Review: A true artist with the ability to go from strength to strength - Leon Vynehall presents the follow up to the lauded 2018 album, Rare, Forever. Still serving up some of the most original hybrid-form house music there is, Vynehall's sound here is as deep, abstract and mysterious as it is colourful, gritty and polished. Flirting with downbeat and drone activities across the album in numbers like "All I See Is You, Velvet Brown", "Ecce! Ego!" and "Farewell! Magnus Gabbro" - to ambient rave in "Worm (& Closer & Closer)" - there's atmospheric jazz to catch in "Alichea Vella Amor" next to the lonely horns and cascading strings of "Mothra". Beatwise, Vynehall's perplexity for dance music goes all the way in "Snakeskin - Has-Been" & "Dumbo" - with "An Exhale" a melodic, breathing wall of synth-tuned noise.
Review: As if spiralling into a new world of sound design Leon Vynehall remains an artist impossible to define. Since falling in love with his earlier records on labels like 3024, Royal Oak and Rush Hour, Leon Vynehall's major output since 2018 has come through Ninja Tune, including the release of his third studio LP, Nothing Is Still. Verging his sound toward something more dramatic, urban and theatrical these days, "Mothra" is perhaps this single's best example of that, breaking down into some kind of warped, percussive reprise. Broken beat at best, "Ecce! Ego!" dove tails in sound like the tragedy of a bird harpooned through the chest, falling through an ensemble of wood winds, field recordings and acoustic instrumentation. Mothra wins!
Review: In the info accompanying this single-track release, Leon Vynehall explains that "I, Cavallo" is "aimed squarely at soundsystems", adding that he wanted to explore "psychedelic corners of the dancefloor". It would be fair to say that the track achieves both of those aims, building from an extended, beat-free start - all slowly shifting electronics and pretty synth lines - towards locked-in techno hypnotism via a gargantuan bass drop and all manner of strange, effects-laden noises. It's cleverly constructed and by the time the track really hits its stride midway through, it feels like a dark and hallucinatory experience tailor made for dark spaces early in the morning. Top stuff!
Review: The latest installment in !K7's esteemed DJ-Kicks mix series is by Brighton based Leon Vynehall, following up 2018's acclaimed album Nothing Is Still on Ninja Tune. Although this edition presents the unmixed tracks, his aim was to approach it more like a compilation rather than a standalone mix anyway - one that blurs the boundaries between genres. Features highlights and exclusives by the likes of: Ploy who delivers the hypnotic and bass-driven techno of "Pressure", the deeply flanged tribal funk of Pavillion's "Happy Track" or the breakneck IDM shenanigans of the AFX classic "Children Talking" and not forgetting two evocative and sensual cuts by Vynehall himself.
Review: The choice of Tony Humphries to mix Running Back's first label compilation is a significant one. Getting his big break in the early '80s as an understudy for the legendary Shep Pettibone's Kiss FM show, Humphries went on to become one of the defining DJs of house music's formative years, with residencies at New Jersey's Club Zanzibar and London's Ministry of Sound. His previous mixes illustrate his continuing ability to bridge dance music's past and present and his new one for Gerd Janson's imprint will mark its fifteenth anniversary. It is a timely reminder of what has made the Frankfurt powerhouse remain on many favourite label lists for over a decade. It's a mix of golden oldies and recent classics alike: from Todd Terje's smash hit from several years ago "Ragysh" and the anthemic "The Voice From Planet Love" by Precious System, through to more recent bombs. Two by Running back alumnus Shan ("Bassline Party"/"Work It") and the legendary Mr G's Motor City ode "Ben & Gerd" (Killin It M Day).
Review: Leon Vynehall's "Midnight On Rainbow Road" was one of the undoubted highlights of last year's Musik For Autobahns 2 compilation, so it's no surprise to see it getting a deserved single release. The original version, which sat somewhere between the guitar-laden ambient textures of early System 7 releases and the hypnotic pulse of Detroit beatdown, is here joined by an all new "Beat Edit", designed with club play in mind. Vynehall has done a terrific job with the rework, all told, which underpins his glistening melodic refrains and dreamy chords with a rolling, pitched-down rhythm that makes great use of live-sounding drums. The result is a beatdown/ambient house hybrid that recalls the glory days of the early '90s chill-out room.
Review: Originally debuting on Well Rounded Records' Housing Project sub-label in 2012, Leon Vynehall has since become one of the UK's most in-demand of the new wave of young house producers. He's released subsequent records for George Fitzgerald's ManMakeMusic and Will Saul's Aus, and most recently an album on Martyn's 3024. Vynehall is now in cruise control and he lays back on Clone's Royal Oak with what will prove to be a favourite with DJs this summer. "Butterflies" is this record's piano-driven house jam, but really it's all about "This Is The Place", a loved up peach of a production with the strength to appease the underground and crossover into the mainstream.
Review: Portsmouth-based bass-goes-deep house adventurer Leon Vynehall has yet to emulate the success of fellow Well Rounded Housing Project graduates James Fox and Outboxx, but you can tell he's destined for big things. The Rosalind EP is a perfect fit on WRHP, delivering tracks that offer the perfect balance between bass-heavy swing, Detroit-influenced crackliness and emotion-rich deepness. "Untitled 017" sets the tone, layering pitched-down R&B vocal samples over a tumbling groove. "Title No. 7" adds some Outboxx-ish organ warmth to proceedings whilst retaining a similar sonic approach, while the startling "Rosalind" delivers a dreamy dowmtempo delight.