Summary"The Ouroboros often represents self-reflexivity or cyclicality, especially in the sense of something constantly re-creating itself, the eternal return, and other things perceived as cycles that begin anew as soon as they end. It can also represent the idea of pri mordial unity related to something existing in or persisting from the beginning with such force or qualities it cannot be extinguished."
When Low Limit, aka Bryant Rutledge, 1/2 of the duo Lazer Sword, initailly set out to create this compilation, the aim was to illustrate the diversity of North American artists bonded by, if anything, an appreciation for both old and new incarnations of dance music (a term used in the loosest sense to refer to tempo, sound palette, etc.). Typically, the North American region (Rutledge resides in California) sees a rotating case of of-the-moment music subgenres making a grand splash, but eventually dying off due to overuse. For this project, he sought out producers with an alternate and timeless approach; producers who have paved new and experimental grounds while tastefully channeling the spirits of times before. And while the artists involved with the compilation reside on this side of the Atlantic, there's clear inspiration from both near and distant turf.
By and large, the compilation is a decidedly emotive affair, from long playing lush house-leaning numbers (courtesy of Background Sound and Braille), to bizarro techno (see Ghosts On Tape's near 10-year-old gem "Sex Chat" still sounding relevant as ever on it's first official release). Meanwhile, United States champion prizefighter Machinedrum (currently residing in Berlin) flawlessly channels the spirits of all things great, leaving the listener stumped by a beautiful array of guitars, vocals and pure vibes. Charlotte-based Clicks & Whistles comes clean as can be with "Tomorrowland"'s UK-esque shuffle - all while retaining their signature southern-influenced hood sensibilities. Elsewhere, Non Projects boss Anenon, known largely for his deep soundscapes and often ambient work, knocks out a moody 2-step-meets Boards Of Canada piece unlike any of his previous work.
In the end, almost none of the tunes on the record drastically resemble each other. And that's the point here. It's ok to be unique, even while giving a nod to those before.