Da’Vinci Reaches For the Stardust on New EP
Da’Vinci’s Stardust EP is appropriately titled. All five pieces on this collection expand, seemingly in parallel with the universe, moving in all directions at once or, sometimes, not at all.
There’s several points of rareness characterizing this work. Except for the distorted vocal samples—which land somewhere on nearly all of the numbers—this project is devoid of vocals, certainly of lead vocals. Singing, rapping, scatting, ad-libbing, talking…none of that is found on this mishmash of instrumentals.
Another atypical aspect about the release is the majority of the songs (three to be exact) are approximately two minutes or less. The Brooklyn based producer gets in and out real quick on “Thisside” and “Heatnup”, while clocking in at two minutes and four seconds on “Getdown”.
Moreover, there’s a distinctively scattered feel to several of the songs, which is responsible for the analogy seemingly reflected in the title of the opus. “Skyhai”, which conforms to the motif of astronomical phenomena evidenced in this body of work, typifies this fact more than the other cuts.
There’s something particularly sumptuous about this tune, but it’s difficult to say just what it is. The drums certainly work well, as Spartan and to the point as they could be, which doesn’t hurt the situation. But the sounds seemingly blend together, or perhaps atop one another, or perhaps interchange themselves with each other so fluidly, that it’s difficult to consider them individually. It’s a rather curious experience, listening to such a track, and not a displeasing one by any means.
Another thematic device displayed on almost every cut except the final one is the presence of obese chords. “Thisside”—seemingly named after the snatch of a vocal sample echoing this phrase intermittently—exemplifies this fact. Dressed up in an 808 snare and the smooth cymbal that initially emerged in rap records in the 90’s (which was always elongated then, before becoming frequently abbreviated in the 2000’s; Da’Vinci goes with the former approach) there’s some sort of synth chords moving in unison with the bass line.
This is by far the most accessible piece on this outing, hence the reason it was likely sequenced first among the others. It helps to set the tone for what is a refreshing breath of creativity imbued within this approach to making music: you know, the part of the game that’s largely missing today.