear beats than much of the producer's vast body of work, but that's no bad thing. In fact, it could well be one of his most ear-catching and entertaining excursions yet.
Review: UK techno legend Colin McBean returns on his always reliable Phoenix G imprint with A Good Place? A dozen servings of tough and steely house music that properly brings the funk as you'd expect from the man once behind such legendary and seminal acts like The Advent and G-Flame & Mr. G. There's also a few wonderful surprises too; such as the broken beat/nu jazz deepness of "One For The Headz" or the dusty disco loops of "Interluded (part 1)". But otherwise it really is business as usual, such as on the hi octane stormer "Nothin' (Cause We Are Strong)" with its "French Kiss" style melody, the deeply emotive "In The Sun... Finally!" or the raw and rusty dust covered jack of "G's Jazz" it's all killer no filler on here we assure you!