On The Move comes straight out of a dingy club at the wrong end of the high street with its baggy T-shirt stained with sweat and dry ice ravey stabs and grinning daftness do something similar to the inside of its mind. While Dishwasher feels far more classically Chicago – mainly because it’s an homage of sorts to Mr Finger’s Washing Machine – the other tracks cram in a good dose of messy, day-glo, fun alongside some wobbly grooves. Musically it’s very much of its time with its mix of Acid, techno, and rave, lending it the distinctive UK sound of the early nineties. Judging from the fact that the same PR blurb is out there on about 100 record store sites, I’d say that’s about all most seem to know about it which is pretty cool and interesting because it’s not often we get something genuinely obscure popping up as a repress at the moment. The original was released in 1992 as a white label by the members of the short-lived techno outfit Ubik, and that’s about all I know of it. Now, this is an example of someone really, really, digging back and returning with something unexpected. I think the title of this column is occasionally a bit misleading. This is The Maghreban with excess stripped out and a new, clearer, vision showing the way forward. Fittingly for a record which draws on so many sources, 01DEAS is an album of evolution and anyone expecting the same as the 12″s spread over a larger canvas will find themselves challenged, perhaps, by the way the same ideas have been pared down until they better fit a much more rounded, and exciting, whole. Occasionally it drifts a little too far to the outer reaches, worrying a little too much about direction than the destination, but there is usually something there, a burst of spectral dialogue, or a sudden wash of synths, to show you the way back, and when it works itself up into its handful of true grooves, it’s very, very good indeed. It’s an intriguing record in the way it finds common ground in the midst of such an expanse of ideas.
#Timenet dishwasher skin
Strings pulls at a drifting house number until it comes apart in the hands, and puts it back together with an inside made of AFX bass and a skin of broken blues. It’s a simple joy in the way the snap of a sultry but wistful mover like Revenge where Rutendo Machiridza’s plaintive vocals light a torch above a wiry and buckling rhythm can emphasise a similar energy to Sham’s scatter beat drums and billowing Rhythim Is Rhythim pads.Ġ1DEAS has some of its best moments in tunes like these, or in the tight, sunlit, funk of Mike’s Afro where all the elements come together under a focus of mood and tension.Ĭrime Jazz is looser, more typically Maghreban it its de-constructed jazz and effervescent alien kitsch, like a xeno John Barry let loose. It’s not a dark record, although it has is moments in the shade, and much of it is illuminated with an excitement of how much fun all these different toys can be. The hip hop, the house and the techno, the touches of dub and d&B, the woozy, broken, vocals and the taut, noirish, moods, all seem to lead off to different horizons and it takes time to follow them back to the point where they feed into the records central tones and atmospherics. Crowded with starting points, and tangled with divergent paths though a forest of influences, it’s easy to lose yourself at first in a maze of concepts and interpretations until, gradually, the lie of the land begins to make itself known. In this case you would hope that the extra leg room might allow for the music to blossom and flourish, and to allow the space for many of Rostom’s tastes to really mature and come into their own.Įven with the real estate offered with four sides of wax, though, 01DEAS is a busy album. It becomes harder to avoid noticing if they are stretched too thin. Sometimes when a house or techno producer aims for an album there is an amplification of the basic influences and ideas which shape the music.
Thinking it over, though, and you begin to wonder whether a LP might not actually be better suited to Ayman Rostom’s music than its usual 12″ home. Having been a fan of his music for a long while now I think I have a fairly good grasp of its qualities, and I suspected that the mix of wide-screen exploration and loose, hynpogogic, grooves might be a little rich for a longer playing project, as if such qualities were better in smaller doses. Let’s be honest about something right from the start: When I heard that The Maghreban was making an album I was a little uncertain about how it would go.
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