Leon Vynehall – In Daytona Yellow

      Everything has its imperfections. That’s how the light finds its way in.

      In 1992, on the track ‘Anthem’, Leonard Cohen urged us to abandon our idealistic pursuits and embrace the flaws in everything around us. He suggested that perfection is merely an illusion. There is hope amidst darkness; there is liberation in imperfection. Now, drawing inspiration from Cohen’s verses, Leon Vynehall acknowledges these sentiments—and ultimately, the imperfections of our reality—on his latest album, ‘In Daytona Yellow’.

      ‘In Daytona Yellow’ marks a courageous and sincere return for the Ivor Novello nominated artist and producer. The album enriches Vynehall’s discography with a complex depth of sound, following the atmospheric style of his 2021 release, ‘Rare, Forever’.

      In 'All I See Is You, Velvet Brown', which concludes the first disc of ‘Rare, Forever’, Vynehall recites Will Ritson’s poem ‘Harbouring’ with the line “I would do nothing differently in harbouring my errors.” Four years later, the artist is revealing these faults—embracing the inevitability of our imperfections. This newfound liberation makes ‘In Daytona Yellow’ his most bold and unrefined musical offering to date.

      ‘Life Is Not Enough’ invites listeners into the album's immersive experience. Much like James Turrell’s ‘master of light’ exhibition that inspired the track, we are initially led into a state of dark suspense—waiting for the work to unfold. ‘Life Is Not Enough’ draws you into its layered sound, encouraging you to explore the next phases of Vynehall’s intricately designed audio environment. Just before that transition, the line “forget your perfect offering, for there is a crack in everything” interrupts the music, allowing the album to continue and the light to break through.

      Live vocals are a central theme across the ten tracks. The album delves into Vynehall’s personal reflections—laying bare the uncharted aspects of his artistry, with his voice taking the forefront—and also features collaborations with artists such as TYSON, Kenzi TTH, Beau Nox, and Jeshi. This disorienting fluctuation marks a pivotal moment for Vynehall, as he explores avant-pop and R&B while showcasing his skills as a singer/songwriter.

      Intimate, poignant moments of self-reflection, as heard in ‘A Jagged Promise’ and ‘Slow Devotion’, contrast sharply with tracks that push Vynehall onto the dancefloor—like the captivating ‘Mirror’s Edge ft POiSION ANNA’, driven by an engaging synth loop and the entrancing vocals of POiSION ANNA.

      There is a palpable tension in balancing these contrasting and fragmented sounds, voices, and genres. At times, you can sense Vynehall's anguish and uncertainty which, when immersed in deeper layers, becomes restless and overwhelming—an anxiety that culminates in compelling orchestral interludes on ‘Life Is Not Enough’ and ‘You Strange Precious Thing ft. Chartreuse’. Outside of his established comfort zone, where he has gained notoriety as a DJ and producer, his willingness to experiment finds fertile ground.

      Through ‘In Daytona Yellow’, we observe Leon Vynehall’s spiritual and musical transformation. The aptly named ‘New Skin/Old Body’ brings listeners to the end of their journey, having witnessed the producer confront a profound sense of loss—the demise of ego and a detachment from all that he has known, or been best recognized for. With a newfound clarity, we are left contemplating who Leon Vynehall has become.

      8/10

      Words: Amelia Kelly