Get Up Recordings is pleased to welcome Automagic to the label family with their scorching new cut “Track It To The Edge” featuring vocalist Jamil Rafael La’Beija. Automagic is Bryan Wright and Will Automagic, two New York City based DJs who came together in 2000 to form this creative project. Many of their releases have worked their way into the sets of some of the biggest DJs, with highlights including “Do You Feel” on Buzzin’ Fly, “In Your Eyes” for King Street, and “One Day My Love”, co-written with and produced for N’Dea Davenport on Curvve. On “Track It To The Edge,” Automagic opt for a classic, retro feel with acid house sounds and rhythms as well as Jamil’s hypnotically monotone spoken vocal. The tune itself could be some hidden, vintage gem rescued from a Chicago studio vault, but its big production and dubby treatments betray the contemporary origin. Automagic shine here, harking back to acid house while giving their own identifiable stamp through the cut’s rousing build and snake-like groove. A future after hours classic, perhaps.
The remixes come hot and heavy, with each producer feeding the original’s vibe with their own sound and outlook. There’s no one better to tackle this affair than the first remixer on duty, New York heavyweight Quentin Harris. One of the more in-demand remixers and DJs of today, Harris absolutely turns it out for his rolling, dark techno rework of “Track It To The Edge.” An eight minute audio journey, the mix focuses on an insistent acid bass line underneath splashes of percussion and heavy manipulation of Jamil’s vocal. As synth strings rise to a climax, the mix ends in a somewhat different place than it started, but in an effortless way that shows Harris’ mastery of the form. Next up is a version from Kim Ann Foxman, perhaps best known as DJ with Hercules And Love Affair, but now branching out on her own in a big way with releases and remixes for the likes of Rush Hour, Gomma, Skint, and Relish. Foxman’s remix takes things in a spacier direction, with lush strings, stop-and-start hi-hat rhythms, a mesmerizing low-end throb, and cosmic repetition of the vocal hook. This one’s perfect for prime time in the basement. Finally, DJ Nita, resident of New York’s legendary Tubway party and one half of The Carry Nation with Will Automagic, directs a proper four-on-the-floor nightclub version that compliments the bass line with bell-like synth punctuations to fine effect. There’s also a tempo surprise in the breakdown that should totally get the dance floor fired up. Beautiful work closing up a fantastic package … this is the sound of underground New York, coming direct from Get Up Recordings.
Chris Fortier - “Feels real good.”
Aeroplane - “Gotta love Kim Ann Foxman! DJ Nita’s remix is also interesting.”
Joshua Iz - “Really liking this mix from Quentin. I can’t wait to hear it on a proper system.”
Rocco (Rodamaal) - “Loving both mixes. Superb modern rework by Quentin Harris and real vibe from the late early 90’s by DJ Nita. Support!”
Alexi Delano - “Nice one!”
Diz (Vizual / Classic) - “Quentin nice’ing it up gritty and techy-good in my book … prime time.”
Severino (Horse Meat Disco) - “Very difficult to choose the best mix, but the original is great.”
Erik Rug - “I like the original version and the Kim Ann Foxman acid mix. Really cool!”
Justin Harris (Freaks) - “Strong across the board.”
Dibby Dougherty - “Great work. Massive remixes on this one. Looooving it!”
Yousef (Circus / Saved Records) - “Nice stuff!”
Neil Quigley - “Kim Ann Foxman’s acidic version is my pick.”
Raymundo Rodriguez - “Quentin nails this one. Nice package.”
Shane Johnson (Fish Go Deep) - “Tasty original with a good range of remixes. Kim Ann Foxman version standing out for me.”
Also supported by Luciano, Sleazy McQueen, DJ Rocca (Ajello), Makossa & Megablast, Jota Wagner (Colors Sound System), Eman, Omid 16B, Gene Hunt, and Nico De Ceglia.