Danny Daze – Silicon
While many producers opt for a sound pallets which seamlessly compliment the kick, idiosyncratic production can often strike gold. Floridian DJ Daniel Gomez, better known by his stage name Danny Daze, has a special fondness for avant-garde computerised sounds, as shown in his FACT Magazine Against The Clock segment. Claiming in his interview with Electronic Groove that most of his “influences come from the melting pot that is Miami”, Daze ravels in versatility. His own catalogue is a testament to such approach. You can find releases ranging from his caliginous Hot Creations Deep House collaboration with Louisahhh to the synth-parading Kompakt anthem ‘Swim’. CRRSD describe his sounds as “esoteric and cerebral”. ‘Silicon’, Daze’s 2014 release on Jimmy Edgar’s Ultramajic imprint embraces such label with delight, a track that erupts like a typhoon onto the dancefloor.
A trembling bassline that interlinks with the hissing white noise ushering the intro of track hints at an upcoming zonked experience. The shredded yet deviant rhythm it brings is optimal for a peak-hour set of a spaced-out night. Heavily-indebted to the influence of Miami Bass, the thickset sound bridges the Miami-Detroit connection. ‘My girl is made of silicone‘ repeats an extraterrestrial voice you’d associate with a Green Velvet release. The “droning synths“, however, are the limelight of the track. Given unrestricted freedom to roam like a Pitbull with rabies, the stentorian frequencies squawk, shriek and squeal piercingly. The reverberate was most likely created using Roland JP-8080, a piece of hardware Daze told Music Radar he uses for the “drone” sound in his production. The merit of an electronic track with a consistent 4/4 beat opens up a sphere for layering textured experimentation. Halfway through, the producer tones the lower EQs down, granting the squelches the platform they deserve. Krautrockian pads daintily float for a few bars before the hammering kick resumes the party. Matthew Dear’s Audion alias is responsible for equally vanguard production. Continue reading
DJ Linus – K.B.s Groove (Kris Wadsworth Love Letter to House Remix)
Kris Wadsworth’s reputation as a top tier producer needs no question. The pop, crackle & snap of the lower notes on one of the monumental tech-house tracks of the 2010’s ‘Lime & Pink‘ hit every ear cavern in a way which had as much of an impact as Frank Ocean’s Channel Orange did for the RnB scene. As anyone would, were you to discover such an intoxicating squelches, you’re bound to make a brother, sister or two. One of the highlights is his remix of DJ Linus’ K.Bs Groove, released in 2012 on Initials. The track, as the lead vocal states is electrifying.
The low-pitched male vocal on this track sounds like a evil villain featured in a Japanese manga hailing from another dimension. KW lets it play out saying ‘When I feel good, I think of you, then I touch the sky’. A flat single note underpins this before it precedes to tell you ‘It’s Hades Groove, it’s your groove.’ There’s likely never been a more haunting voice in dance music. It effortlessly exuberates suave however, once the squelchy lines start teasing you. If you’ve heard Lime & Pink one cannot help to start wincing, knowing what’s about to hit you. Mixed-in is a different sequence with same low-end bounces that are like a huge rubber bands being strummed by a giant orc. It offers more squelch than marches towards Mordor in Lord of the Rings. KW is equally an impressive Deep House producer. His use of a shadowy deep synth on the top makes this track truly statuesque. Continue reading
Konrad Black & Art Department – Graveyard Tan (Version 2)
Art Department’s infectious house releases meant they were the underground scene equivalent of Orlando Magic with peak Shaq x Penny Hardaway of the early 2010s. Had you entered an one of Hackney’s hot spots in summer of 2011 you would have found the crowd singing along to the lyrics of “Without You”. On Graveyard Tan they collaborate with the versatile Canadian producer Konrad Black. The track, released in 2012 on the No.19 Music label, is so thumping your neighbours’ cousin will be asking for the Track ID. The artists synergism results in a cutting-edge release. The preeminence of a thundering bassline combined with raw synthesiser sound conceives a firecracker.