Paris-based producer and Rinse France regular Low Jack follows his first release for Trilogy Tapes - a lengthy mixtape on cassette which followed in the footsteps of contemporaries Ben UFO, Kassem Mosse and Dean Blunt -- with a new six-track 12-inch Imaginary Boogie. Expect hazy and immersive electronica.
12" £11.99 TTT025
12" on The Trilogy Tapes with hand silk-screened inner sleeve.
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- Imaginary Boogie by Low Jack
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8/10 RMCC Customer review, 11th August 2015
New boy Low Jack arrives at The Trilogy Tapes for 6 tracks of challenging techno-noise.
Often, I wonder what goes on in the mind of Parisian Low Jack. However, I’m quite quickly reminded once I remember his music that I’m not so sure I really want to know. It all began with 3 excellent record of big room tech-house courtesy of the Slow Dance EP. However, from then on, he’s made his name in some of the most brutal and unrelenting techno-noise which at times borders on audio-assault. Let’s just say, Low Jack ain’t for the faint hearted.
However, on this EP, that is and it isn’t reflected in equal measure. Kicking off, the EP’s centre piece ‘Imaginary Boogie’ is, for Low Jack, a remarkably structured affair. There’s some fuzzy drum-like synths (or something like that) making a pretty steady, slow beat underneath. Over the top, the track creates some great sounds using what sound like hugely distorted vocal samples, and some synth strings. The whole thing judders on in a thoroughly enjoyable manner, and seem aptly titled. There is a bit of boogie in there somewhere, even if you have to try hard to unearth it.
The record then takes a sharp turn in ‘Scratch Variation’ which sounds, basically, like how you might imagine being in an air-raid shelter must have been. There’s a steady droning which may well be a siren, and a variable whirring which sounds remarkably like someone trying to tune a radio. It’s a great piece of noise, but I’m not sure it’s music. Finally, the A – side is seen out by ‘TTT Beat I’, which is little more than a squelchy drum beat, just as advertised.
On the B – Side, things kick off with the record’s best track ‘FM Field (Swing Mix)’. There’s a steady pounding of drums in there, almost sounding as if they belong in an Iron Mongers. Over the top, more scattering synths create an uneasy, but enjoyable feel. Next up, ‘Mallet Theme’ lives up to its name, making a barely tolerable whirring clanger of a track. There’s some off-key piano pattering, and more sinister synths creating something which sounds like it came straight out of a horror film. Probably the weakest on the record, but an interesting addition. Finally, we’re seen out by ‘TTT Beat II’ which is much more gentle than the end to the A – Side, but again little more than a drum snippet.
Listening to Low Jack is like picking a scab. Something’s telling you it’s bad for you, and that you shouldn’t. But you just can’t help yourself. This record is no different, offering total hostility, and at times, fully immersive intrigue. It’s quite possibly his most enjoyable, and dare I say it, most accessible records to date, and actually it’s really quite good.
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