Review: Amsterdam based producer Jordan 'GCZ' Czamanski wears many hats, whether as part of Juju & Jordash, Magic Mountain High or as part of Mulholland Free Clinic with David Moufang. He now makes his solo debut on Rush Hour with this awesome EP of neon treasures. From the funky old school techno vibe of "Pinball Lizzard" with its wayward melodies and cracking rhythms (on what the label best described themselves as 'a multi-ball dancefloor battle against the Grand Lizard') to the smooth neon-lit deepness of "Minor 7 Resin" - it's another terrific effort from a true hero of the underground.
Review: Good news for all of those who don't shop in Rush Hour's Amsterdam store, as Masalo's much-hyped debut solo single is finally available outside of that legendary Dutch institution. It's certainly been worth the wait. Both tracks doff a cap towards the spacey and intergalactic end of the Italo-disco spectrum, with Masalo opting for unfussy drum machine rhythms and throbbing, arpeggio style basslines. A-side "New Dance" is the more obviously disco-centric of the two tracks, with jaunty riffs, lilting synth-pop melodies and ricocheting, proto-house style drum fills rising above a suitably druggy groove. "Cycles", meanwhile, is a little deeper and more outer space in tone, an effect emphasized via sampled vocal chants and crystalline synthesizer melodies that appear to drift across the sound space.
Review: Leon Vynehall's stunningly picturesque "Midnight On Rainbow Road" was one of the undoubted highlights of Gerd Jansen's second Musik For Autobahns compilation, which was released in the autumn of 2015 by Rush Hour. Here, it gets a deserved single release, with the original - a hypnotic, driving-inspired blend of fluid electronic melodies, a wispy percussion and Jonny Nash style glistening guitar lines - being complimented by a brand new "Beat Edit". This adds a slowly unfurling, head-nodding rhythm that takes the track further towards Detroit Beatdown territory. In essence, though, it sounds like an early '90s ambient house jam. That's no bad thing, given that Vynehall seems to have emphasised the sun-kissed beauty of the original in the process.