Tornado Wallace – Always Twirling (Original Mix) [DEEP HOUSE]

Circa 2007 back in Oz, I came across this dope Progressive track track by a Melbournian named Lewie Day. The track was called ‘Alright’, and it got lost in the abyss of my old Hard Drive. Out of sight and out of mind, I never really looked out for other music from him. Fast-forward to 2016 I was seeing Bjarki play at The Pickle Factory. Conversing with a fellow Aussie about the scene back home, I asked him about Lewie Day. More shocked than a Euromillions lotto winner, I proceeded to find out that Day operated as Tornado Wallace. How did I not know that he was the founder of Melbourne Deepcast, a podcast behind one of my favourite releases of 2010. Anyhow, for a man battling against the tide of Happy Hardcore, Hardstyle, Electro House and Dubstep I was proud to say the least. His follow up release on Delusions of Grandeur (the sister label of Freerange Records run by Jimpster) featuring a dope Linkwood remix, ‘Always Twirling’ was Tornado Wallace’s reminder that he was here to stay.

Talking about both monikers in his interview with Juno, Lewie claims ‘Tornado kind of opened up as I was making music less about a druggy sound and more of a drinking mocktails by the pool sound.’ I would add that it’s a pool fluoresced by the moonlight, as the scattered hats spray around like a lawn sprinkler. Single note keyboard stabs are placed meticulously on beat, with a sampled disco guitar rift quietly strumming in the background. All of a sudden, the reason why the track gets it’s name hits for cortex. Melting and folding into each others company, panned chords twirl revolvingly at a slowed paced to take full effect. Once the pads kick in, you feel at full flight over the clouds as it soars the higher registers. A vocal sings ‘Back to shake em down’ as ‘You broke my heart, because I couldn’t dance’. A breakdown of epic proportions then takes place with Wallace displaying some supremo synth work glittered with minor key swirls. It’s like a painter dipping it’s bush into gloops of paint, ensuring there’s as much drag as possible as it paints over the canvas. The bass is a groovy affair with slackened disco flair to keep things chill.

At 116bpm, it is a cushd track great for mixing in with Disco or Deep House. Bringing variety to what Lewie has recently releases, such as the IDM displayed on ‘Lonely Planet‘ and more indigenous sounds of ‘Kakadu‘. Whatever direction he does take, however, it is always maintained at the highest of heights when it comes to music craftsmanship.