2ŁØT with their new EP “The Albert Harvey Mix” in which the absolute don of club music, producer Albert Harvey (David Guetta, Avicii, Armin van Buuren, Stargate) participated, managed to create the impossible — uniting completely different and seemingly incompatible genres into one sparkling dance record, comprehensible to both glamorous boys with girls and bold rockers, in an easy, accessible, and attractive form.

They call their genre Electronic Jam Music. Funk, soul, electronics, hip-hop, rock, jazz — all in one pot. Sounds like a recipe for disaster, like those experimental dinners where someone decides to mix Thai cuisine with Italian. Usually you get an inedible mess. 2ŁØT and Albert Harvey got a delicacy, yes, there’s quite an accessible presentation here, attractive packaging — while inside lives real complexity.

The musicians of 2ŁØT notice the smallest details of social changes. Addiction, opportunities, love, fear of losing yourself — everything we hide at the bottom of our souls, they pull out through the language of music. Even “Arrow of Time” from their first album “Entropy” raises sharp topics, forcing us to rethink what really concerns us.

“The Albert Harvey Mix” came out in October. Four tracks, all already familiar hits from “Entropy,” but in a completely different presentation. Glamorous, club, light version. The practice is old — the late 90s, early 2000s actively used this approach to add danceability to songs. Sometimes a successful remix would overshadow the original. With 2ŁØT both versions are good, each works in its own way. There are no heavy guitars here. No overload either. Pleasant light sound flows from track to track, creating the sensation of swimming in a winding night pool with bright lighting. On the waves of music you catch answers to troubling questions, you get beautiful hints. The tracks are perceived easily, making you think about many things, while the pleasure of dancing doesn’t go anywhere. The EP reflects the atmosphere of change through the language of glamorous dance.

“Sacrifice” opens the release with a real violent whirlpool with a strong current. The track tears you out of a relaxing rhythm, makes you think about many things. The dance here is tense, strong, insistent, the drama is dosed. A whirlpool of emotions and a persistent attempt to answer an internal question. That very thought that just sits in your head, activates the energy of adventure and achievement. You listen to “Sacrifice” — strength awakens in the struggle with something that’s getting in the way. An idea, a persistent striving toward something important. The energy of the track is boiling water, turbulent mountain rivers, where it’s impossible to relax, but always interesting.

The synthesizer bass pulses like a heart before jumping from a height. The percussion is syncopated, ragged, vocal samples cut through space with sharp edges. Every eight bars a new element is added — a classic technique of minimal techno and Detroit house, but Albert Harvey uses it cleverly, without excessive mechanicalness. Repetition works like a mantra, variation holds attention. The vocals are drowned in reverb and delay so densely that words turn into texture. Sacrifice is understood through intensity, through the physical tension of dance that demands complete commitment.

“Never Knew You” really hooked me. A light single that only seems light at first glance. There’s no more boiling flow of a mountain river, no bubbling of a pool either. Now — relaxing with a piña colada on the shore of a calm quiet ocean. Bright lights along the shores are reflected in the water. You can feel the birth of a feeling that’s known only to its possessor so far, but already illuminates from within. You want to dance, smile, love the whole world, basking on the shore in soft slippers.

The remix at the same time awakens hidden forces, the desire to act, to love, to be new. The energy — the power of a sleeping ocean that can be calm but capable of surprising with a huge tsunami. The synthesizer pads here recall the chillwave of the early 2010s — Toro y Moi, Washed Out, Neon Indian — with their nostalgic blurriness and analog warmth. Functional dance music into a sensual physical experience. 2ŁØT and Albert Harvey apply this method with understanding. The vocals gain greater intelligibility, allowing you to hear the narrative about non-recognition, about the distance between expectation and reality.

“Call For Me” — dance in its purest form. Light, invigorating, slightly mystical. The feeling that you’re already traveling on the surface of the musical ocean, and friends are joyfully singing along around you. The mood is great, the music is light, gliding like a surfing sail on water. Dancing in the company of friends, where a deeply personal answer is hidden for each person in love.

Albert Harvey shifts the focus here toward maximum dance utility. Straightforward house with a four-on-the-floor kick, sixteenth hi-hats and filtered bass, obeying the strict logic of a peak-time anthem. There’s less experimental ambition, but the craftsmanship precision is at its height.

The closing “Arrow of Time” (featuring Michael Kang from The String Cheese Incident) demonstrates the most ambitious production approach. Here Albert Harvey embeds elements of breakbeat, drum’n’bass and UK garage into the main four-to-the-floor foundation, creating a hybrid rhythmic structure that constantly eludes predictability. Synth leads, processed through arpeggiators, reference the aesthetics of the 80s — Vangelis, Tangerine Dream, early Detroit techno — adding a layer of science fiction futurism. The track title points to the thermodynamic concept of time’s irreversibility, entropy as an inevitable movement toward chaos. Musically this is embodied through constant transformation: what begins as an orderly house groove gradually breaks down and reconstructs, passing through various temporal states.

The socio-political subtext that 2ŁØT declare as central to their work — themes of addiction, opportunities, love, identity — in the club context of “The Albert Harvey Mix” functions differently than in the original versions from “Entropy.” If the album allowed itself directness of statement, the remix-EP works through abstraction. Social commentary here is encoded in the form itself: electronic music as a democratic space where class, racial, gender differences are temporarily suspended in a shared physical experience.

Albert Harvey — if this is a real person, and probably just a conceptual pseudonym — works with the material carefully, understanding how to preserve the essence of the original while transforming its functionality. This is remix as interpretation, as critical commentary on one’s own material.

Is this release necessary? Entropy is an album that stands strong on its own; it doesn’t need deluxe, premium, or extended editions. Four additional variations might seem excessive. But… “The Albert Harvey Mix” justifies its existence with a consistent vision: the same emotional palette works in different contexts. A studio album for thoughtful listening, a remix-EP for physical experience.

2ŁØT create music for a generation listening to algorithm playlists, where Thelonious Monk can follow Burial, and Radiohead — Kaytranada. A post-genre reality where categories lose meaning, only the intensity of experience remains. “The Albert Harvey Mix” works precisely in this paradigm: intensity packaged in a glossy shell, critical thinking disguised as a dance hit. Perhaps a compromise. Perhaps the only way to talk about serious things when total entertainment is all around.

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