Whenever peripheral areas in music are explored, whether in terms of speed, complexity or aggressiveness, there is always a critical point. Regardless of whether we are irradiated at a gabba party and crave for a climax that we have long since passed, or if we boastfully exchange our favorite breakcore tracks until the complex rhythm structures hit us as a wave of snare drums. At a certain point we cross the threshold from art to sport. And while some feel right at home in this spot, I personally often balance on that very partition, driven by a mixture of curiosity and skepticism. My own approach to music is just far too emotional and physical to be charmed only by my left brain hemisphere. And so, after this highly subjective process of elimination, in the end there aren’t that many who still manage to convey a physical or emotional message under the flag of hardcore-whatever.
JHM (aka Jens Masimov) is probably a little too smart for that.
In his self-description he describes himself as a multimedia artist working with ritualistic distortion, and his musical mainspring could hardly be better described. Located in a gloomy no-man’s-land somewhere between driving techno and gabba, he doesn’t seem to care too much about whether he could under-challenge some and overwhelm others. Instead, he fearlessly dives into the very core of the ecstatic ritual of contemporary club culture. With stoically hammering, distorted kick drums and tirelessly circulating sequences, he keeps us in a sustained state of physical exhaustion at just around 150bpm, which can ultimately only be maintained by fading out all conscious thought processes. Masimov’s talent finally reveals itself in his ability to maintain this state. And although you intuitively feel overwhelmed at first, he still allows room for improvement and allows the individual elements of his music air to breathe. And so ultimately he leaves us with the last remaining conscious decision, whether we want to swim or run.