A dervish bewt from Stefan Schwander’s Harmonious Thelonious for TTT, Apakapa catches the Düsseldorf-based explorer meeting the moroccan flute of Ghazi Barakat for one of the project’s jazziest, moodily hypnotic episodes.
Apakapa initiates the session with a bright, pointillist geometry of thumb piano and grubbing, pendulous bass where Schwander gets freely harmonious with Barakat’s buzzing, expressive flute jabs in Sufi-esque style.
That all cools down to a bluer sound with Low Beat, where Schwander’s swingeing bass pulse underlines and buoys the low key smoke plumes from Barakat’s flute, subtly processed into vaporous tendrils and smeared on the mix.
And the DJs are left spoiled for choice with the B-side’s Whirling, which works equally brilliantly at 33 or 45rpm, with the kinda Photek style drum cadence also used by Don’t DJ, this time working beautifully as an opiated hip-charmer, or as an infectious sort of dancehall-techno bubbler.
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A dervish bewt from Stefan Schwander’s Harmonious Thelonious for TTT, Apakapa catches the Düsseldorf-based explorer meeting the moroccan flute of Ghazi Barakat for one of the project’s jazziest, moodily hypnotic episodes.
Apakapa initiates the session with a bright, pointillist geometry of thumb piano and grubbing, pendulous bass where Schwander gets freely harmonious with Barakat’s buzzing, expressive flute jabs in Sufi-esque style.
That all cools down to a bluer sound with Low Beat, where Schwander’s swingeing bass pulse underlines and buoys the low key smoke plumes from Barakat’s flute, subtly processed into vaporous tendrils and smeared on the mix.
And the DJs are left spoiled for choice with the B-side’s Whirling, which works equally brilliantly at 33 or 45rpm, with the kinda Photek style drum cadence also used by Don’t DJ, this time working beautifully as an opiated hip-charmer, or as an infectious sort of dancehall-techno bubbler.
A dervish bewt from Stefan Schwander’s Harmonious Thelonious for TTT, Apakapa catches the Düsseldorf-based explorer meeting the moroccan flute of Ghazi Barakat for one of the project’s jazziest, moodily hypnotic episodes.
Apakapa initiates the session with a bright, pointillist geometry of thumb piano and grubbing, pendulous bass where Schwander gets freely harmonious with Barakat’s buzzing, expressive flute jabs in Sufi-esque style.
That all cools down to a bluer sound with Low Beat, where Schwander’s swingeing bass pulse underlines and buoys the low key smoke plumes from Barakat’s flute, subtly processed into vaporous tendrils and smeared on the mix.
And the DJs are left spoiled for choice with the B-side’s Whirling, which works equally brilliantly at 33 or 45rpm, with the kinda Photek style drum cadence also used by Don’t DJ, this time working beautifully as an opiated hip-charmer, or as an infectious sort of dancehall-techno bubbler.
A dervish bewt from Stefan Schwander’s Harmonious Thelonious for TTT, Apakapa catches the Düsseldorf-based explorer meeting the moroccan flute of Ghazi Barakat for one of the project’s jazziest, moodily hypnotic episodes.
Apakapa initiates the session with a bright, pointillist geometry of thumb piano and grubbing, pendulous bass where Schwander gets freely harmonious with Barakat’s buzzing, expressive flute jabs in Sufi-esque style.
That all cools down to a bluer sound with Low Beat, where Schwander’s swingeing bass pulse underlines and buoys the low key smoke plumes from Barakat’s flute, subtly processed into vaporous tendrils and smeared on the mix.
And the DJs are left spoiled for choice with the B-side’s Whirling, which works equally brilliantly at 33 or 45rpm, with the kinda Photek style drum cadence also used by Don’t DJ, this time working beautifully as an opiated hip-charmer, or as an infectious sort of dancehall-techno bubbler.
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A dervish bewt from Stefan Schwander’s Harmonious Thelonious for TTT, Apakapa catches the Düsseldorf-based explorer meeting the moroccan flute of Ghazi Barakat for one of the project’s jazziest, moodily hypnotic episodes.
Apakapa initiates the session with a bright, pointillist geometry of thumb piano and grubbing, pendulous bass where Schwander gets freely harmonious with Barakat’s buzzing, expressive flute jabs in Sufi-esque style.
That all cools down to a bluer sound with Low Beat, where Schwander’s swingeing bass pulse underlines and buoys the low key smoke plumes from Barakat’s flute, subtly processed into vaporous tendrils and smeared on the mix.
And the DJs are left spoiled for choice with the B-side’s Whirling, which works equally brilliantly at 33 or 45rpm, with the kinda Photek style drum cadence also used by Don’t DJ, this time working beautifully as an opiated hip-charmer, or as an infectious sort of dancehall-techno bubbler.