In the third installments of our "To Shape The Future" influences series we welcome a unique artist and fond friend of Organic to enlighten us. One half of Daat, Jason oS.
In what is roughly two years since our initial introduction to Jason oS personally through Offshore Recordings' DJ Clever, Jason oS has become a staple of our musical diet both through his solo work and exemplary productions alongside Joe Mnemonic as Daat. Working out of Montreal, Jason has a remote perspective of the wider genre he occupies, joining the dots between the abstract and more dynamic characteristics of the audio form. One of the ongoing objectives of this feature is to maybe in a self indulgent manner, investigate the formative influences behind the musicians we find most intriguing. With this core objective it was imperative that Jason would be a subject for examination. Without further delay, here is Jason oS' top five influencial compositions...
Spacetime Continuum - Transmitter (Reflective) 1993
Hearing this track for the first time really woke me up regarding the possibilities of musical meaning and connections with things outside note progressions/ drum programming/ effects. While much of that might be in here, the important thing for me is that elements from everyday life are being flipped into something else, and not just for an effect, but to create a larger more cohesive work connecting multiple planes of existence (here the musical listening experience with external non-musical entities).
Autechre - Montreal (Warp) 1994
It's quite hard for me to choose a single track of this album as I usually listen to it as a whole. It's excellent museum listening music if you know what I mean. If not, I mean that I find that I can only enjoy museums while listening to music, because there are way too many things to appreciate with too many people there. To really experience thousands of works individually, I find that I need to separate myself from the people and my thoughts with deep contemplative music. By a indirect process, I've found this is my go-to album for museums, but I listen to it consistently outside of museums as well. Anyways, this particular tune "Montreal" is the real album starter for me. In my opinion, "Foil" is very much a warm-up to "Montreal"—the album's statement of purpose (perhaps as I associate "Foil" with the lead-in time it takes for me to get into the listening mood for the album). Of course now that I started writing about "Montreal", "Silverside" has come on, and now I'm thinking I should have written about this one instead!
Eduard Artemyev - Meditation (Torso Kino) 1990
I've always been drawn to film music. I could easily create a list of top 5 tracks comprised of soundtracks alone, as both my listening habits and writing tendencies are heavily influenced by certain soundtracks. I guess the allure (in part) is that the music is often designed to be minimal so as to not interfere with the foreground visuals. The result is often "mood" music that relies on less obvious musical devices. It's more than likely that my love of certain soundtracks and filmic sounds is linked to the films and directorial style of the directors themselves—Oshii, Cronenberg, Polanski, and Tarkovsky being favourites. In Stalker (1979), Artemyev's composition intensifies the mood created by the visual feast of Tarkovsky, and "Meditation" is what it says on the box...
Codename John - The Warning (Metalheadz) 1997
Being a fan of cyberpunk, I can only attribute the sounds in this tune (e.g., synthetic winds, dark unflinching bass, resonant effect) to a corporate machine response to an attempted hack, and this is the incoming ICE. The Logic vocal has been repurposed to be an ominous "get-the-hell-out-of-here-before-our-automated-response-fries-you" message. At least thats how I like to interpret it, and in doing so, I respect the philosophical standpoint of the tune.
Steve Roach - The Other Side (Fortuna Records) 1988
Steve Roach is one of the few artists that my mother and I can agree upon. Reflecting on this list, maybe we have more... Anyways, for me, Roach's careful layering and track evolution are unrivalled. Something that I really like about this album ("Dreamtime Return"), and Roach in particular among other ambient artists, is his wide-ranging timbral space. "Dreamtime Return" is an amazingly evocative album with varied moods—created in part by the diverse timbres—that really needs to be heard rather than discussed. "The Other Side" evokes a (sort of) Blade Runner vibe with long, contemplative phrases of a string melody. Excellent working music.