The album starts in a quite chaotic way with its first track, “Heavyweight Dancer (Dropping Hits)”. Is it a dance tune based on a four-beat rhythm, is it a descendant of break beats, or is it hip-hop because of the verses of Declaime a.k.a Dudley Perkins? Despite all these, we could come to the conclusion that even with so much space in between the kicks and snares, enough groove can be created in the track. Hi-hats leading the rhythm, and various sounds (which seems to be from mostly synthesizers) crack open and squeeze in between each other, proving that it is the structure of rhythm that makes people dance, and also that overly-exaggerated bass overwhelming ears is not a necessary requirement in a dance tune.
“Computer Rock” featuring Georgia Anne Muldrow as the vocalist reminds me of Theo Parrish’s track “Fallen Funk” from his masterpiece . The track is a better representation of the album as a whole, not allowing the listeners to suppress the urge to dance. “Footwork” which was a single in the fore-mentioned raised a controversy for its lack of relations with the juke/footwork scene, but Theo Parrish closed the controversy in by saying that “all three styles require precision, energy, and rhythm.” I think Otakhee may have, instead of picking a ‘template’ and constructing it with traditional features (such as instruments and shapes of rhythms), focused on his ‘inner dance’ as the first task in the project. Otakhee, a very fastidious musician and a listener, designing his music with complex devices enough to make his own body react, is unique in its own way. Not one track is based on a “thump, thump, thump, thump” leading the listers to comfortably follow the rhythm to. Listers are forced to sway, spin, and turn their necks in a very 3-dimensional way, instead of just rocking back and forth. It sure is a record made to dance, but it’s more for audiences to be awaken and conscious, rather than intoxicated in the mood. Thus, this is a record suitable for dance floors in clubs, and also for deep listening.
Techno, which recently has taken over the mainstream of dance music, aims towards ‘the act of dancing without consciousness’ or ‘in trance’ by raising the BPM, repetition, and ‘dub’. The fundamentalist Techno music, or the Techno which started in the harsh city of Detroit, aims to show roughness as its core in the face. It is not limited to the low end of the sound, but by letting individual sound stand out and not be buried in the bass. This makes the listeners to close their eyes and dance like they’re in their dreams, but in instances, also makes them admire, “wow, this feels like I’m being beaten up throughout my whole body.”
I recommend listening to the whole album in its intended order. Doesn’t matter if you liked Otakhee’s previous album , or if you’ve seen Otakhee play techno and house as a deejay, or if you still remember him as a hip-hop producer, I want you to face “F**k You, We Will Dance” as the finale of this album. If you feel this music is not danceable enough for you, you should just go to some other club. It builds up slowly, then holds one’s breath, then hits you in the face again. The right way of enjoying this track is very simple. Keep your head up, and listen to it very loudly.
Written by Jesse You (DJ/ Record Collector/ Feature Editor of GQ Korea)
Translation : Sanghoon Lee (Con Tempo)
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