First up is the strong, minded with intent, 'Oochie Coo', which goes for that Chicago bumpty-bump bass beat production with sneering hi-hats and short melody. This will definitely capture the dancefloor and take people deeper into a cinematic epic caught abusing ketamine. Some sinister vocals give this deep, dirty, Chicago inspired, acid-induced number a somewhat jaded sound but all the production elements are complex and precise, never tired sounding or fractured.
'My Zel' starts with short rolling beats and a sinister build up that eventually construct into the lead sample, whistling its way around the production. Again, this is very Chicago both in its construction and its use of melody. The final offering is 'T-Y-O-C-Painkillers (2AM_FM RMX)'. It gets grinding with a post-industrial introduction which unfolds into a lead synth melody, that rolls and swings through the track with ease.
'Oochie Coo' is definitely the main number here but all the tracks on offer should sit well with the likes of Troy Pierce or even Derrick May, Juan Atkins and Kevin Saunderson. All three pieces have a really late night feel (suitable for peak time or for after parties) and complex production surrounded by warbles, synths, hi-hats and electronic programming. The tracks have a lot of energy, yet do not sound rushed or over produced, and skillfully reference early Detroit techno and Chicago grooves.
James T. Cotton might sound average as a name but his music most certainly is not.