Vincent Parker is one of Vancouver’s most prolific and idiosyncratic artists: you’re as likely to find him booked at an ambient show as a noise show as a synth show as a dubstep(ish) show, but there’s a few reasons for that. First would be his versatility: the dude can do everything from, well, drone to noise to hip-hop to something resembling other forms of dance music without ever quite conceding to their conventions. While his sets can often devolve into torrents of noise or exploratory synth odysseys, especially lately he’s been casting at least one careful eye over the dancefloor. It might be a consummately fucked-up, misfit dancefloor, but there’s room to dance there nonetheless.
It was Vincent’s set at this past September’s New Forms Festival that finally convinced me of his cross-platform potential -- I’d had an idea before, of course, but I hadn’t seen anything this direct or bull-dozingly effective in one set from him before. Preceding a bill that included L.A. hip-hop weirdo Shlohmo and Bristol grime/dubstep lynchpin Superisk, to properly warm up the crowd Parker played an all-originals set completely primed for the dancefloor. Representing some mutant hybrid of dubstep, garage, and hip-hop, his crashing beats and distorted synths were moulded into recognizable shapes, crash-landing in captivating configurations before doing it all again, shifting subtly over the course of an hour without too many of the wild changes in direction that might be expected from Parker. It was exciting to hear him so capably play to a dancefloor crowd like that, and sure enough the material he’s been working on lately runs along the same thread -- sacrificing none of his edge or energy, Parker has been crafting genreless bangers, notably unleashing them on the self-released (and absolutely fantastic) collection of cosmic hip-hop Respecanize.