It’s been a couple of days since the bomb dropped. In many ways, the smoke has cleared and we’ve been given a glimpse into the madness of Levon Vincent, but there is much left to decipher from the NYC-bred DJ’s recent self-titled LP. The whole experience plays like clockwork in an old, mysterious, dilapidated grandfather clock setting a mysterious tone over the whole project; the time ticks by and by until suddenly something springs to life. In this case, much like My Bloody Valentine’s return last year, Mr. Vincent took to social media and Resident Advisor to announce that his latest LP would be released digitally for a short period prior to the vinyl pressing’s release. And now that light has been shed onto his newest efforts, what is there to be said.
It’s grand in scale and ambitious. Much like the work of Hans Zimmer or John Williams, the scope is miraculous and ventures beyond borders of house music to invent something symphonic in nature. Instead of beats composed to work a dancefloor, Vincent has managed to make movements, suites, and overtures that work best as a whole piece of music. In its grimiest moments, the LP dips into a 1980s, John Carpenter-esque vibe as pads and throbbing, heavy synths challenge us to visit and accept the darker recesses of dance music (specifically on the track “Junkies on Herman Strasse”). There are a few tracks, however, that could perceivably work on their own: the winding “Launch Ramp to Tha Sky”; the Human After All-era beat machine of “Small Whole-Numbered Ratios”; and the moody, Blade Runner-esque synthscape of ‘The Beginning” all work on a singular level.
But the true experience lies in listening to the record from beginning to end. Much like Daft Punk’s opus Random Access Memories, this album’s beauty is derived from its work as a whole. It’s a calling to an older era of music where the journey was the entire point – not the drop.
You can download his self-titled album on Novel Sound here.
CDC’s “Do It Like That” is the UK-based duo’s latest effort – part of a two piece EP just out on Twisted Fusion. Much like previous releases “Around You,” a brilliant rework of Toni Braxton’s “You’re Making Me High” and “Give It,” among many others, this release from the rising Tech-House outfit definitely delivers.
Clearly developed in the spirit of getting the club moving, this track combines playful vocals with a thumping bass line. Add in the well crafted percussion and the noticeable, but not overpowering crunchy synths, and you have a real weapon to get people bouncing on the dance floor.
Based on their current track record, CDC is definitely an act to watch in the Deep House and Tech scene in 2015 and beyond. “Morning Glory,” the other piece to the EP, is also worth giving a listen.
The duo from Sydney just came out with a new track a couple of days ago with singer Eliza Sol. This genre-bender features elements from across the electronic music spectrum. Human Movement manages to incorporate a deep house groove with big electro-house synths, while at the same time having a dark techno feel. Oh and it’s a total banger. If you want to hear more stuff like this, they recently did a guest mix on Nest HQ that’s worth checking out. Also make sure you grab the track here.
Poland’s Jacob B more or less arrived out of nowhere and his new EP, ‘The Breslau Cuts’ on Berlin based Käse Kool, is ready to declare war on the dancefloor with a series of absolute bangers. Each track on the cut is like a self-contained, anarchic ball of energy designed for fancy footwork and sweat-drenched bodies. The crowning achievement on the EP, suitably titled The Weapon, goes 0 to 100 by demolishing current dance music trends and aiming straight for the gut. Coming hot out of the gate with a heavy hitting 4/4 beat, an unrelenting bassline that assaults the senses, and an apparent love of UK garage and classic techno, Jacob B’s latest truly lives up to its name. Strictly speaking, this is the kind of secret track DJs let loose just to watch their crowd go off the rails into Crazytown: the place where there aren’t any rules other than shuffling feet, hardcore vogueing, and unmistakeable eruptions of the sound, “WOO.” Yeah – apparently The Weapon is atomic in nature.
‘The Breslau Cuts’ also features 3 additional tracks: the jacking beat of From the Underground; the deep, insular Warehouse Stomp; and the ‘JMF Fatty Rub’ of From the Underground which flips, twists, and dips like a carnival ride.
You can listen to Jacob B’s The Weapon and the rest of ‘The Breslau Cuts’ below and pick up the EP via Käse Kool Records on February 7.
Dirtybird player Justin Jay recently remixed a track by Disciples that is forthcoming on Pete Tong’s Full Frequency Range Recordings. Justin is often known for creating booty-shaking beats, but this time he went a bit deeper. The track has a bit of an ominous feel, somewhat resemblant of a Maceo Plex production. He used a huge sounding synth bass that has you swimming in sound along with a catchy melody that sounds like some sort of plucked string instrument. This one is due out on the 22nd of February so be sure to pick it up then!