Having proved himself a razor-sharp edge of meticulous drum and bass production when rising up through the ranks of the genre’s definitive platforms such as his own Offkey and Voodoo imprints, Position Chrome and Architecture, Kamikaze Space Programme’s hybrid sound, following its debut on Deca Rhythm, has joined the dots through a constellation of labels inhibiting a grey zone between UK club music and steely warehouse techno. And as a result, he’s plotted a course through platforms like WNCL Recordings, Osiris Music and Ohm Resistance, to the freshly minted Neighbourhood outlet and Eomac’s Eotrax.
An accomplished session musician and avid field recording artist, Jarman’s music, by and large, is made up of foley sound design and sonic experimentation using bespoke apparatus and homemade microphones. Capturing internal resonances and electromagnetic radiation of objects, re-amplified or organic, classic hardware dub mixing completes the Kamikaze Space Programme aesthetic. Having worked with BBC Radiophonic Workshop and Rotterdam’s Re:Vive initiative too, there’s no denying Jarman of his credentials, with his repute as a formidable DJ and live act backed by his place in heavybweight line ups across the globe, be they at Berghain, Kompass Klub or Dommune to performing at festivals like Atonal, Krake and Kiev’s Next Sound.
Encompassing the most brutal of industrial sound design alongside intrinsic field recordings and the sleeker, low tempos and frenetic energy of jungle, breakbeats and drum and bass, Jarman’s ability to maneuver between genre and style sees the music of Kamikaze Space Programme defy classification while spiraling from one nether-spectrum of sound to the next.