Well, this was a pleasant surprise for a rather cool November afternoon: Bookmat has not one but two new Jahtari releases available for purchase and download. These came as a complete surprise, partly because Jahtari does a poor job with their site: not only was there no word that these were coming, but there still isn’t any word that they even exist.
First, there’s Tapes’ “Hissing Theatricals” which is a brilliant, if brief, foray into lo-fi 8-bit dub patterns, with an added cassette transfer hiss for that extra bit of texture. It’s very much in that Disrupt style but a little more, I don’t know, focused? The mp3 release costs only three pounds so it was an instant impulse purchase for me, especially after hearing the sample for “Gold Love Riddim.” It’s fantastic and worth the cost of the album on its own.
I love Boomkat, but their often sycophantic and overly enthusiastic reviews are some times a little too much. Every other album is massively recommended, a career definer, an essential purchase, three exclamation marks! etc. This is what happens when the reviewer is also the seller. That said, in this case, the album hits all my right buttons and I agree with their sentiment: Massively Recommended!. If I were to make another Bleeping mix, this would be featured front and centre. Hell, it even uses a Capcom opening chime sample — think Street Fighter 2 — which, coincidentally enough, I recently used too.
The second release is an EP between the man himself, Disrupt, and Glasgow MC Soom T. They’ve collaborated before and an entire performance can be heard on Jahtari’s site: Disrupt Live w/ SOOM T at Glasgow Art School. The track “Dirty Money”, from that live set, is what I ended my “Beep-Side” with. It was a bit rough and raw then, but it’s been given the title track treatment for this EP and it’s a lot more cohesive now. Filling out the rest of the EP are two other vocal tracks on the EP, and two instrumental dubs.
It’s a good collaboration with some good jams, but it’s a bit in your face. I’m just not naturally drawn to vocal stuff unless it’s really good, distorted, or just much more in the background. Which is why if I want to hear female vocals over 8-bit dubs I’ll more frequently turn to the low-key stylings Illyah & Limited Candy’s “Machines and Ghosts EP”. Unless I’m sticking it to the man, or Ken, then “Dirty Money” would do.