The idea of a bunch of brainy electronicists normally associated with clicks'n'cuts applying their avant-garde techniques to good-time American dance music might sound cold, and counter to the spirit of intuitive delirium suggested by disco. But then, late-'70s disco was carefully assembled by anonymous studio boffins (Moroder, Cerrone, Deodato) or by left-field musicians such as Nile Rodgers and Bernard Edwards. And so, despite being the sort of chap who gets theorised to within an inch of his life by The Wire, Luomo aka Vladislav Delay here creates a slice of spectral boogie, heavy on the synth bass, called "Tessio" that orbits the same seductosphere as Sheila & B Devotion's "Spacer". Talking of Chic, their "Savoir Faire" gets chopped, diced and looped on Adjuster's "Moscow Disco", a strings-magnifying exercise that recalls Derrick May circa Rhythim Is Rhythim, while "Everybody Dance" gets the sci-fi treatment on Science 2102's "Everybody". Metal ecstasy.
The idea of a bunch of brainy electronicists normally associated with clicks’n’cuts applying their avant-garde techniques to good-time American dance music might sound cold, and counter to the spirit of intuitive delirium suggested by disco. But then, late-’70s disco was carefully assembled by anonymous studio boffins (Moroder, Cerrone, Deodato) or by left-field musicians such as Nile Rodgers and Bernard Edwards. And so, despite being the sort of chap who gets theorised to within an inch of his life by The Wire, Luomo aka Vladislav Delay here creates a slice of spectral boogie, heavy on the synth bass, called “Tessio” that orbits the same seductosphere as Sheila & B Devotion’s “Spacer”.
Talking of Chic, their “Savoir Faire” gets chopped, diced and looped on Adjuster’s “Moscow Disco”, a strings-magnifying exercise that recalls Derrick May circa Rhythim Is Rhythim, while “Everybody Dance” gets the sci-fi treatment on Science 2102’s “Everybody”. Metal ecstasy.
