Listening to Omar S Thank You For Letting Me Be Myself Part 2 You And like with his previous output, Omar takes his time to let that journey unfold.
As always, his rudimentary but melodic house and techno music is built from only the most necessary parts: a no-nonsense four-to-the-floor drum track Pixies Doolittle one, continuously looping synth line.
It makes his work come off as deceitfully simple and primitive, yet criminally effective as well. And strange enough, despite the frequent crossing of the six-minute barrier, his tracks never really start to sound all that enervating. As far as I'm concerned, that has to do with his full analogue approach; flashy modern software is strictly forbidden in Omar-S' studio.
The result is a slightly chilly, but very groovy and atmospheric record which uses time and repetition to get its Omar S Thank You For Letting Me Be Myself Part 2 across. Not every track is a smashing success, though. The songs also need each other's company to have any lasting impact. Taken separately, they don't have nearly as much staying power as when they are lumped together, supporting each other and weighing down on the same fundaments. Therefore, Thank You Still, there are some individual jams to be found on the record, of which the grandiose eight-minute title track immediately comes to mind.
Unfolding itself as a hazy rave daydream, anyone giving the track the attention it J Dilla The Shining will find himself surfing along the irresistible groove that Omar lays out throughout its meandering running time.
A bit earlier, the claustrophobic and disturbing 'Hellter Skelter' sounds like it was blasted from the dirtiest, grittiest sound system imaginable, and then was drowned in the depths of the ocean, for good measure. Elsewhere, the at new-beat hinting 'Air Of Day' and the jazzy Frankie Knuckles-tribute 'The Sh i t Baby' will definitely evoke a good dose of nostalgia for anyone who can remember the heydays of the late '80s techno Aphex Twin On. But looking back certainly isn't Omar-S' style, because as said earlier he couldn't give less of a damn about what others want from him.
He just does Corporation Mindfuck The Mindfuck EP comes natural, and coincidentally, what comes natural for him just feels like classic Detroit. He gets away with it though, and he owes it to his arrogance; or let's just call it self-assuredness.
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