The New Citizen Kane returns with LIQUID.LATEX.DISCO.DADDY., a remix album that doesn’t just revisit old material, it reshapes it into something far more tactile and nocturnal. Where many remix projects feel like afterthoughts, this one pulses with intent. It’s immersive from the first beat, pulling listeners into a world that feels both hedonistic and introspective, like stepping into a club where every track carries emotional residue.
Following the warmer glow of TEMPLE.BEACH.DISCO.DADDY., this release thrives in darker spaces. Built on deep house textures and echoes of 90s underground culture, the album leans into slick basslines and sweat-soaked rhythms that feel alive. Tracks are stretched and reimagined with precision, transforming familiar moments into something elastic and unpredictable. The production is dense but never overwhelming—each sound has room to breathe, even as the energy simmers just beneath the surface.
A major highlight is the creative synergy with Red Man Runs, whose long-standing collaboration with Kane adds depth and cohesion. Their shared history is audible, particularly on the opener “WHAT’S HIS NAME?”, which sets a mysterious, late-night tone. New additions like “(TRIP) UNRAVELLING” stand out as emotional anchors, capturing the paradox of nightlife, both an escape and a confrontation. Meanwhile, collaborations like “FORGET THE TRENDS” with DJ DUTY expand the album’s global reach without losing its underground identity.
What makes LIQUID.LATEX.DISCO.DADDY. compelling is its balance of contrasts. It’s polished yet raw, playful yet dangerous, nostalgic yet forward-looking. Even the rework of Sheryl Crow’s “There Goes the Neighborhood” feels daring rather than gimmicky—twisted into a hypnotic, acid-tinged reinvention. This is more than a remix album; it’s a fully realized sonic environment. Kane isn’t revisiting the past, he’s reshaping it into something that lingers long after the music fades.
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English