For those of you unfamiliar with the work of Lamont Norwood AKA DJ Di’jital – and I know there will be a few – here’s a brief recap. One time DJ for Aux 88, Di’jital has been a true stalwart of Detroit electro for more than twenty years. His original slew of records (released on Aux 88’s Direct Beat label) were thick with that particular tang of Kraftwerk, soul, and techno that we now tend to roll together under the term ‘techno-bass’. While this was certainly a close enough description of Di’jital’s music in a broader sense, it doesn’t really convey much of the scratchy, instectoid funk, or the corrosive acidic energy he brought to the party. It’s a sound he’s developed from his Direct Bass days onwards, whether it’s been on Twilight 76, his own Di’jital Access label or elsewhere, and it’s one he’s continued to perfect over a prolific career.
His début release on Austria’s Trust is very much an extension of this sound. In some senses this is the antithesis of modern electro, not only of the wide-screen, deeper and more symphonic breed we have become accustomed to over the last few years, but also to a great deal of the tunes which borrow liberally from the energy and movement of techno-bass itself.
What I mean by this is that Electrohop is not the fulsome, and genre flexing sound we’ve become used to in electro. These are stark beats, combative and taut. They are stripped down beyond the point where concepts like ‘functional’ have any real currency and, indeed, some of them lie squarely in the territory we once called tools. On occasion that exact tightness, the compression of tones and grooves, can take the breath painfully away, and leave you reeling with claustrophobia.
That never lasts. There is always something sliding into place; a slight change of direction, a ripple of acid bass. always accenting the drive of the beats, and shaping their throw. On the fleeting 808 Kits it is the radioactive pulsar burst of bass locking everything within its gravity. On Gamma Radiation it is the spidery creep above the searchlight flash of bass and the regiment of kicks and hihats. On the more rounded-out numbers, such as Entity (The Get Down) flashfloods of melodic bass, and stabs of synths loosen up the rhythms, adding a larger, lighter groove. On Input Main the occasional shiver of discordant, broken, chords, on top of the prowling acid bass catches a mood which makes overt a subtle playfulness at the heart of the record.
It is a harsh record, but that mentioned playfulness, a humour and warmth, smooths many of the sharper edges. But what stands out are the grooves which are whip-like and whip-smart, reminding us that this is first and foremost a dance music, regardless of where the experimentalism takes us. While Electrohop can sound alien in comparison to so much contemporary electro, that’s part of its charm. These tunes might be too much for ears tucked away at home, but drop them in the deep-night fury of your favourite subterranean sweat box and you will watch the room explode.