Cubik & Origami

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Foreseeing the apocalypse, the mid-80s Dust Brothers traveled back in time and kidnapped King Tubby, Jean Michel Jarre and Curtis Mayfield, forcing them to produce an album and share awkward meals with My Bloody Valentine and Talking Heads. Having stolen Four Tet's MPC, Danger Mouse's budget, Daniel Johnston's meds and a crate of records from Afrika Bambaata's basement, the group created what would later be considered the last great work of the pre-mutant era. During the riots, opportunistic hucksters Cubik and Origami stole the master tapes and released the work as their own: Slept in On Doomsday.

About

When many electronic music producers start a new track, they might grab a few records from the shelf, dial up a couple of preset drum loops, pop in a sample cd or two and chop away merrily.

All that has always seemed like a bit of cheating to Cubik & Origami, who prefer to source the vast majority of their sounds from, well, a trumpet, an electric piano, a drum kit, an analogue synth, a guitar -- you know, all that antiquated old claptrap you can faithfully replicate with a $40 soft synth these days.

Luddites, you might call them. Their process would have been dead boring and bog-standard back in the 60s and 70s, the era from whence sprang a lot of Cubik and Origami’s core influences, if it weren’t for the eroded textures and dazzling swirl they wring out of seemingly polite pieces of software to complement and corrupt the earthy proceedings.

Slept In On Doomsday, their forthcoming album on Dinner Party Records, careens from genre to genre like a drunken panda ransacking a record store. Leaving few stones unturned, C&O cheerfully upend funk, electro, hip hop, indie rock and IDM, creating a few beautiful casualties along the way.

Conspicuously vocal-heavy compared to their previous efforts, the album finds Cubik & Origami loosing a bit of their post-millennium tension on topics such as toxic hurricane sludge, war, and the eternal question of what the hell to do with one’s Saturday night when the world’s about to implode.

Working together for close to five years in the San Francisco bay area, the duo have extensive releases on SF’s famed Wide Hive label alongside luminaries like DJ Zeph and Variable Unit, as well as a criminally rare first album passed along through word of mouth and scratched CD-Rs.

In recent years, C&O have found themselves playing ecstatic live sets for spellbound crowds from the woods to the ‘hood, remixing artists such as Calvin Keys and Fingermonsters, and collaborating with mad vocal scientist Each for The Beat Within EP.

Some might call their refusal to stick to one style a liability. Cubik and Origami call it a lot of fun. You probably will, too.