Always hard at work unearthing interesting new projects or forgotten old gems, Opilec Music is now serving up a retrospective compilation of highly esteemed Chicago producer Jordan Field's best work from 1986 - 1991. Field has been active now for some thirty years (on labels like Rush Hour, Headphoniq and Mo Wax) but his best work was arguably done in his first decade or so. Now Opilec boss I-Robots has been given access to a collection of Field's early recordings and has selected, compiled & conceived this project himself. It will be presented as a full-length album but will also arrive in a few select EP parts, with this being the first one. Says Jordan about the project "This album is one of my most important works to date, as it contains recordings captured during a very special moment in my life circa 1986-1991. At this point I had much knowledge about DJ culture and the art form of house music, I was a product of my environment. I was young, but I had already experienced so much in my first 5 years of absorbing it all! While that may not seem like a lot of time, you have to understand House Music was not even a decade old at this point. What's important for me to explain is I had already gone through my baby steps by the time I was recording the trax that are on this album. This is the point where I was at the next level, chapter 2." Up first is the classic jack of 'That's How It Is' with its perfectly analogue synths and drums conjuring a warm, human and organic mood. Acid lines and slapping percussion all interact and ooze Chicago house authenticity. ‘The Answer' is a much rawer and more dishevelled sounding affair with lumpy, rough hewn drums and crisscrossing percussion that screams to be played loud in a warehouse. 'Future Thought's' is alive with the sound of classic Roland cowbells and shuffling drums. It's deep and mystic and sounds as if it's come from somewhere far off in deepest darkest space. Finally, 'Rhythm of Romance' gets a little sleazy with its tight loops, thumping kick drums and mechanical metal hooks. They sound all out of control but are off set by some seriously sombre chords in the latter half. Often imitated but never bettered, this is the true sound of Chicago house music in all its forms from one of its finest sons.