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Review: There's been plenty of online chatter about the confrontational title of Omar-S's latest full-length outing, and arguably not enough focus on the music itself (or the fact that the guest list contains Rick Wilhite, Norm Talley and OB Ignitt for that matter). This is unfortunate, because as usual Alex 'Omar' Smith has hit the spot. The six untitled tracks are impressively varied, with Smith effortlessly moving between 21st century P-funk (track one), cowbell-powered deep house funk (track 2), sparse and synth-heavy acid house hypnotism (track three), disco-house jack (track four), sub-heavy Detroit-meets-Sheffield minimalism (track five) and sunrise-ready dancefloor dreaminess (track six).

Review: Those who've been paying close attention will know that Alex 'Omar' Smith has been mixing things up musically of late, veering away from the deep Detroit house he's famed for in order to explore a wider range of influences. New album "You Want" doesn't exactly reverse this trend, but it is far more rooted in his particular brand of seductive, off-kilter deepness and techno-tinged hypnotism than recent singles. That's undeniably a good thing, because nobody does crunchy, machine driven club jams better than the Motor City producer. There are nods towards Italian style piano house, disco, broken beat, jazz funk, Masters at Work and - more surprisingly - industrial techno (see the filthy closing cut) - but the resultant cuts don't sound like anything other than tried-and-tested Omar-S club jams.

Review: For his latest trick, Alex "Omar" Smith has crafted a killer new tune out of a distinctive gospel soul sample that he first used on much-played 2004 single "Day". Pedants will point out that "That's Me" actually uses a wider variety of sampled loops from the same source track, rather than one specific repetitive section, but either way the results are fantastic. Bumping, distorted, bass-heavy and soulful with more grunt than your average blue movie, the track is a perfect example of how highly effective, life-affirming house music can be made out of the simplest of elements suitably arranged and tweaked. Basically, it's a jazz-flecked, hands-aloft bumper that will get played at a lot of festivals this summer.

Review: What more can be said about the output of Alex 'Omar' Smith? The Detroiter's releases have perhaps been a little more varied of late than we've come to expect, but the quality nevertheless remains dizzyingly high. This white label excursion is full of floor-friendly gems, with Smith's use of classic house samples and familiar vocal samples also making it one of his most party-hearted releases for a while. Check, for example, "Catch Ya", where a much-loved turn-of-the-'90s acapella rises above bouncy New Jersey organs and snappy machine drums. "Better Believe It Baby" brilliantly wraps a chiming synth loop and R&B style vocal snippets around a chunky, disco-fired deep house beat, while "Cheat" and "Pull Ovaa" are deliciously dusty, bass-heavy deep house workouts with just the right amount of hypnotic late night charm.

Review: You have to admire Alex "Omar" Smith's work rate. He's been slinging out regular releases now for the best part of a decade and shows no sign of slowing down. "1992" is his second EP of 2019 and contains a trio of contrasting cuts in his distinctive, hardware-driven sound. Perhaps the biggest surprise is closing cut "Homey Trinitron", a techno-tempo workout that wraps fuzzy, lo-fi synth motifs around weighty and distorted, ghetto-house influenced drums. He provides a chunk of loose but locked-in deep house drowsiness (see the warm, shuffling and punchy title track), as well as a cheery, piano-driven A-side that's as warm, rush-inducing and anthem-like as anything he's released to date.

Review: Hot on the heels of the boastfully-titled full-length The Best comes Desert Eagle, Alex Omar Smith's first 12" of 2016. The title track is as bold and brassy as you'd expect from the Detroit producer, with swirling, minor key melodies and woozy chords complimenting swinging machine drums and a deliciously bouncy, suitably tactile synth-bass line. Arguably better is "Cry Me A River", where soulful vocal samples and wonderfully positive melody lines are expertly combined with bumpin', distorted deep house drums. Throw in some sustained note strings and a bustling bassline, and you have another guaranteed floor-filler from the FXHE boss.

Review: killer new heat from Omar S on his FXHE label featuring Desire on vocals + backed with an instrumental mix.

Review: Proper future classic Omar S!

Review: Omar S is back on FXHE with a seriously sassy piece of ballroom house vamping crying out for someone to walk. 'Miss Hunn'nay' features an insanely catchy vocal hook which loops out over some killer organ flex and a bassline guaranteed to get everyone grooving low down and nasty. It's Omar S at his party starting best. 'Money Hit Da Floor (Instrumental Mix)' brings it tough and deep, all snappy 909 beats, sharp stabs and those thick, immersive pads he does so well. 'Ice Cream (Instrumental Version)' closes this stellar 12" out with another finely chiseled workout which has all the hallmarks of an FXHE staple, rooted in the Motor City tradition but delivered with a panache that belongs to one man and one man only.

Review: Omar S sets his considerable dancefloor skills to something a little different on a new 7" featuring the vocal talents of TroiAlexis. A young talented Detroit female songwriter who was discovered by Omar S at the Conant Gardens Party Store when she sung acapella to him at a Hi Tech party, TroiAlexis lends an air of soulful class to Omar's trademark electro-slanted electronics on both sides of this single. There's a stripped down - and we mean stripped right down - bass heavy R&B mix on the A-side, while the flip has a sturdier house mix that still gives her voice room to soar.

Review: A few eyebrows were raised when Omar-S announced the title of his latest album. While clearly meant as a controversial talking point, the title should not distract from what is one of Alex 'Omar' Smith's strongest collections of cuts to date - and one with an all-star cast of Motor City collaborators (Rick Wilhite, Norm Talley and OB Ignitt all feature). Musically, it's pleasingly diverse, with Smith effortlessly drifting between 21st century P-funk ("In My City"), cowbell-powered deep-house funk ("Don't Leave Me Standing Yeea"), sparse and synth-heavy house hypnotism ("Mell'like Boom Boom In'dair"), disco-house jack ("Washtenaw County Horn Section"), sub-heavy Detroit-meets-Sheffield minimalism ("You Gotta Beat The Clock") and sunrise-ready dancefloor dreaminess ("Simply"). This CD edition also includes four cuts not available on the vinyl edition.

Review: Omar S has always seemingly enjoyed working with other local talents and giving them a platform of his own vital FXHE label. That's what he does here as he looks to Motor City creatives in the young King Milo, Tayloe and old friend John F.M. He kicks off in solo mode with some signature stripped back house futurism on 'Tongue Pecker' before 'Pain' is a high speed and sleazy ghetto bumper. The standout is 'I Love Your Girl Friend' (feat John FM) with its heart aching vocal, gorgeous piano chords and deep, dusty drum bumps. A real classic in the making which is followed by another achingly beautiful mix of soulful vocals and grotty lo-fi synth and drums on 'Some Good Loving' (feat Tayloe).