Daphni releases are just as exquisitely crafted, but have a rough hewn grit and menace that revels in darkness.
Like some bright white teeth revealing themselves through the pitch black of a darkened hallway. It could be a smile, a sneer…or something more dangerous altogether.
On his most recent release (on his Jiaolong imprint,) Dan Snaith is collaborating with genius, multi-instrumentalist Owen Pallett for a 12″ that defies genre and any kind of reasonable/simple explanation.
Exploring some really avant space where Gothic Chamber music meets Ghetto Bass meets 4am Warehouse rager…Julia/Tiberius could very well be to 2014 what Pepe Bradock’s Mujeres Nerviosas was to 2013.
This is uncompromising dance music. It’s challenging, emotive, heady work…but it’s also grooves harder than just about anything else I’ve heard all year.
It was literally about 40-something degrees beneath the dark desert sky, the wind was kicking up dust and sand, and all these rad Techno-hippies, hipsters, ravers and beardy biker types were ambling about, freezing their asses off in cowboy hats and ponchos. Drinking and off their heads on desert vision quest drugs as the lights and lasers kept catching these swirls of dust and smoke, I played some leftfield jams…and ended my set with this Daphni/Pallett Tiberius.
On that sound system, the high shrieks of the violins, throbbing low end and crisp hi-hats, I felt like things got really wavy. The build was big. And the SMD dudes immediately started the show right when the track ended…it was truly, undoubtedly, one of the sickest things I’ve ever had the pleasure to be a part of.