Three records in and Royalty are seemingly developing an unpredictable quantity. Their first appearance on Five Easy Pieces seemed so clear in its intent. It moved between tempos, but throughout there was an electro funk squelch that was being refigured to modern beats with a very particular flair. Although being far from a repeat performance Purple Nights seemed to continue this distinct approach, snapping further heads in the process and showing a way one of the most innately danceable strains of electronic music, boogie, could be thrown down in a modern setting. It felt like we knew what Royalty were bringing us.
“I think the best time for an artist in the music industry is when they are just about to come up.” So states Chesca, one half of production duo Royalty, who are in the throes of the very position she describes.
East London’s finest purveyors of 80s-inspired boogie electro Royalty have a new single on the way and they’ve made this suitably smoky video to accompany the Kissy Asplund featuring lead track.
Fledgling London based label Five Easy Pieces haven’t put a foot wrong with their releases so far, scoring some excellent future boogie from Royalty and hunking machine funk from JR Seaton’s Call Super project to date. Their newest release, from Midnight Davis, is something altogether different.
When Five Easy Pieces emerged as a label earlier this year with a debut release sporting the day glo boogie sounds of London duo Royalty, we were confronted with an unknown quantity that surprised and delighted on all levels. Fast forward several months and the second release on the fledgling imprint might be dipped in a keener sense of familiarity given the names involved, but it proves to be no less impressive. Formed of Matt Waites (who some may recall operating under the Nightmoves and Moscow monikers) and Nocturnes boss JR Seaton, Call Super brings together two producers with a true love of vintage analogue sounds and a willingness to implement it via new formulas.
There’s a clear attention to detail that runs throughout this release, which hits you from the moment your eyes focus on the tiny patterns that adorn the cover. The time and effort dedicated to making the design look just right (having the title read down the spine is a particularly nice touch) transcends to the music and impresses right up until the needle reaches the B Side run out groove.
Across the three original tracks here, Waites and Seaton seem to revel in the opportunity to indulge their charmingly oddball side – the opening track “And It Was” for example has hushed vocals and a squelching acid refrain at its core but the track jerks with rhythmic intrigue, never giving clues as to where it will lead you. “Nosebleed” also hisses with a sense of the oncoming unknown and does not disappoint when far reaching acid patterns emerge in tow with rough hewn drums jacking with loose limbed glee.
Listen to “Timora” blindfolded and you might mistake it for a Blawan production, sitting comfortably in both the techno and dubstep camps and notable for the litany of little production touches and rhythmic swerves that constantly drag your attention in different directions. Off the back of two superb EPs and all the critical praise that followed them, Objekt provides an intriguing proposition as choice of remix artist for “Timora”. Largely straightening out the rhythmic kinks, Objekt implements a strident electro feel, slowly adding layers of brutal industrial textures which combine with real potency.