Here’s a truly original release from Pit er Pat member Fay Davis-Jeffers. This is avant-garde pop cut, clipped and caught in-between disjointed rhythms, tribal ferocity and modern r&b. The artwork reveals the process to a degree; you see the soundwaves looped, yet there are gaps, spaces and a visually conscious decision to avoid any sort of flow.
How it Feels Good is like a scratched pop track, jumping, jolting and repeating, if only momentarily. Imagine Missy Elliott’s beats at their most restless; now chop the vocal-lines, repeat, hypnotise. FAY’s voice is as smooth, even when so sharply intermittent.
Construction of music so purposefully non-linear can often benefit from experimentation, or indeed the mistakes that remain. FAY has said, “A mistake is, by chance, sometimes quite good, and then can be turned into a strength by choice… a rhythm I wouldn’t have constructed on my own, a section of a vocal line accidentally looped.”
That’s the Part works with more percussive drum pads, the singer’s tones given reverb and a slight distorted background, as if they’ve been lifted from some place other than her own lungs. If you can handle the bumps it’s another exhilarating piece.
In fact, some of DIN’s instrumentals lack the ingenuity or immediate impact many the vocal tracks offer. After all, a singer’s own voice is their most unique instrument. Not that I don’t like the blown-out piano keys on Shadows II (which is predominantly instrumental) or the wonky sci-fi and twisted rave-chords on Use (again, the voice is there but words are not).
DIN is a truly original record, with a stubbornly addictive quality that I am struggling to shake. This is experimental music that will tap at your brain until you succumb.