Following on from the success of recent collaborations with Kroissenbrunner, here Jamit teams up with another artist whose name takes me at least four attempts to type, to bring various additional sonic goodness to his already fascinating musical explorations. Holy Prophet Elijah is the usual blend of off kilter EDM and mercurial, left-field sonic references. The vocals sit in their usual half-lost, otherworldly voice-as-instrument place and the track drives on strange, primal croaking synth, skittering grooves and an unfussy but unambiguous beat.
Collaboration seems to suit Jamit as this is the third time he has teamed up with South African based Kroissenbrunner to help expand the sonic range and palette of ideas from which to make music. Again based on Jamit’s ability to weave gentle beats with glitchy, freeform, futuristic dance patterns and Kroissenbrunner’s mercurial lyrical inclusions, it features the usual blend of familiarity and freshness, ambience and subversion.
Jamit, and his strange and wonderful forward thinking dance music creations is a regular visitor to DAA’s sonic literary shores. Often seeming like a solo voice in the music wilderness, creating singular sounds alone somewhere on the other side of the world and fighting back against the waves of predictability and pre-conception by building mercurial musical landscapes. Here though he has found a like-minded soul and if Jamit on his own is an interesting prospect, a collaboration is exceptionally intriguing. Just the concept of a Singaporean-South African musical cross-pollination has to be fascinating concept.
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.
The only thing that you come to expect from Jamit is the unexpected. Yes, you know that the music is going to run along warped, experimental dance lines, though I’m sure one day I will find something from him in my review pile that throws even more of a curve ball and completely jumps the generic boundaries. But, apart from his broad signature strokes, his sort of sonic fingerprint, you have to just be content to go where he decides to take you musically. As always his subjects are the world around him, and the title alone informs you that this is inspired by the more fun and intimate aspects of life.
As my “go to guy” for all things experimental dance coming out of the Far East, it’s always great when a new track by Jamit drops into the review pile. Not because past tracks have proven to conform to any style which is well within my comfort zones, but actually it is the opposite that I find intriguing about this thoughtful composer. Unpredictability is the name of the game and that is what is truly exciting.
Dance music, for all its good intentions, very easily gives up the search for cutting edge escapes and new paths to explore and most of the music that falls into such that genre can be as predictable as formulaic pop or cliche-ridden rock. What I love about Jamit’s creations is that whilst you know that they are going to be built along certain heavy and hypnotic grooves, from there on anything could happen.
Chicken is a perfect example of the way he thinks. It drives on energetic and intense waves, throws splintered electronica and disenfranchised spoken word fragments around and from there slowly builds towards even more claustrophobic and strange sonic heights. Dance music? Perhaps, but certainly not that of the mainstream club. This is the soundtrack to a basement club night that is so hard to find that it has reached cult status, a club peopled by the effortlessly cool and the naturally outsider. A club of near mythical status. You may think that you know all about dance music but you can only truly say that once you have experienced Jamit’s future musical predictions.
Pioneer Generation showed us just how uniquely Jamit thinks when it comes to modern dance music and MRT carries on down that same path, one that wanders well away from the mainstream and seems to travel parallel to film score, avant garde meanderings, video soundtrack and electronic experimentation.
MRT could stand for a lot of things but I’m guessing that Mass Rapid Transport is the reference here, given his Singapore location, the track seeming to mimic the industrial rumbling and hypnotic tribal groove of that famous urban rail system. I may be wrong but it works for me. But that is the joy of such tracks I guess, without the lyrics they allow the listener to decided what they mean and it is a definition that can change and evolve from person to person and from day to day.
Again Jamit not only thinks outside the box, but shows us just how small the box. As his song builds in intensity and repetition, as it conquers new sonic territory and explores new musical horizons, it is only when you look back you realise just how small that box is and how far he has come.
Jamit makes dance music for the modern age. It’s as simple as that. With so many acts liberally plundering from the past, re-working the golden age of Balearic music, of the Rave scene or revisiting those iconic early sounds of the the original synth explorers, it is great to come across an artist looking forward rather than backwards. Pioneer Generation is a pulsing and groovesome blend of contemporary dance, it is a wonderfully minimal, slow-burning and hypnotic EDM blast, it never strays too far from its beguiling singular vision, it draws its electronic trappings around it, slowly layering up beats and grooves and sauntering its way towards its final destination.
And whilst Pioneer Generation contains the required groove and pace of a midnight dance floor, it also is sassy and sultry enough for the more laid back dance experience. It is built on trippy beats and airy electronica but allows enough space between that the music never becomes claustrophobic or cluttered.
Not everything has to be the fastest, the most intricate, the most driven; we have matured enough to get beyond that. What Jamit offers instead is solid and sexy, and when has that not been more than enough for a good night out?