Donky Pitch releases “Remixes” compilation

donkey

Donky Pitch started as little club night in Brighton, England back in 2009, but now in 2015 the label has become a force of a label. Delivering wonky club driven music, Donky Pitch is label with no equal, simply because the diverse range of artists and styles brought to the table. From a string of singles and even two amazing albums by Lockah and The Range, this label has a lot to draw from. This smorgasbord of musicians plays well on the labels newest release, Remixes.

As the name would suggest, Remixes is a compilation of edits and mutations by label mainstays as well as outside names. The mixture of woozy and gleaming synths with rumbling bass provides for a fun ride through this collection of remixes. Only one of the remixes appears to be previously unreleased, but coinciding with the five year retrospective released last October, it seems like a good companion piece.

Cuts like Obey City’s remix of The Range and Mount Bank’s VIP of Starfoxxx seem to present the more downtempo and chill side of the label. Synths flow while subtle bass and drums seem to fill out any open space. But that doesn’t mean the remixes can’t take it to the dance floor. Lockah presented an excellent remix of LiL Texas’ “My Love” that absolutely takes the vocal sample to new euphoric heights. Tokyo Hands remix of Tel Aviv’s VesperTown starts with a hard four to the floor kick, eventually giving way to skittering hi-hats and wonderful stabs that sound like a sugary coated rave, which would play well with labels like PC Music.

The biggest winner on the compilation might go to their very first release from back in the fall of 2010. Mweslee’s remix of Slugabed’s “Donky Stomp” falls near the end of this 8 track compilation, but the wait is worth it. The opening synth glitches don’t prepare the listener for a fluid bass line, hard drums, and clicks of chimes that are soon to appear. By the time the vocal sample comes in, the song mutates into something like a neon version of early James Blake.

Remixes by Donky Pitch is available now on Bandcamp at a name your own price point.

Advertisements

Lxury – Into The Everywhere

Lxury, a.k.a. Andy Smith, made himself heard with his collaboration with college-mate Guy Lawrence from Disclosure J.A.W.S, and it would appear that since that release, Smith has been striving to quasi-distance himself from that “Disclosure” sound, in an almost dizzying way, with each release building interest and expectations, and Smith largely meeting each one, usually with a different approach and not keeping to a mold.

Lxury’s latest album “Into The Everywhere” [Greco-Roman] is a splendid release which weaves its way through all sorts of sounds, emotions, and progressions. An essence of washy, echoey, but “big” sound appear to the emphasis in many of the tracks. Think “wall of sound.” Above all, however, there is a warmth in the music of this EP that underlies every song that surrounds the listener. This warmth is present from start to finish, in different ways, atmosphere, and intensity.

The opening track “Pick You Up” is a whirring and whirrying track with a loving atmosphere expressed by the vocals. “Equals” follows with a more stern, very high-street sounding track that would find it’s way well to a catwalk. I like the long intro how one can hear the various bits and pieces coming together slowly to create the entire basis of the track in a long drawn out form. Depford Goth contributes vocals to the following track “Square 1” a thick and slow-dancey R&B pop ballad. Depford Goth’s deep and tense tone works well with Lxury’s warm music. Things pick up the pace again with “World 2” with finicky drums snapping their way through the happy yet oddly creepily dark tone of the music, with “could have been my lover” repeated ominously throughout the song by a wistful voice. “Neighbour” is a lovely blend of natural drum, pipe and piano sounds in a thumping party track that is hard not to dance to, all mixed together with hazy vocals. The heat here is not a comforting one for cold evenings, rather a humid, wet, heat, that you simply dance through to ignore. The album is capped off by a very interesting unique slower track “Everywhere” that catches you a little of guard, especially after the nature of the previous song. It is soppy, and gives off a sense of reflection and control, and gives off an utterly euphoric yet mature emotion.

These are all wonderful tracks that aren’t strictly house tracks and yet could be played at any dark club. The use of a warming sound in various ways in all tracks, be it intentional or not, is wonderful and makes the whole album. The earnest nature of the music gives it some personality that we all can at times relate to; We want to simply be, stopping intermittently for a bit a fun, before returning to a state of mind that is the most comforting to us.

To me, this is the first great release of 2015.