Electronic music is full of idiosyncratic and alternative paths, and it’s here we meet once again Jack Latham, aka Jam City, the elusive British producer with a prolific decade-long career behind him. from the clouds uk-bass And from studio collaborations with Troye Sivan and Jozy to the Night Slugs collective’s post-dubstep, not to mention stellar productions with Kelela, Latham has always shown he can play in multiple leagues. In between, a series of unfathomably amorphous but strangely engaging individual albums, minimalist avant-garde timbre research and a strictly divided Extreme, as if to form a bridge between Skrillex, Machinedrum and Terry Riley. In 2020, a breezy glam-rock experiment called “Pillowland” followed for another change in perspective, this time closer to colleague Yves Tumor’s Twist and Turns.
Its soft, pop and linear side was still missing, with which to caress the Chinese nights Weird The English capital during the summer of Pride: “Jam City Presents EFM” was born here, in the refuge of the dance floor, but always with antennas raised and a vague shyness of attitude that just won’t let go completely. It should be said, in fact, Jam City is not the most stubborn and original author, his strong point appears, if anything, behind the software and to consoleAn aspect that does not miss peeping even after hearing this, with all the consequences of the case.
Many guests now come to the rescue. Queen gracefully animates the single “Wild N Sweet,” creating a nocturnal dance sketch that never fails to prick the listener. Mysterious singer Clara La San serves up some R&B whispers on Sweet Cue tropical house of the opening “Touch Me,” complete with Justin Bieber’s sampled flute, while Aidan’s rounded male voice provides five contributions—best of all, other than the aforementioned “Touch Me,” surely the silly house-pop of “Reface.” Spandan hai”, a step away from some Edm scores by ZHU and earlier disclosures. Wet, a band from Brooklyn’s indie underworld, co-wrote “LLTB.” Singer Kelly Zutrau’s voice floats above the plush Beat electronic, while Jam City colors effectively Stop Despite employing very few people Speed productive.
Of course, however, the limits of the work with these songs are already noticeable: the desire to write pop slightly suppresses the usual sound tricks in favor of simple and spontaneous radio dance options, but at the same time the songs are never really exciting. are not. , The loosely sweet and eponymous “Jam City Presents EFM” is also a strange standard of one-handed listening we know from the hardcore tendencies of “Red St. Turbulence” or the boring semi-instrumental “Tears at Midnight”. Far more interesting than things like ,
In closing, “Magnetic” casually puts together another little nod to chase the deadly trends going crazy on TikTok.
And this album is potentially interesting but ultimately only half-baked enough to listen to – indeed, considering the unprecedented melodic turns by the author, “Jam City Presents EFM” is clearly late on the electronic dance roadmap. . Then perhaps it will always be pleasant to hear one of these songs over the speakers of a club during a warm summer evening, but on closer and more thoughtful listening, this fifth playing tall The study fails to provide major reasons for interest. Which is surprising, because the Latham hand has historically always provided the most varied of things.
06/13/2023