A week back Night Slugs label head L-Vis 1990 (James Conolly) smashed Bushwick’s Church of Dionysous with an eclectic selection of dancefloor madness. He gave us a few words before his set, filling us in on his influences for Neon Dreams, the integrity of Night Slugs, and his thoughts on Trap.
Prior to Neon Dreams your releases had a heavier, harsher sound. Very upbeat and dance floor ready. What drove the change for your LP’s stylistic direction?
I mean it wasn’t so much of a change it was a progression, you know? My taste was maturing. When I was doing all that bassline stuff I was experimenting and making stuff on the dance floor for my friends and I to play. Neon Dreams was a really personal project about music that I love; the classic dance albums that I grew up on, shit that I’m really into, just bringing it all in as one.
The theme of Neon Dreams is very love oriented. Were you in love at the time?
It’s actually a love story about me getting with my girl. All the songs are written about this period in my life whilst I was writing the album. Each section in a song is like a conversation between Javeon and Samantha Lim. Javeon represents my perspective and Samantha Lim represents my current girlfriend’s perspective so [Neon Dreams] trys to tell that story in the format of an album
Your most recent track, Ballad 4D is also quite different from your other productions. Is it mainly an homage to eski or is that your new direction?
Eski wasn’t in mind at all when I wrote that. All my previous stuff has been so 4/4, like with the Club Constructions and stuff I was just doing straight to the floor bangers. But with this I wanted to experiment with space and different patterns in which you can drive the dance floor without it being straight 4/4.
As a label Night slugs has been known to stray away from musical trends. What’s your opinion on the Trap phenomena?
To be honest I don’t know what trap is. I’ve heard what people say about it, I know its relation to rap music, but I haven’t listened to anything made by a “new” trap artist. I’m totally out of that shit, I don’t follow trends. We (Night Slugs) just keep doing what we’re doing. All the shit I’m into is like old music, like the stuff that I collect and the music that I buy are old Dancemania records like Underground Construction, Omar-S. The real shit.
Trends come and go. Trap will be dead before you know it. That’s why Night Slugs never gave a name to what we’re doing. We had the opportunity. We were the first of this group of people creating bass music in a new way, outside of dubstep and garage. We were merging house, dubstep, and garage and bringing it into one new thing. At one point we could have said, “yeah this is cool,” and label it all as future bass music and that would have stuck. But that would’ve given it a lifeline, so we just never gave what we did a name because we knew as soon as we would’ve done that our careers would be over like that. So Night Slugs just sticks to its own thing. Night Slugs is like an atmosphere, it’s not a genre.
What plans do you have for night slugs in the coming months?
Well at the end of 2012 we got Night Slugs Allstars Vol. 2 coming with a lot of new tracks from our guys, from our new artists like MORRI$, and a new track from me. That’s another big occasion for us. January 2013 is gonna be my next EP with “Ballad 4D” on it and 3 other tracks as well, which are in a similar vain.
What’s your favorite tune at the moment?
It’s hard to say. I’m really into Jammin Gerald, like old Dancemania stuff. But “Bring in the Katz” is a massive track right now and always kind of works on the dance floor. It’s probably the most fun track to play.
Finally, what’s the significance of your name. How’d you come up with it?
It comes from the 80’s band Sigue Sigue Sputnik. They have a track called “21st Century Boy”. In the intro to that track they describe the ultimate band, which is, gonna change the future by revisiting the past. And that band is called L-Vis 1990.
Hey London fam!
Cable just launched a student member service. Register as a student member today and receive discounted / queue jump entry for you and two mates to all Cable, Relay and We Fear Silence events. In addition to having your own Cable liaison to get you a place on the dance floor for the hottest parties in town, you’ll receive invites to free parties, special offers and a monthly newsletter to keep you bang up to date with all the latest Cable news.
Sign up now, it’s completely free… http://www.cable-london.com/club/students
Morgan Zarate feat Stevie Neale - Broken Heart Collector (Hyperdub 2012)
Directed by http://unsung.nu, with footage by Dogbite film crew.
You may recognize Paper Diamond from his past release on Pretty Lights Music. His latest 3 song EP ‘Wavesight,’ off of Mad Decent’s Jeffree’s imprint, graduates from ‘Levitate’s’ electro-hop beats and dips into a more varied dance-ready sound. Although “AirLift” is a minor step up from his original style, “Can We Go Up” starts with an airy house build-up of screeching synths into a messy complextro drop filled with house and dubstep’s finest platitudes. ”Turn the Lights Off,” while more unique in style, isn’t much different and Nasimiyu’s lovely voice is a bit overshadowed by her generic lyrics. While it’s nice to see the producer broadening his horizons with new experimentation, the turnout is simply bubblegum electro and dubstep. The video for “Turn the Lights Off” is quite easy on the eyes however, so take a look at it below and while you’re at it download the EP over here so you can form your own opinion.
On Thursday, April 19th, Mad Decent label boss and musical tastemaker Diplo spun at Cable for the Official Major Lazer Aftershow presented by Red Bull Music Academy. He started the night off with a series of well-known hip-hop hits back to back with some classic dubstep bangers. Upon arrival, Cable seemed oddly quiet with the crowd dispersed aimlessly; only seven minutes into his set and he had the entire dance floor packed and raging. Luckily there was still enough room for personal space, saving plenty of heads from clonking as everyone began to skank about to Blur’s “Song 2.” He then treated us with his own unreleased moombahton track, the first of several he would play throughout the night. At this point the crowd was fueled with the sound of Latin-infused electronic fire, energy levels were building as he dropped Hudson Mohawke’s “Cbat,” then right into more moombah-madness. He also played his most recent track, “Express Yourself;” this genre-bending tune blends moombahton, dancehall and dubstep with stimulating synths to excite fans into a high energy frenzy. The temperature rose but the crowd never disbanded as the curiosity of the upcoming track maintained an ecstatic population of dynamic movement. The main bar was empty, the lounge area had few, and the smoking section was dead. The main room was dominated by Diplo as he continued to blast premier party music through the ear-shattering speakers. The dance floor remained lively and the fans enraptured until he passed the torch unto Lil Silva. Upon ending his set, Diplo entered the crowd to reward his loyal fans and new-found followers with photo opportunities and a handshake or two.
Prior to Diplo’s set, a fellow party goer mentioned that Cable should not expect a massive turnout because Diplo supposedly lacked a British fan-base. If this kid wasn’t totally full of shit, then even more kudos to Diplo for convincing London his live set is worth the experience. Take a look below for a rough track list of his set that caused ears to ring well into the morning after.
The Swedish beauty’s follow-up to her massive anthem ‘Youthblood’ is a lovely bass-pop hit produced by dubstep heavyweights 12th Planet and Flinch. Jinder’s release goes through Brooklyn’s own Trouble & Bass. Check the video below and give a listen to the Starkey remix as well.
Addison Groove, Bristol’s juke/dubstep/bass extraordinaire, just dropped his new album, Transistor Rhythm, this past week. Oscillate Wildly & 50weapons will be hosting his release party at Corsica Studios next weekend (Friday the 13th of april). Other artists on the bill feature Doc Daneeka and Shed (aka Wax). This one is gonna be a banger so don’t miss it for a slice of pie!
Tickets on Resident Advisor
The album can be purchased through 50weapons
- Chris Gironda
With so many EDM artists selling out shows only to play pre-recorded mixes off of their laptops, it seems that an appreciation for the live musician has become overshadowed by the diminishing novelty of light shows and narcotic-enhanced visuals. The Lawrence brothers, formally known as Disclosure, are that beacon of hope for those of us who appreciate dance music for it’s production, as well as it’s execution on the floor. Keeping it fresh with an all live performance, the brother’s opened last night with their juke inspired ”Carnival,” sparking contagious excitement among the audience, as crowd members began involuntarily bouncing and bumping all over. The brothers followed up with all original material such as “Tenderly,” “My Intention is War,” “Just Your Type,” “Blue You,” “I love…that you know,” their remix of Q-Tip’s “Work it Out,” “Flow,” and their remix of Jessie Ware’s “Running;” all while manipulating the samples with an Akai MPC, playing the chords on the keys, crashing a set of drum pads and cymbals on every drop, and sprinkling the set with an occasional strumming of the bass guitar.