Album Review: Luke Solomon / ‘Timelines’ (The Classic Music Company)



After a compilation and alter ego LP within the last year, Luke Solomon is on the grind again. Whether because he has remixers in support to inspire him, or is just using another album as another mood, Solomon flies free in his dance floor crossings dominated by vocal collaborations. The big room takeovers feature song structured swing and an informal pop preponderance.

Solomon reaches out and away from fixed house and techno conceptions, bearing the lanky, geeky “Not Coming Home” and “Hey Giorgio” blurring back to the disco, as the album also contrasts long with quicker fixes. The husky road-tripper “Gods and Monsters” is a little more predictable with its guitar edge, though it’s suiting to a deep strutting Waifs & Strays remix shows timely backups are in place for any rare missteps. As an aside, Ewan Pearson actually arrives with no original to partner, his mix of “Lonely Dancer” somewhat confusing the remit. A better six stringer is to be found when “Let’s Bleed…” sets off on a big twanger of a riff, on an indie-dance free-for-all spooned from the same melting pot as carnival concern “Say Something.”

In turn, this huddles up with “Heading for a Breakdown” and “We Go” — fresh, Latin-zested runs within a minimal techno appraisal. The same DNA comes together on the more expressly Chicago “Interceptor”, with Solomon’s sound, based around but not confined to the club, consistently interesting by not fitting the bill.

File under: The Digital Kid, Hot Chip, David August

Album Review: The Digital Kid V The World / ‘A Minor Digital Experiment’ (The Classic Music Company)


The Digital Kid is Luke Solomon and The World is a sidekick made up of those that have yet to catch onto his techno-circling sound. As he gives his occasional superhero alias one final run-out and toys with a three-pronged, album/mix/12” format, it’s clearly not a case of getting defensive. Solomon is largely enthusiastic and soulful in his own way, the engine running furiously while attempting to make the ride slide through the gears. On other occasions he’s happy to judder along, doing good things with a pick-n-mix of grooves.

Sending house ambience into the sub-scientific, “VERTIGO” and “Shooting Star” are found hurtling with bare fuss, in a headspace recalling those old MTV videos of changing shapes and colours when they didn’t know what to do with a dance track. Taking it back to acid hangar hang-outs with a hipster lean (“Pass the Toothpaste”) and jackable roots pushed towards the future (“Ahhhrgh”, “Minority Report”), clubbers are told to lock onto the first loop before they’re sent spiralling over long and winding beats: “Angels Looking Down on Me” is saved from being an odd one out of waifish flouncing by the tech mutterings that envelope it.

The Digital Kid’s swansong (or is it?) leaves The World in his wake — playing down his digital experiment allows his techno variables a clear path to dance floor takeover, whatever the crowd.

File under: Music for Freaks, Jonny Rock, Subb-An