Smurphy’s long-awaited Spheres of Consciousness EP is probably Bokeh Version’s most polished work to date. Where they commonly dredge up the dirtiest sounds from the murkiest of dubby swamps, Smurphy’s album is much squeakier. Ditching the dirge, they favour the Mexican-born producer’s speed-freak dancehall mutations.
On every track, the sound of the 909 drum machine pings through the mix (scarcely sounding as walloping) to reference the playful digickal sounds of Jammy’s, and she completes the Kingston-born soundscape with a healthy peppering of mic operator vocal samples. The predominant sound, though, is footwork and juke. The tracks take cues from Chicago but land with a charming wink and a sucker punch of subs. Footwork’s place on the dubwise continuum has been documented, but the relation is hardly ever as explicit as this. This is what IDM could have sounded like if those lazy producers had got off the couch and spent more time stood next to a speaker stack.
This is the first record she has released in 5 whole years, since her album for Leaving Records, having been overwhelmed with health problems. She was born with spina bifida occulta, and endured many years with limited mobility. But on this record she both masters and reconfigures her disability, composing tracks that will embrace and obliterate the listening body at the same time.
Spheres of Consciousness is out October 29th on Bokeh Versions | Pre-order here