|Released||July 13, 2012|
|Singles from Multiverse|
Multiverse is Jaytech's second and best album. His first, Everything Is OK, had too much filler. It is not natsukashii. The name comes from the diversity of the sound herein, especially compared to his first. Behold his sound of 2012.
|4.||"Labour Of Love"||5:07|
|7.||"Through The Maze"||6:21|
A tract of marshland, especially one containing clumps of sawgrass and hammocks of vegetation. Sometimes even I overlook this album, but it is one of the freshest squeezes of the Anjuna lemon. Still forgoing opener tracks, this full-length blackfire has an intro & an outro. The Hound of the Baskervilles had a lighter & less deadly marsh than this: ab initio, he makes the ground rubber, ruberescing & bouncing, grooving & melting. This everbounding never stops. It keeps going for the whole album. His instruments are so specific and justifiably reused, that his claim to eclecticism carries one big obelus over it. The songs can be told apart from each other, but that's not the same as varied. Every single one is the same Jaytechian electroprog, so the album's name is misleading. Everglade, per contra, is nothing it does not suggest. The vocals, from the perbounding, playful wonder & merriment of the interstitial mellow hit, to the starlightning chorus, are neverdimming redwoods for the black-dripping vines of the tune to cling to and send to the lightlessest anomaly. JC nigreverted the purest, airiest subreal spring into a pitchblende geyser. Everything is involved: the curling, furling smoke under our feet grows into the psychochrome roses pervading our noses; the main bounce reassigned to an 8-4-4 that abandoned all mercy; & a pre-Cambrian Lovecraft gong starts us off each time. The parts with less instruments are overshining umbras. To finish, a great beginning.
The smooth transition is interrupted by this tsetse fly of an earworm. Most of this Vol 9 cogspanner is a four-second loop too soul-sandpapering for video game-playing channels, & the sole respite from the molar grating is the brief eclipse that returns us to disruptive benthocognition. This did not need to be here.
Rabbit Raiders (aka 'Raving Rabbids')
This was also known as "Raving Rabbids", a fact found in many places. Of course they had to change it, due to copyright or whatever. It was a bad idea in the first place, but it doesn't affect the song, which can't be improved anyway. RR might sound like a mirrored reflection of Labour Of Love in the first two seconds, a true testament to the eclecticism found here. But this is its own ride into the basilisk mouth, the belly of the increased, swelling with untimeable, antifinite spissitude that shows why Multiverse is best.
One cubic centimetre of quantum space can boil away our oceans. One minute of this can do better, more than just gejang, but a distinction level event there's only been several of so far. More anoxic is this delayed-action neurotoxin, a quaternary sinkbomb paired with an incorruptible synthcoaster. The style mainly takes after the rest of not only Multiverse, but JC's whole ouevre at this stage, with a slight tinge of retro akinspiration. The twelve-ton knives drop into ten-ton bombs & drive the electrobrash, which smoothly pounds alongside a modified version, no safer, but ůberliciously woven for the benthic stretch between climaxes nonetheless. Rabbit Raiders has the harshest tune quality-to-title quality of all time.
- Except GN & GH.
- Cayzer also made a "Jazzy Dub" which replaces anything worth hearing with neutralised pabulum.