Skatman’s 'Rewarped': A Reanimation of The Past
Tunisian artist Skatman, aka Aziz Haddad, is back with his new album “Rewarped”.
Compiled of 6 punchy tracks, this personal production is the first of a new series at Innervisions titled “Quantum Spits”, a showcase of sounds that aims to explore and celebrate the diversity of House music. House music is widely regarded as one of the founding pillars of dance music, having been around for decades and generating numerous sub-genres throughout its evolution. It is only fitting, therefore, that each release of “Quantum Spits” is dedicated to a particular aspect of this mammoth of a genre, whilst simultaneously providing a platform for both established and up-and-coming producers to express their individual relationships with House music and pay homage to the roots of the genre.
Skatman describes “Rewarped” as being a consequence of the journey he has been on since he decided to take the path of being a producer and DJ. Combining his inspirations and influences with his personal experiences, “Rewarped” is a tribute to all the raves attended, the people met, the endless studio hours, the times he danced, the moments of euphoria, the moments of frustration, the times he has failed and the times he has succeeded. The finished product is undoubtedly one of his successes, as Skatman manages to merge the personal with the historical, bringing his own life into the institution of House music.
“Rewarped” kicks off with “Oldskool”, a thudding House anthem that quite literally pays homage to old school influences. Dominated by unrelenting percussion, “Oldskool” is driven forward by a deep drum beat that is complimented by fluttering high hats whilst Skatman teases a tumbling refrain in the background. The warped words “old school” reverb around the soundscape as the refrain swells to a climax before the high hats break and we are left with a pulsating rhythm that carries the classic hip hop vocals. “Oldskool” is familiar yet unexpected, as the landscapes of Chicago and Detroit are conjured up through the recognisable sounds of classic House, which are in turn contorted by Skatman’s distinct hypnotic style and made into something new. It is a perfect blend of old school and contemporary as Skatman invites us into his mind and shows us his origins.
Skatman follows “Oldskool” with the Future Hip House track “What You Gonna Do”. Much like its predecessor, “What You Gonna Do” is dominated by the old school hip-hop sample that goads the listener with the confrontational question. It almost seems like inside joke between Skatman and himself as he challenges us to listen to his music, whilst he blends old and new seamlessly, taking well-known sounds and putting his own twist on them and asking us “well, what are you going to do about it?” “What You Gonna Do” has a funkier beat compared to the pounding drum of “Oldskool” and he builds anticipation throughout the track through the crescendoing notes and sustained sounds. This is an aggressively groovy track that revels in a tribal house percussion whilst embracing futuristic synths and hip-hop vocals; it is a true amalgamation of worlds. If you weren’t sure of what Future Hip House was at the start of the track, now you know.
“Optical Illusion” abruptly abandons the tribal house percussion of “What You Gonna Do” and instead returns to the chasmic club sounds of “Oldskool”. Right from the start, the constant kick drum rhythm provides a steady flow as different synthetic sounds and rhythms mesh. Skatman skilfully builds intensity through the regular addition and subtraction of rhythmic layers that are occasionally punctuated by the haunting vocals. Throughout the track’s journey, Skatman plays with tonal dissonance as mashed synths scream though the neat harmonies while the rhythms dance amongst themselves; the track is one of perfect chaos. “Optical Illusion” is a perfect 90s-inspired techno banger that nods to its influences without losing Skatman’s unique sound.
Next up is “Don’t Give A Fuck”, a Punk Rap Mix that incorporates sounds of nu disco with the familiar old school hip-hop samples. Once again, Skatman combines the rawness of these vocals with elements of house, techno and funk to create a genre-bending masterpiece. The atmosphere of this track feels more frantic than previously, as a pulsing bass line thuds through the soundscape with the feverish vocals yelling out. I particularly enjoy the simple chordal synth refrain that cheekily makes an appearance around the 1:20 minute mark, evoking images of an abandoned fairground and adding to the slightly eerie ambience of the track. “Don’t Give A Fuck” is fun yet ominous, as Skatman works with interweaving rhythms and minor tones to build a bemusing suspense. The climax is euphoric and reveals a club-ready anthem, prepared for high-energy dancing.
“Funkadelic” brings a whole new energy to the album that has yet to be seen. Although it is another Progressive House production, it different to “Optical Illusion” as the high-hat claps and synthy squelches makes it clear that we are indulging in pure funk. The hip-hop vocals are propelled forward by a constant, flurried tune that quietly yet determinedly chugs along for the duration of the track as the soundscape is punctuated by old school sound samples that recalls early house and hip-hop anthems. Once again, there is an emphasis on rhythmic layers and catchy percussion; Skatman has delivered to us an undeniably funky track that very much bridges the sounds of hip-hop and dance music.
The final track on the album, “I Used To”, has been labelled as a HipHop Rewarp, once again introducing us to a new concept of genre-blending that Skatman absolutely excels at. It begins with urgent percussion accompanied by a throbbing bassline before a snyth chordal melody joins. It feels the most techno out of all the tracks and wouldn’t be out of place being played in a dark club during the early hours of the morning; it is a self-assured, side-stepping sensation. We are treated once again to Skatman’s clever usage of old school hip-hop samples as he subverts our expectations of what techno is and surprises us with a variation of sounds. Although not as texturally complex as its predecessors, “I Used To” is a powerhouse of a track, its effectiveness achieved through the rich array of noises and the stark vocals that are supported by the determined accompaniments.
“Rewarped” is an incredible example of how the past can be remoulded, reanimated, and reintroduced into the contemporary club scene. Even the title conveys the album’s main theme of taking familiar elements and giving them a fresh spin as “Re” symbolises the reusage of old school aspects while “Warp” implies their distortion. Skatman has dared to take a genre so widely known and respected and interjected it with his own distinctive style of electronic music. “Rewarped” is not only a fitting tribute to House music, but also a glowing illustration of Skatman’s mastery and an insight to his personal connection with the genre.
’Rewarped’ was released on Innervisions on June 2nd 2023.
Review by Lucie Walker
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