Spencer Parker makes a welcome return to British institution Rekids, this time reworked by two French producers - Rex resident Molly and Parisian house connoisseur, D’julz in a package comprising two of Spencer’s dancefloor assaults from 2008, ‘Improvised Minotaur’ and ‘Romantic’.
Spencer Parker, one of Europe’s leading underground house DJs first made an appearance on Rekids in 2006 with the acid wonk of ‘Beautiful Noise’ and has since been a regular, last seen on the label in 2011 with the highly played ‘I Think I Love You’. Consistently releasing tracks with verve and energy twisting classic house rawness to the beat of his own drum, Spencer’s works remit a toughness as well as fuzzy melodic charm. Epic monster ‘Improvised Minotaur’ first came to Rekids via ‘The Dreamer EP’ and ‘Romantic’ was a digital release of the same year.
Molly’s Minotaur remix for the A side is built to make you rush. An open-ended rhythmic ride rich in atmosphere with a tribal beating of drums, and an omnipresence of swelling keys and piano stabs that develops into jazzy freestyle - all with an immense sense of loose, fluid motion and dramatic percussive flair set into the solid groove. Spencer discovered Molly at Rex Club Paris, where she holds a residency. As adept at warming up the crowd as bringing the night to a climactic finish, Molly also runs her own Rex night further demonstrating her impeccable taste with bookings such as Margaret Dygas and Jan Krueger. Now moving into production and having been invited to play alongside Tobi Neumann at Weekend in Berlin recently, it seems the rest of the global scene is waking up to Molly’s charms.
On the flip, D’julz serves ups a powerful builder with fire in its belly. Kicking off with no-nonsense bass and more lashings of raw percussion and shakers, the ‘Version Francaise’ of ‘Romantic’ gives the original tech banger a much deeper, rolling workout. D’julz is well recognized as a key Parisian scene player, with a career that began back in 1992. Spinning at many of the city’s raves and pioneering clubs, including his own legendary ‘Bass Culture’ parties at Rex Club that later became a successful label, D’julz made an even bigger impact when he started releasing essential weapons in the mid-90s for heavyweight labels such as Real Tone, Get Physical and 20:20 Vision.
The Rekids imprint and Matt Edwards AKA Radio Slave, the man behind it, is still leading the way for timeless tech-house marathon music.
Published: 8th March 2012