Jinjé pursues a virulent strain of percussive madness for the big rooms and festivals with a barrage of rolling, trilling drums and arps a la Shackleton or Clap! Clap!
In five brightly lit and driving parts, Lee J. Malcolm aka Jinjé twirls ribboning rhythms and sampledelia in an update of outernational-influenced UK that has percolated forth from the original ‘80s travellers movement into the ‘90s megadog scene and ultimately the likes of Shackleton in this millennia.
’Ngoma’ sets it off with restive polyrhythms and cascading flutes and synths that tesselate in sparkling permutations across the EP, from the escalating attack and breakdown to choral harmonies in ‘Burkina Faso’, thru a finely tempered lull in the Ethiopiques adjacent organs of ‘Dusk’, to the nimbly skittish drums and breathless synth lift of ‘Ya Maji’, and swingeing, fine-tuned rhythmelody of ‘Jara’.
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Jinjé pursues a virulent strain of percussive madness for the big rooms and festivals with a barrage of rolling, trilling drums and arps a la Shackleton or Clap! Clap!
In five brightly lit and driving parts, Lee J. Malcolm aka Jinjé twirls ribboning rhythms and sampledelia in an update of outernational-influenced UK that has percolated forth from the original ‘80s travellers movement into the ‘90s megadog scene and ultimately the likes of Shackleton in this millennia.
’Ngoma’ sets it off with restive polyrhythms and cascading flutes and synths that tesselate in sparkling permutations across the EP, from the escalating attack and breakdown to choral harmonies in ‘Burkina Faso’, thru a finely tempered lull in the Ethiopiques adjacent organs of ‘Dusk’, to the nimbly skittish drums and breathless synth lift of ‘Ya Maji’, and swingeing, fine-tuned rhythmelody of ‘Jara’.
Jinjé pursues a virulent strain of percussive madness for the big rooms and festivals with a barrage of rolling, trilling drums and arps a la Shackleton or Clap! Clap!
In five brightly lit and driving parts, Lee J. Malcolm aka Jinjé twirls ribboning rhythms and sampledelia in an update of outernational-influenced UK that has percolated forth from the original ‘80s travellers movement into the ‘90s megadog scene and ultimately the likes of Shackleton in this millennia.
’Ngoma’ sets it off with restive polyrhythms and cascading flutes and synths that tesselate in sparkling permutations across the EP, from the escalating attack and breakdown to choral harmonies in ‘Burkina Faso’, thru a finely tempered lull in the Ethiopiques adjacent organs of ‘Dusk’, to the nimbly skittish drums and breathless synth lift of ‘Ya Maji’, and swingeing, fine-tuned rhythmelody of ‘Jara’.
Jinjé pursues a virulent strain of percussive madness for the big rooms and festivals with a barrage of rolling, trilling drums and arps a la Shackleton or Clap! Clap!
In five brightly lit and driving parts, Lee J. Malcolm aka Jinjé twirls ribboning rhythms and sampledelia in an update of outernational-influenced UK that has percolated forth from the original ‘80s travellers movement into the ‘90s megadog scene and ultimately the likes of Shackleton in this millennia.
’Ngoma’ sets it off with restive polyrhythms and cascading flutes and synths that tesselate in sparkling permutations across the EP, from the escalating attack and breakdown to choral harmonies in ‘Burkina Faso’, thru a finely tempered lull in the Ethiopiques adjacent organs of ‘Dusk’, to the nimbly skittish drums and breathless synth lift of ‘Ya Maji’, and swingeing, fine-tuned rhythmelody of ‘Jara’.
12" with printed sleeve.
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Jinjé pursues a virulent strain of percussive madness for the big rooms and festivals with a barrage of rolling, trilling drums and arps a la Shackleton or Clap! Clap!
In five brightly lit and driving parts, Lee J. Malcolm aka Jinjé twirls ribboning rhythms and sampledelia in an update of outernational-influenced UK that has percolated forth from the original ‘80s travellers movement into the ‘90s megadog scene and ultimately the likes of Shackleton in this millennia.
’Ngoma’ sets it off with restive polyrhythms and cascading flutes and synths that tesselate in sparkling permutations across the EP, from the escalating attack and breakdown to choral harmonies in ‘Burkina Faso’, thru a finely tempered lull in the Ethiopiques adjacent organs of ‘Dusk’, to the nimbly skittish drums and breathless synth lift of ‘Ya Maji’, and swingeing, fine-tuned rhythmelody of ‘Jara’.