1. Volume 1 Las Vegas

A 2xCD set that follows a 3x12' 2007 release of the same name, this expanded version of Sound Sculptures Volume 1 shows the diversity of the house producer's vision, ranging from fully realized vocal songs to minimal tracks built from defiantly crude beats.

Theo Parrish is a master crafter of a decidedly elusive brand of dance music, which is rare. Most sounds that identify as 'dance music' take bold measures to make their intentions known, but Parrish's sound-- an odd, insinuating kind of house music-- counts as more suggestive and sly, with subtle textural rubs and beats that register as ellipses more than exclamation points. Parrish's is a message that arrives by way of coded whispers and hums.

One of the byproducts of Parrish's elusiveness is that you have to work a little to hear him. This makes for a special kind of disconnect where newcomers might be left to wonder what Parrish partisans (and there are many) find to fetishize in tracks that play like little more than sketchy drafts or protracted sashays. The keys to the enterprise are patience and an abiding sense of a project at work-- a cunning, cumulative project that rewards immersion more than immediacy.

All of which makes Sound Sculptures Volume 1 an ideal way to hear Parrish in his many moods. The 2xCD set follows a 3x12' vinyl release with the same name from last year, but the tracklist has tripled-- which, with Parrish, almost has to mean the tally of ideas did, too. His cleverness is not always readily apparent. The opening 'All Yours/Who Told Adam?' does nothing more than take a section of flanged synthesizer and a defiantly crude beat and then reiterate it over and over. The result, however, sounds somehow both heavy-handed and magisterially finessed. 'Black Music (I Love You)' follows with a dizzy disco spell supporting a spoken-word tribute to Parrish's implied lineage (Sun Ra, John Coltrane, Muddy Waters, Howlin' Wolf, Gil Scott-Heron, etc.) The result this time, as Parrish tweaks the EQ levels in a manner he's made his own, sounds somehow both supremely hot and cold-- like a long sustained freezer burn.

Volume 1 Las Vegas

Parrish rarely lays off the EQ, and his tracks are all the better for it. The smallest adjustments of sound-- upticks of treble on the drums, changes of emphasis on a vocal, the accentuation and/or subtraction of pretty much everything in play at any given moment-- make what might sound like the simplest tracks spellbinding over time. And they lend Sound Sculptures a casual, easygoing sense of something always happening, as in 'They Say', a sensuous soul song (with cooed vocals by MonicaBlaire) that sounds like IDM but way less mannered-- like Aphex Twin made by back-porch means. Or 'Love Triumphant', a nearly 12-minute spell of flute-strewn disco with a simmering rhythm that makes nodding along less an option than an order.

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IMPORTANT: You must change the default user Idle Timeout setting on the Dominion SX GUI before you begin using the RSC or it will timeout in 10 minutes and display a host termination message. See the Security chapter of the Dominion SX User Guide for changing the Idle Timeout setting. Samplesound’s latest release is another debut of a new series - Main Sculpture. This series focuses on the original Tech House and House sounds that brought these genres to prominence. Inspired by the sounds of Tech House and House heavyweights like Hot Creations, Relief and Repopulate Mars the pack is designed to assist producers in creating individual tracks in a highly populated scene.

Disc 2 starts off with another long song, 'Goin' Downstairs/Music?', that lays bare all of Parrish's charms: hypnotic snap beats, sweaty organ chords, flashing tambourine, moody bass, vocals that seem to be saying something important in a mist of murmurs and sighs. 'The Rink' amps up the energy to rollerskating speed (with a sample of Marvin Gaye) and 'Synthetic Flemm' (made with fellow Detroit weird-house hero Omar-S) enlists an aggressive acid line. But even at his most immediate, Parrish is graced by a sense of withholding that proves all the more generous and expressive over time.