Taken from an unexpectedly good album by this rather underground artist; a project that sounds highly atmospheric and experimental, with plenty of interesting foley twists to it. Sitting somewhere between instrumental hip-hop produced by The Alchemist’s poltergeist, the sound of time if traversed on a reverse axis, and the hidden lovechild of Thriftworks and Bonobo who’s been locked away in a Siberian forest, most compositions on the album have some absurdity to them that make them sound unique, and give YAHNA an overall characteristic sound. ‘Paraphilia’ stands out due to relevance to this blog but we suggest you check out all these freaky compositions.
Fucking ghosts, heavy 808s and dead Egyptian kinds; I don’t believe in ectoplasmic stuff but feel entitled to refer to it when talking about this kinda music since it’s the closest thing I can attribute to the sensation that some dude/dudette from the 21st century can capture what seems to be the haunted funeral procession of an ancient Middle Eastern royalty this well. On a real, pretty picky with this dvrktrvp shenanigangs these days but this joint is a winner.
I tend to make it a rule not to backtrack into previous months if I miss a song in the selections but some rules need to broken every now and then, and for this track, an exemption has been issued. This tune has such a beautiful creepy circus vibe to it. Supposedly created as an ode to the Okinawa native mythological creature, most well-known for their role as a sleep paralysis monster. Perhaps, my connection to this track is the product of the kinship I feel as a producer who releases music under the moniker ‘Baxtak’ which is an Iranian sleep paralysis monster. Either way, top notch find here, credited to Mr Moo for the repost on SC.
Two deep scores of wubbery by these heavyweight dubsters, smashing a unique heavyweight riddim style. Shanti’s low end theory is too on point with this one, making it an immediate banger when combined with the haunted wailing melodies and pentapod foley masala on top. Brightwing’s Mujica also hits home with a similar heavy aesthetic but takes things to an old school style of basswork, topped with brilliant mid-range percussions and an all-natural organic forest ambiance. Fans of this heavy and minimal old-school dubstep style shall check the rest of this VA for those magma steppers.
Dwelling the dark spectral abysses of bass gorges, Zen Selekta musters up this ghoulish score, crawling out of its chasmic dwelling. Its presence deluminates the neighbouring cave-dwelling sapiens’ fire as mysterious shadows form sinister patterns, causing understandable concern and perpetuating perturbation for the course of the song. Safe to say if it evokes scenarios like this, it deserves tribal-points and praise on this blog. In other words; dope deep tribal dubstep you need to check out.
The most hyped dude on the block fucks shit up again with this synaesthesiatic piece of brain-evaporating bass-marauding aural massacre. CHEE’s approach to heavy grooves and whiplash-ridden chaos is consistently worthy of praise, and there’s always some subtle tribal or ethnic lead melody, giving us a reason to blog it in this memoire of world music. Basically, the dude’s unstoppable at this moment as he ravages through the bass world with Hyperloop speed and mag-lev precision.
Taken from AtYyA’s remix album, CloZee gives us one of her sweet remix works which touch on her ability to make textural downtempo delight. The track is included in a wider remix album and it easily stands out as the most delicious offering. Personally, I’m a big fan of CloZee’s music when she trades the sharp lead synths for orchestral and wholly-foley goodness and this one’s a perfect example; the cinematic vibe on it is unmissable.
The Sarangi chief and overall devotional bass guru Lo.Renzo gives us his new EP, More Than You Can See, spanning a total of over 30 minutes in 5 songs. The EP perfectly captures many aspects that we find dear in Lo.Renzo’s music, while also solidifying why he is much more than just a sarangi player. The compositions are crisp, multi-layered and full of depth. This is ambient and instrumental psydub done to perfection, keeping the electronic elements to a classy yet efficient minimum, and letting the abundance of melodies do the talking.
A classy work of art by the Barcelona ambassadors of ethnofusion music, Filastine & Nova’s collaborative album sounds like a weirdly pleasing hybrid of Machinedrum, Beats Antique and CloZee, spanning mid-tempo, trappy, downtempo and even juke / footwork genres, while utilising a brilliant blend of vocals, guitars, kendang, kalimba and a good 10 other instruments usually unheard in electronic music. Overall, this is real mature music for real mature musicheads. For the most part, this is the kinda stuff you listen to with a 10-year-old whirling moustache, a tobacco pipe, and top hats. However, there’s a bit of everything; a bit of trappy gangsta grooves, some European class, and a healthy dose of desert-riding malarkey. Essential listening for anyone looking beyond just ‘BANGERS’.
Standing out from the rest of the Baile soundmen with crispy aesthetics and funky attitude, VLIEN BOY is back in our blog with Da Pika as a score to smash your dancefloors. Basslines are deep, ambiance is rich in texture, football whistles are blowing and the song dribbles past your whole line of defence while you call for offside and your goalkeeper’s only goal is to keep his ass from twerking his way to a red card.
Damn, this is one hell of a fun release; the total sound of heaven if it was an island where the sand was caramel grains, tree leaves were made of cotton candy and it rained watermelon juice. That’s the flavour of the Island-style singles on the album such as Tu Luz and El Ora de la Tolita. All the tracks lock down certain aspects of world music, adding up to a wholesome serving of vibes. Chapinero brings the Latin American goodness, Bennu & the collaboration with the Spy from Cairo take things to the MENA region, Chamegei and Deux a Deux are perfect Afro-Caribbean grooves, and Eight Year Rebound takes on the house format in crystal clear fashion. A really well balanced release overall from Thornato, available digitally and on wax, and another reason why Wonderwheel Recordings are a mammoth label in the ethnofusion genre.
We covered Drossel’s previous Vagabunden compilation as it demonstrated the unique take on the world-based slow rave style. With this second edition, excitement levels are high and for good reason. Featuring Ethnofusion regulars such as Jota Karloza, Lemurian, Timboletti and Haunted Waters, the album does the dreamy genre justice, providing subtle beauties in the way of this globally applicable vision of aesthetics. Adding to the expectedly delicious tunes from the aforementioned, standout moments from the compilation include Arutani’s textural driver, and most notably, Kurup, Salvador Araguaya & Spaniol’s beautifully melodic and multi-instrumental piece. Overall, it’s one of those albums you should put on play, carry about your day and some moments are sure to strike as gold.
YAHNA – Paraphilia Taken from an unexpectedly good album by this rather underground artist; a project that sounds highly atmospheric and experimental, with plenty of interesting foley twists to it. Sitting somewhere between instrumental hip-hop produced by The Alchemist’s poltergeist, the sound of time if traversed on a reverse axis, ...