Vinyl LP
Known for his eclectic curation as head of tape label Harsh Riddims, Ryan Parks (aka Fit of Body)’s dancefloor-centered productions have always had bits and pieces of everything: jazz, hip-hop, bass, touches of post-punk. From Atlanta though now based in Los Angeles, Parks has been exercising his knack for melody lately. His latest record, Far From The Rhythm, isn’t any less intense than his previous work tempo-wise, but he’s tempered his sound here for night riding—all dreamy textures revealed by melancholic synths, distant guitars, and twinkly percussion. His voice surfaces on almost all these tracks, rising like steam through the bass and kicks. This is not the sultry call-and-response of fellow Atlanta producer Stefan Ringer, but lackadaisical crooning resting atop the lingering kinetics of the party.
Parks’s airy vocal delivery on tracks like “In Spirit Of” might draw comparisons to Yaeji or Doss, though it’s hidden behind a coat of lo-fi fuzz. He arrives at his vaporous atmospherics by way of Atlanta bass, Captured Tracks-esque jangle, and sax slowed to perfection. Parks uses just enough of any given musical ingredient to give off an impression—there’s a sliver of bass guitar surfacing on “After Hours” that nudges the track into the realm of indie pop. It’s easy to imagine the likes of “Far From the Rhythm” or “Punks Available” soundtracking a Super 8 skate video or a coming-of-age film set in an L.A. suburb. “Just a chance to make it grow/ Just a chance to make it count/ I don’t want to be alone/ But I guess I got no choice now,” he whisper-sings on the latter, vocalizing the thoughts of a young person between parties—or lovers.
On other tracks, Parks goes deeper. “Cherry Pinup” opens with a lush synth pad, four-on-the-floor kicks, and a minimalistic bassline—all the ingredients for a deep house classic. Throwing in swingy hats and a vocal refrain (“My feelings get in the way”), he keeps things dancefloor-focused amid the brighter flute textures that float atop the mix. The two tracks featuring 2MR vocalist Elizabeth Wight offer a similarly heady sound. “In Loving Memory” opens the album with a slow burn while “When We Sleep” builds toward the album’s climax with back-and-forth vocals between Parks and Wight suffused with a desire that runs cool: “Come over,” Wight murmurs. Parks responds: “I am on my way.”
