Luke Solomon revisits his The Digital Kid alias late-November with the release of The Digital Kid vs The World ‘A Minor Digital Experiment’ on The Classic Music Company, an LP featuring all new tracks from Solomon, collaborations with Pezzner, Lil Mark and Bearweasel and a bonus mixed version. ‘A Minor Digital Experiment’ is the first of two Solomon albums in the next six months but is the only one which will see The Digital Kid alias applied and it serves as a parting shot for the alias, for now anyway. Debuting on Solomon’s long defunct Acid imprint, The Digital Kid took a backseat as Solomon’s career flourished into what it is today but the lure of binary proved too much earlier this year. ‘I did this album because there was a few people I wanted to collaborate with so we got to work on some tracks.
As well as these, I had some tracks of my own and they all started to remind me of the first Digital Kid LP I recorded in the mid ‘90’s – it seemed a good time to revisit, bookend and close the book on The Digital Kid. The project has since become a bit of an experiment too, including the format of release which combines a mix of traditional album, mix and an accompanying vinyl-only remix 12”’ says Solomon of the project.
From the lead track, ‘Human Bean’, it’s clear that ‘A Minor Digital Experiment’ isn’t a standard walk through the house music landscape. Of course we’re treated to the off-kilter funk, humour and soul that permeates all of Luke Solomon’s work but there’s a liberating, punkish attitude to the sound palette used throughout that makes for an arresting listen.
The heavy use of contrast across ‘A Minor Digital Experiment’ provides some great moments, with warm hits and melodies constantly being paired with abrasive beats or tones to create a weird, heavy funk that is captivating to the last. Although kicking off at pace with dense, frenetic cuts like ‘Pass The Toothpaste’ and ‘(Vertigo)’ they’re tempered with deeper, more introspective tracks like Minority Report (feat. Lil Mark) and ‘I’m Not The One With Purple Hair’. Elsewhere, there’s outlandish anger in ‘Ahhrgh’, engaging Perlon-esque groove manipulation (‘Total Control’) and perverted depths (‘The Decepticons Are Coming’) with every track tied together by a distinct, digital aesthetic that presents a strange and captivating retro-futurism that culminates in the brilliant closer, ‘All The love You Gave To Me, Don’t Take It Away’ before Solomon defragments and reformats with his ‘Minor Extended Experiment’ mix.
Published: 8th November 2012