It resists picking at its stitches - its samples too arcane, too messed with, or just too plain decontextualised to tease out. More than anything, it has a totality where other creations from second-hand sound seemed patchwork by their very nature. The ADHD collages of the Dust Brothers are abstracted to occasional moments of levity, rising out of the meniscus for a minute or two before the overwhelming mood resumes. Like the best horror films (or scores, more appropriately) it thrives on creeping, pensive tension. Its reputation preceded it - essential album, built from the ground-up with samples, yadda yadda - but there was still nothing to prewarn me. I don’t like to think too much at parties.Įndtroducing, by comparison, presented this swelling, dark, majestic mystery. Even if I couldn’t identify all the source material, I got the sense it was harking back reverently to it. Their records were vibrant, funny - and more than a little kitsch, unabashedly a mash-up of their reference points. I came to DJ Shadow’s Endtroducing circa 17, via a non-threatening suburban white guy hip-hop trail of stuff like The Beastie Boys and Beck. But I didn’t realise until just recently, when I stumbled across a string of inter-related YouTube clips, how it’s capable of comprehensively unlocking a mystery. Plenty has been made of the Internet demystifying pop culture - from the right torrent on the right forum we can find the product, the process and more criticism than should ever have been generated, all in one fell swoop. Joshua Paul Davis, as told to Eliot Wilder Or, even if it isn’t the song as a whole, it’s a genius moment or an accident or something that makes it just utterly unique to the other trillions of hours of records that I’ve plowed through…” And if it isn’t the group as a whole, it’s that song. “When I sample something, it’s because there’s something ingenious about it.
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