#afro-house

[djaaronzootd]

(Dj AaronzoTD)

New Summer Song. Stream and share Dj AaronzoTD's Music. I Am (Dj AaronzoTD)ft(Steezie K1)’ on #SoundCloud? #np

[thebigquest]

"De Gama - Afrika (Original)" by De Gama

[all-they-say-is-na-na-na]

Jlin - ‘Black Origami’

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Jlin’s sophomore album is one of the most exciting electronic releases of the year and her best work to date, in which she mixes the organic with the mechanical in innovative ways.

For some reason, Jlin’s music is commonly thought to be footwork. And that kind of makes sense, since her breakout came with the Planet Mu footwork compilation ‘Bangs and Works’ back in 2009, and her debut album ‘Dark Energy’, released in 2015, seemed like a very unique take on the genre. It might also be because she comes from Gary, Indiana, not so far from the genre’s origins in Chicago. However, Jlin (real name Jerilynn Patton) does not see herself as a footwork act.

That might seem weird at first, but once you listen to her latest album, ‘Black Origami’, it really feels obvious. As opposed to her debut, which one could consider it a full-on footwork album despite its experimentation and overall oddness, it is even harder to put a tag on ‘Black Origami’. It is surely influenced by the genre (tracks like “Kyanite” and “Nandi” seem to come from the genre’s darkest depths) but it also feels like so much more than that.

“Holy Child” (a homage to the late DJ Rashad) is based on a sample from a Balkan choir, provided by none other than tape maestro William Basinski, and as a result we get an unusual blend of atmospheric dance music and glitch that sounds heavenly yet still very much hard. Another collaboration worth pointing out is the one with Holly Herndon, “1%”, one of the album’s highlights, and the one that has the most unexpected influenced (...brostep? electro-industrial?) and the craziest production. Also “Never Created, Never Destroyed” features South African vocalist Dope Saint Jude, and seems to take notes from trap and jersey club, but Jlin does it on her own way.

Tracks like “Nyakinyua Rise” and “Challenge (To Be Continued)” take on a rather organic instrumentation, the style of percussion is reminiscent of batucada and even West African folk music to create something that trascends genre altogether. In addition to that, “Hatshepsut” (named after the Egyptian goddess) use the marching-band-like beats to make the hardest-hitting track on the record, it is so important it got love from Aphex Twin himself before it even got released. His influence kind of shows on the opening track (also titled “Black Origami”) and “Carbon 7 (161)”, which sound very techno-ish in a way that does not feel repetitive or distant.

Personally, I find ‘Black Origami’ to be an improvement over ‘Dark Energy’ in almost every way. The usage of metallic percussion feels even more inventive than before, and while the melodic aspects of the music are not as obvious as they were on her debut, it actually works because of that. Jlin’s second full-length album is just about as challenging as it is fun and engaging, and is definitely an unique experience that is not concerned with genre at all, it is above limits.

Highlights: “Black Origami”, “Enigma”, “Holy Child” (feat. William Basinski), “Nyakinyua Rise”, “Hatshepsut”, “1%” (feat. Holly Herndon), “Never Created, Never Destroyed” (feat. Dope Saint Jude), “Challenge (To Be Continued)”

You’ll like it if you like: DJ Rashad, Autechre, Aphex Twin, DJ Marfox, RP Boo, Holly Herndon

[fyrea]

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[nudeartpluspoetry]

"Self-Esteem, Reachable Dream," by Hans Ostrom, Lyrics, and Tamara, Vocals

afro-house

[nudeartpluspoetry]

"Self-Esteem, Reachable Dream," by Hans Ostrom, Lyrics, and Tamara, Vocals

afro-house

electronic

[saisons-en-enfer]

[newforever]

https://ift.tt/C0sGncP Flip the Beat Mr. Pancake Phoudio