Murphy Jax – We Dance review

Murphy Jax - We Dance
Artist
Murphy Jax
Title
We Dance
Label
Turbo Recordings
Format
12", Digital
Buy vinyl Buy digital

Given his love for blurring the lines between vintage Chicago jack, shiny Paradise Garage style proto-house and original electro-pop, it was probably only a matter of time before fast-rising producer Murphy Jax made an appearance on Tiga’s Turbo label. So far, the accurately-named Jax has impressed with two stand-out releases; a superb retro-house collaboration with Mike Dunn on Clone’s Jack for Daze offshoot (“It’s The Music”) and the bubbling Masters Of Meta Space EP on My Favourite Robot – a collection of star-gazing space disco jackers with a thrilling electro-pop bent. It says something about Jax’s talents that this third EP raises the bar again after two previously impeccable releases. Without a shadow of a doubt, We Dance is his best release to date. So far, at least – he has more 12” singles ready to drop imminently.

Like his previous output, We Dance comes loaded with raw analogue funk, endorphin-releasing synth chords and dancefloor-baiting acid tweakery – all wrapped up in the German’s trademark retro-futurist production. It’s a sound that unashamedly looks to dance music’s past – most notably New York and Chicago in the mid 1980s – but never sounds anything less than 100 per cent current.

The EP is itself is something of an epic at seven tracks deep, but it rarely drags – thanks in no small part to a hot-to-trot mix of near-perfect original material and on-point remixes. Of the original material, it’s the title track itself that most impresses. A near-perfect fusion of touchy-feely early 80s Italo-influenced synth pop (think the Pet Shop Boys Please album) and dubbed-out Chicago jack, it’s pop-house perfection. There are two unfeasibly heavy remixes, too, from Populette (radio-friendly rave-jack) and Freak Seven (growling, percussive darkroom acid).

Elsewhere, there’s plenty more to get excited about, not least the foreboding electronic growl of “8BitEpos” and the anthemic space disco-jack of “Suburban Path”. There’s also the small matter of “Time To Bump”, an emotion-rich builder that fixes snappy 808 beats and 303 tweaks to a grandiose synth wash seemingly inspired by “West End Girls”. That gets a fittingly bumpin’, bass-heavy rework from Matt Walsh and Zhao that offers the perfect finale to a near-perfect release.

Matt Anniss


Leave a reply