Jamal Moss, the human being behind the Hieroglyphic Being, applies his special techno technique to three pieces of music by The Psychedelic Furs, Siouxsie & The Banshees and Fad Gadget. Not what you might expect Jamal to be delving into, but of course he totally knows how to re-work the material into his own hard-jacking style. 12” on Medusa Edits.
12" £11.49 ME-003
Limited repress 12" on Medusa Edits. Jamal Moss re-edits of Siouxsie & The Banshees, The Psychedelic Furs and Fad Gadget.
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8/10 Thomas Spice Customer review, 22nd July 2017
The "Medusa" project amounted to seven self released edit singles put out by the staunchly progressive electronic artist Jamal Moss. Released over the course of two years one gets the feeling that this was a project never designed for longevity and profitability, more an act instigated by Moss to reconvene with old musical memories and disrupt ours. That this was never destined to be a long and ongoing series distinguishes it from other similar imprints with shared aims of reiterating Chicago's history to us such as Members Only, Bath House Etiquette or Secret Mixes & Fixes. Moreover the brevity of the imprint gives a much more condensed and intimate message; seeing Moss revisit his past life in Chicago nightspot Medusa's is an artist giving us a brief but visceral insight in to how the songs of that era have morphed and transmuted in his brain, moving beyond their initial structures to become wilder and heftier crepuscular bea(s)ts.
On this edition three tracks are chopped and screwed by the roland sp samplers that Moss favoured at the time. "Happy House" by Siouxsie Sioux has it's original sub 4 minute structure disjointed and elongated. Moss creates new sections in which the light footed cantor of the original is fed a strong dose of tranquillisers and stumbles around in a joyous angular k-hole. Any traces of radio friendly smoothness present in the Psychedelic Furs original of "Heartbeat" are eliminated within Moss's rendering, stretching the sax laden verses to infinity and letting the ecstasy of Richard Butler's lyrics rattle around in a cold oblivion. The absurdity of the Fad Gadget's kitchen sink industrial gem "Collapsing New People" is stretched and given a starker, stuttering presentation.
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