The Diabolical Liberties turned down nobody to put out a limited run of vinyl EPs. They remain at large planning how to scrape the off cuts of lost ideas and misplaced rants, from a dance floor where nobody can hear you no matter how loud you scream.
In the old industrial warehouses , down there bellow the sub bass. Down in Phorcy’s kingdom of misshapen beats swimming in their own echo. The new future has already started. A darkness disturbed by the occasional flash from someone thumbing a device. It’s then you see who’s been dancing next to you for the last 2 hours.
Now you notice there’s ‘something in their motion’, they been looking for the ‘dance floors of England’ . The ‘sons of the bass bin’ try shouting, ‘hey you lets dance’, but that doesn’t disturb them. They just keep on with that ‘get it off me’ face, knowing ‘this will change it‘, but feeling to ‘wind up saint peter’ on the way in.
Split EP between Grimes and d'Eon, originally released in 2011.
FORMAT INFORMATIONIncludes MP3 Download Code.
Made in her hometown of Hamilton, Ontario, with production partner Jeremy Greenspan from Junior Boys, the plaintive, reverb drizzled mood of the first album has all but given away to a more direct, self-assured and joyful set. As with many artists whose hometown lie off the usual network of cultural hotspots, 'Oh No' is driven positively by the idea of making music that isn't inspired by where she lives. Instead, the album resonates more with the philosophy of experimental pop of Japanese 80s electro outfit Yellow Magic Orchestra and Jessy's breathless, pitched vocals are reminiscent of YMO collaborator Miharu Koshi. Playfully laced with cascading arpeggios, crispy drum machines and breezy songs, 'Oh No' has an infectious energy that has been brewing in her live shows since her first album. As Jessy says ‘I want to make people feel good and I want to make myself feel good’.
The album oscillates between the languid, coiled, arpeggiated slow jams of ‘New Ogi’, 'Going Somewhere', 'Begins', 'Could Be U', 'I Talk BB' and the low slung 808 groove of 'Vivica', where Jessy’s vocal gymnastics run wild over minimal drums and synths, and the catchy upbeat boogie of ‘VV Violence’, ‘Never Enough’, 'Oh No' and the high point of 'It Means I Love You’ which has a sparse addictive bounce with a pitched up vocal refrain and a nod to Shangaan electro. The trials of dealing with nervousness are also encrypted into the artwork, such as the plants that recur in the sleeve and videos. As Jessy remarked, "I became obsessed with surrounding myself with tropical plants. I've been convinced that the air quality in our house is slowly killing us. It might sound crazy but the plants have made a huge difference." Anxiety and botanical remedies or not, 'Oh No' is a bold second album from Jessy and a marked step forward for her sound.
'Jordan Rakei is one of those few and far between up and coming artists that is making music from a truly authentic place. I liked what I heard from the get go and couldn’t wait to play it on my 6Music show. It seems like he is consistently evolving and producing very impressive innovative music. I’m excited by where he is at, but even more so by the potential places he can go.' – Gilles Peterson (BBC 6 Music)
'…a bad ass artist, not to be slept on!' – Osunlade, Yoruba Records
STAFF COMMENTSMatt says: Jordan Rakei gives us here at Piccadilly the feeling of that first time we heard Andrew Ashong, Fatima or Jesse Solomun. There's bits of Erykah Badu in there too. Yes it's that good!
A figurehead of the UK scene through the influential Boxed night he runs alongside Mr. Mitch, Logos and Oil Gang, Slackk aka Paul Lynch distils the Boxed sound into his own inimitable, richly melodic style.
The six tracks on offer on this EP continue to blur the lines between genres as RA described in their glowing review of the Backwards Light EP. ‘A producer whose music is moving beyond its origins in grime to something undiscovered.”
The tracks range from the opening moody club styles of ‘Swan Filters’ and twisted bass of Mumdance and Logos favourite ‘Skeleton Crew’ to the more reserved and delicate headphone moments of ‘Replenish’ and ‘Pigeons’. ‘Hundred Flute’ returns a common Slackk inspiration source into the sampler, but the results on this one could be the best yet. ‘Returning Geese’ finishes the EP in what could be one of the producers last examples of the Japanese styles for a while.
Ok so the award for the most off-it label of the year goes to Prr! Prr!
After leaving us scratching our heads following some mind-mangling twelves and cassette releases we get possibly the maddest release on the label to date! A quarter battle weapon (with some truly unique samples), quarter loop record (with some damn fine trax) , quarter sample scratches record (again, with some sounds and fx never used before) and one quarter.... 'What the fuck is this record!?'. We get manic laughter overriding slowed down gabba beats, some old school c64 computer game speech, foreign gibberish, lots of Jamal Moss-friendly distortion and frequency abuse and, well all the above x 10.
Prr! Prr! could well be one of those labels we all wish we'd have collected 10 years ago, we just didn't realize it at the time. It's that.... uncompromising. Are they aliens predicting the future of night club sound abuse? Or just a bunch of acid-damaged Europeans toying with our fragile minds? I'll let you decide. I'm off to smoke a sherm stick and loose my shit to two copies of this record.
10 NEW ITEMS
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