The Englishman was at the very heart of the birth of dubstep, first as an employee at Black Market Records in London and later organizing the Man Make Music parties. In 2010 he relocated to Berlin, where he began to release material he had previously worked on for a number of years. FitzGerald has always been open minded to many musical genres in which house, bass music and garage happily sit alongside each other, releasing music on some of the most interesting new European electronic music labels.
On his third album Stellar Drifting, George FitzGerald unveils a record of wide-eyed wonder and emotion, filled with glistening melodies and iridescent electronics.
Then, there’s “Promised Land.” Three decades after its release, and after countless late-night airings, the song is a house music staple that has lost little of its power to work its magic on even the most jaded of dancers and the most cynical of revelers. Coming out in 1987 on Chicago’s essential D.J. International label, the original version was credited to Joe Smooth Inc.; later versions shortened that credit to Joe Smooth. And in typically casual early-house nomenclature, it was titled both “The Promised Land” and simply “Promised Land” on the label, with the latter becoming the standard moniker.