A little more about George...
Hybridization is at the heart of the UK’s resurgent house scene, and one its central figures, London born, Berlin based, George FitzGerald, will bring his inimitable blend of beats to US dancefloors this Fall, with a brand new single ‘Magnetic’ and his first North American headlining tour, taking in nine dates kicking off December 6th.
Stream 'Magnetic' here:
https://soundcloud.com/george-fitzgerald/magnetic
B-side 'Bad Aura' here:
https://soundcloud.com/george-fitzgerald/bad-aura-zane-lowe-radio-1-13
Over the course of the last six years George FitzGerald has channeled disparate elements of techno, dubstep, house and garage into a cohesive and singular sound. His range is evidenced by a release history that encompasses such diverse and heralded underground tastemaking labels as Hotflush, Aus and Hypercolor, Fitzgerald’s own ManMakeMusic, and in 2013, his new home base, indie-powerhouse Domino.
FitzGerald’s most recent release, his debut on Domino, ‘I Can Tell’, broke new ground for the producer; a radiant house anthem, that was praised by everyone from Pitchfork to Mixmag. His forthcoming release ‘Magnetic’ offers further evidence of the maturation of FitzGerald’s sound, and yet also a return to the underground parties where he made his name.
Lead single ‘Magnetic’ is the first time George uses his own vocals on a track rather than samples, though the woozy refrain ‘Feel Magnetic’ is more an ominous siren-song to dark warehouses than any bid for pop-stylings. His tracks are some of the hardest working on the dancefloor, yet for all their menace, FitzGerald is able to imbue them with warmth. It’s a unique tenet of his work, and with the addition of his own vocals, Magnetic offers literal evidence, that FitzGerald is developing into one of the most unique voices in underground dance music.
While Magnetic may evolve FitzGerald’s use of vocals, B-side ‘Bad Aura’, takes a completely different approach, with the producer unusually opting to forgo all vocals on the track. Instead listeners are treated to stabbing synths and acid squelches that sit atop a brooding bassline.
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