George Riley),” the lead single from All Hours, became one of the biggest feel-good dance tracks of the late summer in clubs, at festivals, and on radio. Anzįew artists have seen as sharp an increase in popularity this year as Anz, largely thanks to the fact that “You Could Be (ft. Darrius Quince’s edit leans heavier into musicality and goes lighter on the percussion, with a wandering synth lead, twirling arpeggios, and swells of gorgeous keys. Sarah Elizabeth Charles).” First up is minorINVENTION’s percussion-heavy edit-stripped back to the bare basics, where the only hints of melody are the pitch-shifting chord stabs and the occasional vocal flourish from Sarah Elizabeth Charles.

We’re treated to two different versions of “Lisbon Nights (ft. Small Creatures’ Britt Frappier lends her soft vocal tones to “Words Can’t Express,” backed up by tough drums, a smooth Rhodes, flickering synth, and the jaw-dropping chops of keyboardist Ian Fink.

“How We Get Down” makes use of more synthetic textures, but still allows space for Dixon to rip an incredible piano solo that, while virtuosic, never gets in the way of the song’s groove. The track starts out with clave-led rolling hand percussion and Moodymann’s unmistakable drawl before sharp yet smoky chords take center stage and slowly unravel to reveal a moving solo from Belgrave. “On My Own” is a great example of this, where Dixon is joined by Detroit dance music icon Moodymann and saxophonist Kasan Belgrave, son of the legendary Marcus Belgrave-who also happens to have been Dixon’s mentor. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to trackįew artists manage to bring together the musical sophistication of jazz with the driving power of techno and pack it with so much feeling, emotion, and personality as Detroit’s Jon Dixon.

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