ok.

a bit of history.

idc (aka david mccarthy) were probably best known for releasing various mashups to the online community during the glory years of the scene. over the years, idc managed to make some cracking blends that always indicated he had a way with a beat and a tune and could see some rather interesting combinations possible.

of course, like his co-adventurer the freelance hellraiser, he used the infamy that the scene created to provide a route into making his own productions. this single, his fourth so far, sees him repaying his debt to a machine in his racks.

a machine, which if legend is to be believed is actually an old klf sampler, the akai s9000 pro.

read that again.

an old klf sampler.

apparently, idc picked this piece of dance music genetics from a clearance sale that the studio bods were sorting out, and even more amazing, is that the machine came with several discs/samples !

some people have all the luck.

anyway, idc renamed the kit, akai elvis, and proceeded to use it when creating his own creations of noise, electro, and beats.

subsequently, in honour of this mess of cables, and ancient pcb boards, idc have immortalised the machine, by naming their latest glitterball slaying beast after it.

the results are as you’d expect if you have been paying attention, spine whipping electro glory.

the rules are simple, a great big fuck off keyboard riff, some back hammered big beats, and a slab of sputnik styled humour akai elvis has left the building, indeed.

until now, idc, has avoided the lure of the mega remix package, his music is snappy and direct, working best in the short direct original versions, but this time around, when such names as the lo-fi allstars offered to add some of their sparkle, idc were not one to refuse such an honour. i can’t comment on the results of the remix, but i can state, that the original is one to drop in alongside the current simian mobile disco, and ed banger hipster grooves, though be warned, this monster could easily eat up the competition.

it’s big, it’s brash, and damn, it’s fantastic.

i would like to think, the klf would be proud to know their discarded tools are still out there making music of this calibre.

if not, fuck’em, akai elvis was dumped in the digital wasteland, and now seeks its revenge in a revised mutation of the new rave era.

glorious stuff.

out on cosair records later in the year.

 

more detail : here