LEON VYNEHALL 黑胶唱片和CD

Review: To complement the release of Will Saul's entrance into the long running DJ Kicks series, K7! Cull four highlights for 12" sampler duty. There's predictably plenty to enjoy, from the starburst, two-step informed rush of Bicep's "Nova" - think early '90s meets late '90s - and soulful groove of Jabru's heady "Church", to the footwork tempo deep house positivity of Marquis Hawkes' excellent "Life Struggle". It's actually Leon Vynehall who steals the show, though, delivering a fluttering, dreamy slice of deep house bliss in the shape of the gorgeous "Time". If this is anything to go by, the mix should be a doozy.

Review: British producer and DJ Leon Vynehall kicks off his own label Studio Ooze with 'Rosebud', a single forming part of an upcoming double A-side. Electro-flecked chord stabs, formant-twisted soul vocals and futuristic lasershot breakdowns make up its sound, as if it were a track hailing from an alternate world. Vynehall's sound design is both cerebral and emotional, keeping two feet in separate camps. A welcome return to Vynehall's dance-orientism.

Review: Leon Vynehall has made himself into one of electronic music's most intriguing artists. From club bangers to soul jams, working with choirs to intricately stitched together DJ mixes, he can seemingly do it all. Now he's back with a new single that is "directed squarely at soundsystems". "I Cavallo" offers up something dark and intense that explores a "dissonant and psychedelic corner" of Vynehall's sound alongside a "ClubFront" mix of the track on the flip. Whichever version you pick, it will draw you right in for the duration.

Review: Originally debuting on Well Rounded Records' Housing Project sub-label in 2012, Leon Vynehall has since become one of the UK's most in-demand of the new wave of young house producers. He's released subsequent records for George Fitzgerald's ManMakeMusic and Will Saul's Aus, and most recently an album on Martyn's 3024. Vynehall is now in cruise control and he lays back on Clone's Royal Oak with what will prove to be a favourite with DJs this summer. "Butterflies" is this record's piano-driven house jam, but really it's all about "This Is The Place", a loved up peach of a production with the strength to appease the underground and crossover into the mainstream.

Review: Leon Vynehall's stunningly picturesque "Midnight On Rainbow Road" was one of the undoubted highlights of Gerd Jansen's second Musik For Autobahns compilation, which was released in the autumn of 2015 by Rush Hour. Here, it gets a deserved single release, with the original - a hypnotic, driving-inspired blend of fluid electronic melodies, a wispy percussion and Jonny Nash style glistening guitar lines - being complimented by a brand new "Beat Edit". This adds a slowly unfurling, head-nodding rhythm that takes the track further towards Detroit Beatdown territory. In essence, though, it sounds like an early '90s ambient house jam. That's no bad thing, given that Vynehall seems to have emphasised the sun-kissed beauty of the original in the process.

Review: The ascendant production career of Brighton's Leon Vynehall is demonstrated once more with a debut release on Martyn's 3024 label. According to the DC dwelling Dutchman, the genesis of the Open EP dates back to the pair sharing a gig in Bristol, with Martyn impressed by Vynehall's Djing skills but not fully aware of his talent as a producer. Requesting Vynehall send him some new music, four of the five tracks Martyn received feature on the Open EP with three present on this 12" edition. If you're familiar with Vynehall's previous output for Aus, Well Rounded and Manmakemusic you'll be eager to wrap your senses around this release, yet the trademark rugged swagger is complemented by an increased attention to detail that hints Vynehall should no longer be cast as a mere 'up and comer'.

Review: Uk producer Leon Vynehall has invariably had the prefix 'up & comer' attached to him over the past 18 months thanks to a succession of crunchy, sample laden releases for the likes of Well Rounded and Man Make Music. A recent release for the latter label as Lazlo Dancehall with A1 Bassline was Vynehall's most accomplished work to date and his arrival on Will Saul's Aus label with the Brother/Sister is a sign that this producer might soon be regarded as an established player in UK house circles. There's a sense of a serotonin injected Motor City Drum Ensemble at play here across both "Brother" and "Sister" with the former's rugged swagger complemented by the warbling melodic subtleties of the latter. Best Aus release in a hot minute!

Review: Fresh from his massive debut EP for Well Rounded, Leon Vynehall returns on George Fitzgerald's Man Make Music imprint with another two tracks of bass infused deep house. With a raw, yet syncopated rhythmic approach, the title track is given a healthy dose of soul with its delicate piano flourish. "Don't Know Why" meanwhile adopts a more standard deep house template, but is no less enthralling thanks to its thick vintage bass and classic chords. Brownswood artist Gang Colours provides a suitably intricate rework of "Gold Language" which utilises brittle rhythms and vapour-like melodies to stunning effect.

Review: Although Leon Vynehall is one of an increasing number of producers bringing the influence of bass music styles into the deep house formula, the Mauve EP stands apart from the rest of the crowd - the title track is anthemic stuff, mixing Detroit and Bristol house styles in just the right quantities with hands in the air piano, soulful vocals and quietly bubbling bass. "Picture Frame" is a much slower end of the night number which has echoes of classic Balearica, while "Homage" opens with subtle cut-up rave stabs, rippling percussion and moody spoken word intro, before erupting into life with devastating subs which catch you totally off guard. House? Bass? It doesn't matter - the only sure thing is that Vynehall is someone to keep an eye on.