Parisian producer 45 ACP has just turned out a full-on double LP album on the L.I.E.S. label, and Change Of Tone makes a pretty strong case for the guy being someone to pay attention to. Six tracks tooled for contemplative but highly-active dancefloors, and with an excellently unusual-for-a-dance-LP sort of cover too.
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- Change of Tone by 45 ACP
10/10 RMCC Customer review, 11th August 2015
Parisian producer Dangkhoa Chua, perhaps better known as D.K., makes his first appearance on the erratic though often super Long Island Electrical Systems under the moniker 45 ACP.
At 6 tracks in length and only covering one slab of wax, you may think this is more EP than LP, though the sheer amount of ideas and variation packed in stand this record against others twice the length. There are elements of techno, house, tribal, ambient, and Detroit grooves all interweaving and interacting to create an album which feels at the same time unique, whilst somehow being something you feel you recognise already.
The record kicks off short and sweet, with the hazy wash of ‘The Bridge’. One may feel it passes by a little quickly, though what we have of it is great ambient house. There’s then the tribal inflected strip-down of ‘Seventh Circle’ which utilises wavy synths over a variation of percussion to create a fuller piece than its predecessor.
The outstanding track on this record is ‘Ground to Ground.’ It’s all about the beat, with a pulsing bass-drum and echoed snaps over the top allowing the track to hit hard over and over. Again, loose synth pads play over the top, giving the track a familiar hazy feel. However, this time there’s a strong bass pulse which weaves in and out of the thumping drums to really kick the album into gear.
The second half of the record is given over to a much more Detroit sound. ’Hidden Garden’ at times sounds almost Oriental in its jittering melodies over a consistent pulse. Next, ‘Double Cross’ brings back a more ambient affair, which builds upon another straight beat. Finally, the record is seen out by ‘Playing for Keeps’, which sounds almost as if it could have been an alternative mix of the opener. It’s a great way to end, giving the listen the impression of having been on a thoroughly enjoyable circular journey.
Overall, the record is a quite placid affair. However, it hits hard when it wants to, and all feels perfectly measured. Consequently, there’s so much to find in this record that you’ll come back to it time and time again. These are late-night house tunes of the highest quality.
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