DJ Slyngshot - Sumn From My Heart FLAC download

It seems DJ Slyngshot’s been around for a long time. Perusing the j-card that comes with the cassette tape one can read “…produced by DJ SLYNGSHOT — 1989 when all that shi began” - if this is in-fact the case and not a case of retro-fetishist marketing stuck to so many records released today, these sounds betray a talent and mind ahead of its time. With tracks spreading over four different releases, he demonstrates a fascinating repertoire of sounds, with tapes taking in electro, house, techno and seemingly even hip-hop beats.What immediately stands out when listening to any of the aforementioned releases is the drum tracks; here on Sumn From My Heart the tape opens with a downbeat pad and frantic hats. Bringing the toms, a thin sounding snare, a blunted kick and a ride into the mix, Slyngshot creates a tumbling arrangement sounding strangely insistent considering the slightly damaged, haggard sounds present; for many it would be the perfect bedfellow to one of the more nocturnal Lobster Theremin 12″s. On the original version discordant keys make an appearance, whilst Street Yappin (Version) revolves around a bouncy acid line and a heavier kick drum, giving off a feeling that’s slightly more deranged than it’s predecessor. Club-ready, maybe? Better bring your tape deck with you.Flip over to the second side of the cassette and you’ll be welcomed with another exploration of the sounds that the A-side employs; there’s a lot going on here - synths pushing slightly into the red recall Hawo from Greg Beato’s L.I.E.S. record, sustaining themselves amongst the tape hiss. - and again, that propulsive blend of the heavy kick and the frantic hats, even a hint of acid first heard on the A2. Executing three different versions of that same track would strike many as unadventeruous but here it works to Slyngshot’s advantage, demonstrating his skill in articulating many different moods with a limited palette - many emanating from the Casio RZ-1 featured on the cover. How do you finish a tape like this, though? His mix for Reverie’s excellent NTS show demonstrates his aptitude to mix things up, and that carries through on to the tape. Rounding off with a curious mix of sensibilities, the closing track throws a curveball somewhat; is it a hip-hop instrumental or is it house? It’s evocative, recalling the emotional gravitas that Andrés and RJD2 seem to lace their tracks with. It confounds one’s expectations by executing a different style to the rest of the tape, and doing it well - rather than feeling like an afterthought, which can often be the case. That effortless execution runs through this whole release. No mean feat.

Nearly positive 1989 refers to the birth year of the artist and not when these tracks were recorded. Still, retro-fetishist marketing aside, a banging set of tunes reminiscent of Greg Beato's style as mentioned above.