Nocturne Edits 02
Out February 21st
Jordan's sounds have sky-rocketed in popularity since the first Nocturne Edits release, so what better way to thank the fans than make a brand new one. Again, the 80's retromania is given centrefold while simultaneously elevating the original artists with lights and colours. We all want to listen to the original of the tracks we like, to see how it has evolved. Electronic music seems to evolve at a swifter rate than other genres, perhaps due to the Moore's Law manifesting in various ways. Maintaining an edge that holds roots in decades past is making sure these modern creations sit on solid foundations.
It begins on Touch Me, an Eileen Flores edit. A synth blasts out with a solitary chord to make way for a sleek and seductive rhythm. Bass and snare roll between shakers and hats that curl and crisp around the edges. Then, bass plunges in like a dolphin moving through deep waters, the melody repeats in up and down motions while pushing the track forward. More strikes and blasts on the synth reverberate around the spiralling core until a dominant melody is worked into the mix. Harmonising with the bass and sitting comfortably on the jangling percussion, we're lifted into new levels. Vocals are then added, we get verses and choruses that are melded to fit snugly in the flow of the track. More euphoric keyboard breaks surge the music onward through the commotion and into a catching and enjoyable dance track.
Second is Visitors, an edit of Koto. A space-age range of percussion instruments beep and shimmer alongside hand-drums and organic wooden sounds. The juxtaposition of sciences brings a wide scope for the track to build into. A chunky bass is added, it pounds like a knock on the door. Airy synths and extra drums find a moment to enter the building, and the bass takes hold once more. The synth takes time to find it's feet, murmuring in the corners with intention to join in the dance. Then, when it comes out of its shell, we're blown away by what the track was missing before it was making its moves. Fans of heat with glowing light break like waves over a steady flow of bass and drum. Then all calms down for the synth to do a solo walk through a tunnel of bewitched party-goers. The rhythm returns with a new angle, and the melody shifts to change the lighting of the room.
On the flip side, a neat house-style beat opens the first track. Light taps on various percussion instruments gives rise to an evocative and effervescent drum-riff which gradually builds with reverb and breaks. A bass-line finds a neat slot to apply its groove and away we go. A funky and up-beat energy permeates the drive. A synth volley is mixed in, then a melody on airy and chiming pads gives rise to another level of the track. Harmonic surges push the boundaries in consistent pressures of shifting tone. The drums by now are tapping in a manic and quick tempo that's notched to the top with various elements. A break ensues, allowing chatty drums to take the high road before another dose of synth breaks open the next phase. This edit is of Simon Says, originally by Secession.
For the final instalment, it begins with a high reaching drum pattern that's full of bells and tapping wood. Tropical sounds are given a line in the mix, before a robotic voice breaks everything down to a verbal flux. Voice and drum work together on pin-point beats which creates a surge of energy lifting into the ceiling. Layerings of drum and bass are given graceful amplitude that steadily climbs across the frame in slow movements. Synthesiser drone adds a mysterious harmonising sense which leaps into forward areas. A melody with great rhythm is brought to the front, it heads off with the synth and drums follow in a fortifying line. Vocals again make an entrance before a whistling melody adds yet more colour to the multi-layers and progressive composition. Boogie Down Bronx by Man Parrish is given the edit and it's a full-on dive into groovy beats and euphoric drum loops.
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Rowan Blair Colver for The Electro Review.