Shadow Pressings Vinyl & CDs

Review: Shadow Pressings hits its stride with release number three, featuring Detroit's own Mike Agent X Clark. A stalwart of the Beatdown movement, Mike's contributions to the scene are legendary, and this EP only adds to his already impressive catalogue. 'In the House Club' leads the charge, a minimal yet impactful track that showcases spoken word from fellow Detroit artist Dr. Tinglefingers. The raw, unpolished feel captures the essence of true Detroit house, with a stripped-back approach that leaves space for every element to shine. Jimpster steps in on remix duties, building on the original with a subtle, yet effective touch. His rework maintains the track's integrity while injecting a deeper groove, with added Rhodes stabs and warm textures that push the energy forward. On the flip side, 'Get Up' serves as a proper homage to the stripped-back, bass-driven sounds that Ron Hardy would have spun at the Muzic Box. Its simplicity is its strength, providing a hypnotic pulse that's impossible to resist. Wrapping up the release, 'Fresh Air' stays true to the underground, offering a deep, minimal cut that speaks directly to the heads. Mike Agent X Clark proves once again why he remains a revered figure in the scene, delivering a release that's primed for both the discerning selector and the dancefloor devotee.

Review: The fourth release on the promising London's Shadow Pressings label is creating quite the buzz already. This five-track collection feels like an unearthed Detroit classic, expertly blending Chicago and Detroit influences into timeless dancefloor gems. Side-1 opens with 'Last Night Baby', a tracky, beat-machine-driven house cut reminiscent of Derrick May's groove-laden style. Beautiful piano keys float atop the rhythm, adding a touch of elegance to the infectious beats. 'XNXX' follows with a deep house and techno edge late 80s vibe that channels Detroit sounds with a rich, authentic warmth. Flipping over to Side-2, the title track 'Can I Tell You?' delivers tribal goodness with euphoric, melodic moments, while 'Step For' keeps things lively with fun chords, a snappy beat and a dubby, acid house twist that evolves into a serious groover. Closing out the EP is 'One In A Life Time', a futuristic end-of-the-night anthem with claps and a slightly jackin' feel. More proof this is a label to watch.

Review: Dusky techno disco tools on this fifth new one from Shadow Pressings, a UK outfit who've here nonetheless titularly alluded to the Chicago house scene. Of course, not all of us can afford to fly out to Illinois on a whim, and many of us prefer instead to let the city's long-release intoxicant effect run its course on the collective ear from a distance. The label-artist here proffers the gruffer stuff, from the grunting percs of 'Tears' through to the smoother high piquancies of 'Lost In The Dance', both of which nail that irreverent, not-too-much mood innate to all the best dance music.

Review: Shadow Pressings returns to their own self-titled label with more joyous disco, house, acid and funk fusions on their Mid Level Boss: Bonus Round EP. 'Find A Friend' is a lively opener with funky basslines and big claps, scurrying disco grooves and call and response vocals that brim with character. 'Holding One Shoe' flips the script to bring some slow motion acid house undulations while 'Train Of Fools' is a deep cut with raw percussion and sensuous vocals adding soul. Superb chords bring late night charm to the prickly beats of closer 'More Music In The Night'.

Review: Newcomers Shadow Pressings lift the lid on their vinyl releasing schedule with a debutante's bang, welcoming a first four-track EP release crafted by none other than an artist taking the label's name. Taking after Chicago and garage house, A-siders 'The Messiah' and 'It Started In Chicago' impress with their full-bodied reveries and beeping repetitions, but neither match the transcendent stringwork, chord progressive poignancies and vocal samply ingenuity of the B1 'How Does It Feel', sure, by our word, to become a modern classic. 'Changes' closes on an indeterminate progressive mood, bridging the gap between styles in a way we don't think we've heard before.