– Laylet El Booree LP / CD / DL Out Now More blood, sweat
and trance from Tunisia’s Ifriqiyya Electrique. 2017’s album, Rûwâhîne was phenomenal, it broke the rules and defied anybody that said that safe music was the
only way of appealing consistently.Second
album, Laylet El Booree takes off where it left Rûwâhîne – instantly pounding the drum
skins like their lives depended on it and chanting like some manic death cult
ready to claim their next victim. Said to send a live
audience into trance before being healed is indeed quite a claim but, one that the
people of the Djerid (a semi desert region in between Tunisia and Algeria) will
testify to following the bands initial performances.An adorcism, whereby the spirit is placated
and calmed rather than being excorcised, a banga ritual indigenous to the
region, a state of elevation never before experienced. Laylet El Booree is
once more heavy on bass, percussion and chant.It is a tumultuous wall of sound that, when play loudly, will blow you
mind away.It is a never-ending, never
resting, cavalcade.The feeling and
power is nothing short of incredible. With several
percussionists, the sound of each track intensifies and anyone failing to get
excited or moved really needs to take a long hard look at their senses.Even when the pace slows slightly on Moola
Nefta, the crunching bass and guitar take control and continue the near aggressive
nature of the album.This is modern day
punk with a Tunisian twist – lively, powerful and often sounding out of control.
He Eh Lalla is
characteristic of the whole collection.A deep piano riff starts as voices and drumbeats quickly enter, there is
no warm-up or slow build to the sound of Ifriqiyya Electrique, it’s straight for
the jugular as the prospect of experiencing them live is indeed an exciting
prospect. It was a straight
10/10 for Rûwâhîne and there’s no reason why
Laylet El Booree shouldn’t be the same.
self-proclaimed 'cupboard-pop pioneer', KiDD, delivers a master class in
psychedelic tonal exploration and razor sharp pop writing on Chance Weekend.
Weekend delivers on multiple fronts that are sure to win over neo-psych heads:
soaring harmonies, nuanced instrumentation, and incredibly hook-driven
melodies. For a body of work that appears to be as a focused as this, its
construction was anything but clear and straightforward.
our dialogue with KiDD, he suggests that ‘chance’ was used as a compositional
technique in an attempt to break away from his natural songwriting process.
he describes it: “This album was created by embracing chance and random[ness];
dice rolling, prompt cards, coin tossing, field loops, alphabetter boogie,
cut-up techniques and instinct.”
KiDD’s palette is foundationally indebted to the sugary pop sounds of the 60’s,
his unorthodox approach to composition creates a level of intrigue and
excitement that begs the listener to pursue the album to the very end.
for instance the late album cut I See Crocodiles. The lyrical melody is
reminiscent of something from the Sgt. Pepper’s era, yet is counterbalanced by
a contorted feedback-hum that anchors the entire track; in this instance, the
familiar sounds of yesteryear are disrupted by the modern marvels of audio
splicing and beat construction. This push-pull relationship between tradition
and modernity adds nuance to KiDD’s pop sensibilities.
song I’m quite fond of is back half standout, Unknown Hometown. Much like I
See Crocodiles, the track intertwines beautiful vocal melodies with
interesting beeps and bops that only modern recording can really offer to the
democratization of home recording has enabled anyone with a laptop and
recording software to create and distribute their work to the masses. As a
result, the music space is congested with noise and music that is, quite
frankly, not very good. KiDD, however, masterfully uses his cupboard confines
as a space of pure and exhilarating inspiration and we’re excited to see what
he churns out next.