Neon Dreams is the exciting journey into the unknown. DD: what production kit went into getting the original house sound? Do you need analogue equipment these days? L-Vis The whole album was recorded using the original drum machines and synthesisers producers would have used in the formative years of House music.
It was so important for me to write like this, you cannot match the energy and excitement of using the real thing.
I also used the Roland tr and drum machines on each of the tracks. Here With you, True Romance and Neon Dreams are the most bass heavy tracks on the album and they are track 11, 13 and 15 respectively.
Bass is prominent throughout and is still the key element to all my music. I think most of the tracks on the album have a dark edge to them through the bass yet they also have an uplifting vibe though the major chords, neon synths and arpeggios, this is something I consciously wanted to achieve.
It was autotune used on this track, a tool used buy Pop producers these days to make terrible vocalists socially acceptable. DD: What made you want Julio Bashmore to work with you on this album? L-Vis I've been a great supporter of Julio Bashmore from day one so it felt right to work on a track together. For all of the collaborations on Neon dreams I set the parameters and theme so the vibe fitted with the album, we had to use only the and drum machines and the synths I had in my studio.
With the Bashmore track I knew I wanted to do something different so we slowed things down to 80bpm and created this weird Human League and Daft Punk mutation. It wasn't until I got Javeon McCarthey on the lead vocal that it went to a totally different place. What kind of collaborations can we expect? The sound was getting industrial in , and I went down that wormhole in my DJ sets. It was beautiful, crazy inspiring to be a part of. He pauses here.
The rules were strict: short reverb, no emotions, two-or-three note melodies tops , just raw and simple. Ever since that bracing moment of overexposure, Connolly has removed successive layers of armour and put more of himself into the music.
Dance System was actually christened back in , but he only let himself lean in so far. So I thought it was funny. I really over-thought this shit and how it would need to fit in the world.
House music comes naturally, but I was still assuming I had to challenge myself at every turn. Connolly found purpose by using his voice more prominently.
In , he pushed hard in the press for artists from Dance Mania to receive proper acknowledgements for their contributions to history.
The importance of splitting opportunities goes right back to the start of Night Slugs, he says. By , with Dance System records picking up steam and the 12 Thousand Nights campaign winding to a close, Connolly was committed to making a fresh start in earnest.
The set went down a storm, further reinforcing that he was ready for the plunge. He emptied his hard drive onto the web with Decade of Dubz and stepped into a new guise permanently. That scene is for young people to experiment and explore just like we did.
Now, Dance System is intended to function as one stop on a long line of paying it forward. But I can package up what I see as a special time in house music, and also put new artists on.
And the mixtape is just the first step toward that. None of us can DJ to crowds. So why not embrace it? Gabriel Szatan is a freelance journalist living in London. Find him on Twitter. As one half of powerhouse label Night Slugs, L-Vis spent the s twisting club music into thrilling new shapes. Gabriel Szatan hears his story. We use cookies on this website to ensure the best possible user experience.
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