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Shit Robot: We Got A Love

Marcus Lambkin, the Stuttgart-based Irish DJ and producer behind the Shit Robot moniker, has been a fixture on the DFA Records roster since 2005, and although he may not be as familiar a face as founder James Murphy his status within the organisation shouldn’t be under-played: DFA was born out of an equal love of avant-garde post-punk rock and hedonistic electronic club music, and whilst other acts – most notably The Rapture and Murphy’s own LCD Soundsystem – have ensured the former has always been well represented, Lambkin has kept the 4/4 pulse going strong through the years with a steady stream of 12″s that play like a condensed history of house and techno. As the title of his 2010 debut long-player From The Cradle To The Rave implied, Lambkin is a dance music lifer and his impressive subject knowledge and obvious fan-boy enthusiasm serve him well on just-released sophomore collection We Got A Love: packed end to end with surefire smiley-faced floor-fillers, it’s a record that makes 2014’s biggest club-friendly “event” album – Tensnake’s Glow – seem like quiet time at an old folks’ home in comparison. As ever, Lambkin knows how to pick his collaborators, and all but two tracks feature guest vocalists who complement the beats perfectly, whether it’s ex-Rapture frontman Luke Jenner going full-on Bee Gee on the Saturday night fever dream “Feels Real“, Chicago house legend Lidell Townsell instructing us to jack our bodies on “Do It (Right)” or Holly Backler playing Aussie rules Europop with her diva turn on “Feels Like”; even comedian Reggie Watts proves an inspired choice, belting out a surprisingly assured and soulful lead on the spectacularly funky title track. Label-mates Museum Of Love help out on the shimmering, trippy “Dingbat”, but it’s “Do That Dance” (below) that is the real highlight here, LCD/ The Juan Maclean’s Nancy Whang showing once again why she’d make the coolest front-woman since Debbie Harry (DFA, Gomma, whoever: let’s make this happen!) with a typically deadpan vocal over springy keys, a bells-and-whistles tropical groove and monstrous snaking bassline. All in all, the best long-player that DFA have put out in a while and reassuring proof – despite the near-extinction of the label’s old guard – that as long as Shit Robot is around the beat goes on.




About foamhands

My name is Michael Dix; I'm a decade or so past being down with the kids, but to me new music never gets old. Apparently I like music that sounds like faulty kitchen appliances and ritual slaughter; really I just like what I like, whether that happens to be indie, pop, punk, hip hop, metal, electronica, Afrobeat or jazz. Follow me on Twitter @FoamHandsBlog to receive notifications of new posts and the occasional random brain-fart, and please share links wherever you can. Enjoy!

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