1) I was not aware Jealov was from Belgium. Hell, I didn’t know who he was.
2) I was not aware this EP was being offered to everyone for free.
3) I was not aware this was called a “bootleg” EP, and I’ll explain the possibility as to why
So now we’re here with Jealov, who is called “mysterious” in his bio. I like that, I like the unknown trying to be known from creating something that makes him want to be such. In this case, his EP Translations (Mush) also takes very well known sources and uses them to add to his vibrant sonic pictures. However:
4) I was not aware that the theme of this EP had to do with taking the known and turning it into the unknown to make it known.
In other words, the theme of this EP is specifically to take elements of music by popular artists and construct it in a way that it becomes partly about those original artists, but very much focuses on how Jealov did it.
The song titles give indications as to who he’s “playing” with:
a) “Sean’s Shelter” (Sean Paul)
b) “B&CGir1” (Beyonce)
c) “Just In Lov” (Justin Timberlake)
d) “Re: N/A SOS” (Rihanna)
e) “JZ-9999” (Jay-Z)
f) “All I Try” (Aaliyah)
It seems like a simple approach, but the way Jealov does it is very clever. It’s not just a simple remix or mash-up project, but rather each sample source becomes one of the instruments in Jealov’s band, and hearing them individually may make the listener go “oh yeah, I know what song that is.” As a whole, you realize that bootleg thievery is a concept of sorts, or at least a sound concept, and one tends to want to enjoy it as something more. Then again, is it a “bootleg” EP as a deliberate way of knowing that sighting these samples will single him out, may cause a bit of discussion and make people go “wait, that’s that song I really like”, and that might make people go “wait, can the artists and labels sue Jealov for this?” Most likely no, since it is a “bootleg” but in truth it’s a free EP, so Jealov is (to my knowledge) not making any money from this. But, is he using it as a means to get people to hear his music and production, in the hopes of getting some work? Aaaaah!
While I’m not a Rihanna fan by any means, the best track on here is “”Re: N/A SOS”. The song seems to take on the techniques of John Oswald‘s plunderphonics and mixes it up with the silly-yet-cool feeling of Mochipet and turns it into another example of how to utilize “found sounds” in the best way possible. You can indeed dance, get funky, or have sex to this song, but by twisting Rihanna’s original, it also seems to be a new translation of what the public is thinking about with Rihanna.
Translations is a very impressive EP, not sure if he will continue doing similar projects but I’m on the bus to hear what he’ll come up with next.
(Translations can be downloaded for free by going to Mush Records’ Facebook page.)