REVIEW: Kavinsky - OutRun

Kavinsky - OutRun

A return to the past in music can often be a misguided journey, with homage taking precedence over creativity. Rather than looking to the future with a set of classic influences, the end result sounds relegated to refresh what’s already been done before. But in the case of French DJ/producer Kavinsky (né Vincent Belorgey), the past is just the palette upon which he creates the future.

For years, Belorgey was paying his dues working the French electro/house scene, but it wasn’t until the 2011 breakout hit film “Drive” that he received international fame. Following a handful of well-received EPs, he recently released his first full-length album, OutRun, a continuation of the ongoing saga of Kavinsky, a man who crashes his beloved hot red ‘80s Ferrari Testarossa and returns from the grave as a zombie to produce electronic music. Belorgey certainly won’t receive any accolades for his prose, but his music is another story.

Citing video games and television/films from the 1980s as influences, Kavinsky, with assistance from fellow French DJ Sebastian, produces a sound that is uniquely his: a cross between the engaging synthesizer arrangements of the gaming world and the aesthetic and moody atmospheres of crime dramas such as “Miami Vice” and “To Live and Die In L.A.” It’s an accessible, cinematic, and, at times, orchestral sound that’s stylized, dark, cool, and rather noirish. “Prelude” opens the album and introduces us to our protagonist, Kavinsky, who is “a teenager like any other, dreaming of his heroes and in love with a girl” that, while now a zombie, is “invisible to everyone but her.” The pounding “Blizzard” begins like a car revving its engine and rolls into what could be described as a zombie electro classical. The eerie “Rampage” recalls the work of composer/director John Carpenter and illustrates Kavinsky’s knack for using multiple layers of sound and rhythm to produce an inescapable, captivating whole. “First Blood,” one of the only tracks to use vocals of any kind, is a scorching cut of electro soul and easily one of the most infectious tracks of the year thus far - it’ll definitely wake the dead.

OutRun is predominantly a collection of tracks from Kavinsky’s previous EPs, such as 2006’s Teddy Boy and 2007’s 1986, and is presented as the soundtrack for a film (the liner notes even feature still images from the imaginary production). After a few listens, the songs begin to feel a bit more like a seamless body of work, but, ultimately, OutRun is still a collection of Kavinsky’s work over the past several years. And while it’s relatively successful as a soundtrack, you could just as easily call this a collection of greatest hits (“Drive” soundtrack standout “Nightcall” is a featured track). Nevertheless, one thing is undeniable: Kavinsky’s work is well suited for cinema.

The story of Kavinsky sounds rather legendary on OutRun, with synthesizers as striking and furious as his beloved Testarossa. It’s hard to label this a true debut as it brings together Kavinsky’s work since 2006, but it’s hard to deny how much greater his impact will be on the electro scene with an official full-length to his name. As the album closes, a voice says, “There’s no turning back,” and for Kavinsky, it seems that the past is his greatest inspiration for what lies ahead. OutRun is just the beginning of our hero’s tale.




OutRun is out now via Casablanca/Republic Records (U.S.) and Record Makers (Europe).