Say what you like about Jamit but you can’t fault the speed at which he turns out new material. It seems as if there is a new offering in the review pile every couple of weeks and who can blame him. In this short attention span world, it pays to keep your name ahead of the pack and the best way to do that is to do the work, keep your music flowing, offer new and intriguing sonic delights. It’s the shark analogy all over again, the idea that they have to keep moving all the time, well, musicians need to do the same.
Jamit’s music seems to be a wonderful melting point of influences and ideas, garnering in everything from the sounds of the city he now calls home to splintered dance floor electronica and from medieval influences to Balearic scene sounds. It all goes in one end and informs his ambient blueprint, the result being half his signature sound and half mercurial and wide ranging references which somehow seem perfectly consistent with what’s going on around it. This time out he pays tribute to Jamaican pioneering DJ King Stitt, one of the people who pretty much invented DJ-ing in its modern form, who influenced, Caribbean sound system styles, British mods and skinheads, South Bronx hip-hop innovators and modern dance producers alike.
Amongst the Jamit beats you can hear the ghosts of those early Space Echo delays, the same groove and intricacies, here rendered into modern electronica and the whole sounds like an alternate history of where that formative Caribbean sound might have gone had the technology been available at the time.
Jamit does a rare thing, he has a unique and recognisable sound but it seems as if he can feed almost any idea into one end of his process and what comes out the other end is both consistent yet exploratory, familiar yet beating new paths into dance music’s future. And that is exactly why the genre will be okay in the long run.