It’s been a while since anything popped into the review pile from Jamit, you start to get worried, but it turns out that his absence from the in-box was more than justified. A wholesale relocation of your whole life can affect you in lots of ways, some expected, some less obvious, so as I span his latest virtual record for the first time I wondered how much his move from Singapore to Melbourne might be obvious in his music.
He has always made left-field electro-pop, juggling keys, synths and samplers to warp the rules of the dance floor and create music which sits on the periphery of even the most underground and alternative clubland scenes. Home Town Qoheleth seems to veer slightly more to the mainstream, but not much. The same blend of skittering beats and quirky sonic bites, spacious breakdowns and melodic meanderings, all held together with a hypnotic electro groove. He still weaves religious iconography and sacred references* through ultra-modern soundscapes and futuristic visions.
Maybe, with a different set of visual triggers and urban mechanics going on around him, the music he makes might take a slightly different path from now on but on the strength of this I would say that any changes are not going to be too radical, although he operates in a fairly radical way to begin with so it’s all relative, relatively speaking. I’m just glad to have him back in the loop. Should I have bought him a card?
* until just now I didn’t even know what a Qoheleth was but have made a mental note to use it in scrabble whenever possible on account of it not being spelt with a “u”)