And once again, Will DiMaggio aka Jaw Jam flips a sexy, late night anthem into something even more fitting for 4 AM club play. From the producer’s mouth:
This remix came together rather differently, as I initially set out to remix an entirely different song. While in search for the acappella for Dexplicit’s “Wifey4Lifey”, I came across a vinyl rip of “Wifey” by Next. The acapella is one of my favorites lyrically (your are so crucial girl / so critical girl), and I rarely work with male R&B vocals so I thought I’d give it a shot. Plus I never really understood why people don’t say “wifey” anymore.
“Wifey (U Are So Beautiful)” was originally intended for a Symbols release, but was (questionably) rejected and is now available for all of you beautiful people. I trust that you’ll know the time to throw this one and utilize to its full potential.
From the Wikipedia entry on Pharrell’s “Frontin'”: “The title refers to putting up a facade (or false ‘front’), typically to impress peers.” Just in case you were confused about your early 2000’s lingo and need some brownie points with the cool kids. The internet is a funny place. Over the next few months, Jaw Jam has tunes coming out on Tuff Wax and Symbols (which makes too much sense), but until then, he’s going to release bootleg after bootleg after bootleg. His latest target is the aforementioned “Frontin'”, one of The Neptunes’ biggest hits at the time and, for better or worse, a pretty damn good indicator of radio hip hop in 2003. Jaw Jam’s bootleg is built around stuttering percussion and those rich, smooth synths that have become his penchant over the past few months. Pharrell’s voice cuts in when the beat stutters, but never really reaches the surface. Jaw Jam is digging out a niche for himself as a sort of house tempo counterpoint to Kastle and Symbols’ R&B laced dubstep. Stream below and show Jaw Jam some love at his facebook page so that he’ll let the download loose.
Lockah is not the first producer to match rave and Southern hip hop. AraabMuzik and Bird Peterson have been exhibiting the odd pairing for a few years now, but the results are largely cringe inducing (half of Electronic Dream being the exception). When done wrong, the results are surely flamboyant, but without any of the subtlety that Lockah has instilled on his latest Please Lockah, Don’t Hurt ‘Em EP. That’s not to say that the EP lacks flamboyance though. The progressive piano on the title track is undeniably corny, but the Aberdeen-native achieves a Rustie-like levels of absurdist cohesion, meshing the broad piano strokes with chipmunk vocals and rapid-fire drum hits. By the 2:45 mark, the song has morphed into an all-out slugfest, substituting the piano for huge, crispy synths akin to fellow Scot S-Type’s Billboard EP. The track teeters on the verge of disaster, but Lockah’s measured sense of chaos (if that makes any sense) prevails and the result is one of the most variegated party tracks oft the year.
“Sly Winking Usury” substitues rave for Nintendo, spattering 8-bit sounds and, you guessed it, more 808s. The track lacks the progression of the title track, but makes up for it with plenty of pulsating bombast. The third and final original on the EP, “This Is True Muscle Suicide”, is also the most restrained, slowing the tempo down and putting the emphasis on curiously clipping percussion. That is until the chorus when more emphatic synths and pitched vocals enter the picture, removing any doubts over what Lockah’s intentions are.
Please Lockah, Don’t Hurt ‘Em is aimed squarely at peak-time, ecstasy inducing pandemonium and attains that goal at every level. Unlike past explorations into rave on the part of hip hop producers, Lockah dispels the paranoiac nature of the come down, focusing his efforts on the youthful, drug-induced side of the come up. The EP is one-dimensional, but that one dimension is multi-textured, subtle and exciting. Furthermore, it seems pretty clear that Lockah is self-conscious of the one-dimensional nature of the EP and has embraced it. Rave is a beautiful thing when done right.
You probably shouldn’t listen to Jaw Jam’s newest remix quite yet. Well, unless it’s dark out wherever you are (which is half of the world I guess). Anyways, Jaw Jam’s remix of Jade’s house classic “Don’t Walk Away” isn’t nighttime music in a Burial/Night Bus sense, instead drawing from the pool of 90’s house from whence the original came. Driven by a bass line that keeps filtering in and out of the picture, this dub exists within that late night dub when the casual dancers have left the building and the real heads are the only people left. Stream and download (hit the buy track link) below.
I’m surprised we haven’t featured Jaw Jam aka Will DiMaggio yet on this site. DiMaggio, currently a student at Oberlin College, has spent much of 2012 filling his Soundcloud with smooth hip hop and R&B remixes high in the sex appeal department. The good folks over at Live For The Funk have signed him up for the first installment of their Our Sounds series, due at the end of the month. To celebrate, DiMaggio let loose a new R. Kelly sampling slow jam “Chop N Screw It Like”. Robert Kelly’s “Number One”, no slouch of a baby making anthem itself, is chopped into a funky bass production. Stream the track below and look out for Jaw Jam’s Untitled EP on LFTF later this month.