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26—09—26
opo’s 666ridims sprawls across six years of sketches, half-finished breakdowns, and rhythmic left turns—the sort of document that reads less like an album than a work journal. Odd meters and asymmetrical swing structures dominate, treating the beat grid like something to negotiate rather than follow; think the rhythmic obsession of Jlin filtered through ambient decay and DJ tools. It’s bass music for people who got bored with bass music, more interested in what happens in the spaces between the pocket than in the pocket itself. Collaboration threads through it (Hanakito chop-ups, Bigwood exchanges), which keeps it from calcifying into solo experiment narcissism—it breathes like a conversation recorded over years.