2014 was a triumphant year for 1080p. Not only was the Vancouver-based label deemed an operation that “exceeds respect,” and that was responsible for “some of the best music of the year,” but Richard MacFarlane — the esteemed man in charge — was also profiled in the December edition of Resident Advisor’s Label of the Month. For the most part, that appreciation came as a response to the perceived ethos of the label: distributing a diverse, well-curated catalog of new music on cassette while also making it readily available to the widest possible audience online.
The label’s reputation was also bolstered by its distinctive breed of house music, where the likes of Auscultation and Lnrdcroy took abstract and frisky tropes and gave them a crisp, structured spin. This extended from the playful artwork to the daring nature of the music, which seemed to carve a precise aesthetic in spite of its compositional versatility. ATM’s Xerox was a great example of this. It was a real slow burner, an album that lurked in the shadows of its more cheerful counterparts but that was also home to some cracking house jams — serious music that didn’t want to be taken too seriously. And at a time when the deepest and darkest takes on electronic music were held in the highest regard, 1080p offered a beautiful, fun-filled alternative while making it completely accessible.
Max McFerren fits extraordinarily well into the roster as MCFERRDOG. Club Amniotics, his debut release for 1080p, exemplified the direction of the label and everything it has come to represent so far. Amniotics brought to mind the “other” side of the nightclub, where the darkened areas of a sometimes violent and risky setting were transformed into a kingdom of goofy hallucination and haphazardry. It was a jovial and merry headspace that also allowed McFerren to demonstrate his tact and patience as a DJ; as quirky as these tracks sounded, they came crafted on the back of a passion for house and a determination to draw people onto the dance floor.
Lawd Forgive Me is a wonderfully bright continuation of these themes. The key to this incredible follow-up is that, despite all the cheesy motifs and kooky samples, it’s almost impossible to resist its charm as a dance album. By way of an archive brimming with oddball effects, it extends the unique feel of 1080p house traits while tapping into the unknowable murk of earworm formula. “Peak of my Curiosity,” with its gruff, wonky loops and 4/4 beat, stays with you for hours after you’ve hit play; it’s an intangible slab of gooey house that’s stuck together by a gorgeous melody, making it one of McFerren’s most addictive tracks yet.
Indeed, each of these tunes are made memorable by virtue of their quality as opposed to their quirkiness, even if they do feel a little bulky at times. Whatever freakish samples McFerren chooses to deploy here — cartoonish intro synths, warbling vocals, various animal noises — the album combines its sleek ambiance and well-adjusted beats that hook you in through curiosity but retain your attention. Lawd Forgive Me is fragmented in such a way that the idiosyncrasies don’t cloud your overall perception; the silky smooth synths at the beginning of “Crying Mantis” and the tonal dips that break up “What Justifiable Confidence!” offer solace amidst the bludgeoning vocal crank of “Chapped” and the taunting bass lines on “Make Our Own Prisons.”
McFerren’s production technique culminates with two astonishing tracks that veer away from the hyperactive and the comical toward a more focused and unwavering methodology. “Ideal Coach” is a stunning dance tune dripping with echo and deep tones, congealed alongside an irresistible synth pattern that bridges the percussion together and permits a moment’s pause. It’s an opportunity to reflect on the ambient undertones that McFerren sketches throughout the album that might have otherwise been disguised by its overall weight.
“Ideal Coach” flows nicely into the title track, which kicks off with an ascending melodic sequence that’s pressed alongside an exasperated vocal loop. It’s an inspirational closing piece, a feel-good track that oozes hope, encouragement, and positive vibes, which must surely go down a treat in the Brooklyn clubs where McFerren frequently plays. These two songs are an impeccable finish to an album that’s pumped full of bizarre and refreshing ideas. But for all its originality, Lawd Forgive Me is a splendid addition to the 1080p canon, and it’s comforting to know that it plays just as well in a broader context.
More about: MCFERRDOG
