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Leon Vynehall has already proved himself to be that rare thing – an artist with his own agenda rather than a producer aping the sound of the day. To date his off kilter sounds have come in the form of EPs on labels like 3024, Rush Hour and Running Back, and have been carefully crafted things, layered with musicality whilst never straying too far from a infectious groove.
Taking obvious foundations from house, techno, disco, funk, hip-hop and soul, Vynehall’s music incorporates many elements from his musical past too: his journey began with playing drums and the piano in bands as a teenager – which manifests itself in the raw, live sound he strives for in his productions – while much of his spare time is spent listening to anything from classical and orchestral compositions to post-punk. His work has seen him dabble in tempos, palettes and styles, but all the time managing to keep his songs coherently ‘Vynehall’.
“I like chords, I like atmosphere and some sort of emotion in music. Rather than it being just about the dance floor, I like it being a bit of both. I like to take a sound and change it, manipulating things so they sound a bit dusty. With drums, I like to make them sound more human. I prefer dance music that isn’t quantized, regimented, and super mixed down to the nano-perfect spot. I’m a believer in the fact that music doesn’t have to sound professional to sound great. Mastering engineers hate me.”
His 2014 release, ‘Music For The Uninvited’, was a turning point in his career. Resident Advisor scored the EP a 4.5 out of five, calling it “one of the most eclectic and rewarding house records you’ll hear all year”.Clash wrote that, “If this is what being uninvited is like, we’re totally cool with missing the party”, while The Washington Post said that it “couldn’t be much more of a delight”. It went on to gain end of year accolades from publications as wide ranging as Pitchfork, NPR and Gorilla vs. Bear, and saw Vynehall begin a relentless touring schedule that has taken him from Berlin’s Panorama Bar and Ibiza’s DC-10 to festival stages as far afield as Los Angeles, Sydney and Tokyo. His DJ style is eclectic, considered and always surprising, and has been expertly reflected in his popular mixes for the likes of FACT and XLR8R, with the latter commenting that his contribution to their podcast series “quite possibly raised more questions than it answered”.
Something of a media recluse, all we really know about Leon Vynehall is from his music – so far it’s proved a fascinating story.
In less than two years, this enigmatic young house producer from Montreal has given the current musical landscape progressively deeper ideas of what house music can mean in the new decade. With a slew of remixes and original releases that haven’t skipped a beat, the talented songwriter has already collaborated with Radiohead, Katy B, and Jimmy Edgar among others. As new artists compete with each other so brutally for attention these days. Jacques simply toured. Playing top European venues such as Fabric Live, Plastic People, Panoramabar and major festivals like Sonar, MUTEK, the Bloc Weekender and Bozar Electronic Weekender, he steadily conquered each crowd with his undeniably potent songs and infectious demeanor. With “Another Girl”, all the hype came to him. Tearing down the gate with two EPs on LuckyMe and Nightslugs, and nothing short of an anthem on the latter’s Allstar compilation, he grew as the best artists do. With quality releases and unforgettable live shows. As the initial disbelief at how young he was, his love of heart aching RnB, his mys- terious appearance, and what he uses to record begins to sink further and further back into the pages of Google, the initial hype will be followed by better and better music. Limited run white labels, a jaw-dropping analog live show, and the launch of his own imprint Vase- already heralded for its brilliant releases- have further esta- blished his vision. A new EP “Ready” for Martyn’s label 3024 and a North American tour run opening for The XX has kept his name and aura spreading. This plan was a long time coming.
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