Review: DJ Seinfeld's second album has arrived! A hugely successful artist circumnavigating the world DJ circuit, Mirrors sees Seinfeld delve into a melodic world of melancholic synths, UKG and US house associations next to blends of contemporary trance, R&B vocals and pop experimentalisms. Like some kind of neo-Four Tet, Burial and Panthu Du Prince collaboration, Mirrors embraces a sound to perhaps associate with the twilight of summer, and the nostalgic expressions that Seinfeld's keys, strings and vocals bring. It follows Seinfeld's critically acclaimed 2017 debut album - Time Spent Away From U - and his first for Ninja Tune, that sees the artist's sound reach new heights of fidelity.
Review: DJ Seinfeld's first EP of new music in 18 months is a typically evocative, atmospheric and ear-catching affair, with the Barcelona-based Swede once again prioritising mood and melody whilst keeping his eyes firmly focused on the dancefloor. He begins by adding bright, '80s freestyle synth melodies to a throbbing, arpeggio-driven groove on saucer-eyed opener 'Dreams of U and Me Above the Mezcal Moon', before wrapping immersive, delay-laden chords and stabs around an old-school house beat on the starry 'Love Down'. 'Through That Feeling' is a lusciously tactile chunk of deep house retro-futurism, while closing cut 'Miami Sunrise' is every bit as blissful and rushing as the title suggests.
Review: DJ Seinfeld has really upped his productivity since launching the Young Ethics label earlier this year. "Parallax" marks the Swedish producer's third outing on the imprint and as expected he's served up another strong collection of cuts. Opener "Please Slow Down" is another ear-catching affair, with dreamy, reverb-laden female vocal snippets and vibrant, trance style synthesizer lead lines jauntily dancing above a crunchy two-step beat. "Xoul" sees him wrapping more slightly psychedelic, ambient techno influenced musical elements atop an Armand Van Helden style "dark garage" groove, while "Parallax" is a deliciously warm and loved-up chunk of breakbeat retro-futurism in his now familiar style. To round things off, the Swede offers up the EP's warmest and deepest moment, the rather delicious, "Right, What Time Do U Wanna Meet?"
Review: 1990s sitcom fan turned lo-fi deep house royalty DJ Seinfeld is the latest selector to contribute to K7's long-running DJ Kicks series. This digital download edition naturally contains his mix - a hugely entertaining musical voyage rich in dreamy chords, bustling breakbeats, groovy deep house workouts, skewed techno and post-IDM curiosities - as well as all 21 tracks in unmixed, full-length, DJ-friendly form. Highlights are plentiful and include the downtempo bliss of the producer's own "I See You", the bass-heavy breakbeat/deep house fusion of Rudolf C's "Deep C Survivor", the quirky electronics and low-slung grooves of Falty DL's "Freak Acid" and the loved-up wonder that is Project Pablo's "Who's It For?"
Review: Hyped Barcelona DJ/producer and '90s U.S sitcom fan DJ Seinfeld is in the midst of a rich vein of form, with recent EPs on Lobster Fury and Endotherm only enhancing his rising reputation. This collection of analogue-rich, alien techno workouts on Natural Sciences is, predictably, also rather good. There's a pleasing looseness to the clattering drum machine hits, thrusting analogue bass, psychedelic electronics and cut-up vocal samples of "Vaping Lyf", while "Ruff Hysteria" sounds like late '80s Chicago deep house crossed with the fluttering, head-in-the-clouds innocence of early '90s ambient techno.Then you'll find the drowsy chords, hustling machine drums and wonky vocal samples of "Wombat Bounce" and the roughneck, hardcore style cut-up drum breaks and saucer-eyed chords of "What Kind of Sandwich Is This?"
Review: It's been a whirlwind 12 months for DJ Seinfeld, who has gone from "unknown entity" to hyped producer in what seems like the blink of an eye. There's little doubt that this debut album on Lobster Fury will simply enhance his credentials further. It's a typically dusty and lo-fi affair, but far more positive in tone than your average crackly techno full-length. The Swedish producer makes extensive use of rubbery synth basslines, hazy R&B and pop vocal samples and the kind of production tricks more frequently found on disco-house and old US garage records (while, naturally, rarely sounding exactly like either style). In other words, the album is full of attractive, floor-friendly party techno for those who like their cuts fun and funky, rather than stern and severe.
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