#osheyack

Osheyack starts hard with the gqom influenced “Edging.” Jittery percussion races across jabbing synths and disembodied vocal samples. Without a bottom end, it hits more like the soundtrack to a superfast time-lapse of commuter crowd thronging to work than for dancers seeking strobe-lit escape from the mundane. “Thrall” adds a robotic voice, juddering bass notes and layers of glitch that threaten to shake the rivets from the machine. “Still” is a complete change of pace and tone, a deranged yet haunting auto-tuned a cappella built from samples used to voice virtual idols in Japan. It interrogates the intersection of technology and conformity. Not until the closing track aptly named “Reification” can you detect traces of Chinese music in the ambient mix of struck strings, gongs and bells

Capturing the communal essence of a living scene has always been a difficult exercise. However, if recordings lack that immediacy and intimacy, they also create their public and instigate connection between artists and fans. Osheyack is explicit in his intent to evoke memories and impressions of a time and place, to pay homage to a community and foster communication, which seems a basic motivation for making art in the first place.

Electronica is constantly evolving and atomizing with a Sisyphean determination to avoid homogeneity. It voraciously swallows elements of each new sub-genre and regional innovation. Many will dismiss Intimate Publics as a time capsule which captures only a fleeting glimpse of what made the Shanghai scene unique, but its energy and weirdness deserves a wider audience.