April (Mark Ernestus Meets Obadikah)
Mark Ernestus simmers down the Lagos-based brass band, Obadikah, in three version for Honest Jon’s, following release of their Obadikah LP and Ernestus’ own, recent efforts with Senegal’s Ndagga Rhythm Force.
Arriving ten years since Ernestus’ last trip to Nigeria - a breezy dub-disco reroute of Tony Allen’s Moyege - this return journey is progressively deeper, darker, almost psychedelic, feeling out nocturnal scenes of trampling bass and grubbing strings lit up with plangent brass flares in the first mix of April, before untangling a broadly more spacious and plasmic April Dub, and finally coming off like prime Basic Channel or Rhythm & Sound gear for the first minute of April Parts, until that heart-stopping kick reaffirms its presence front and centre of the mix with elephantine force.
No messing about, these are fucking killer.
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Mark Ernestus simmers down the Lagos-based brass band, Obadikah, in three version for Honest Jon’s, following release of their Obadikah LP and Ernestus’ own, recent efforts with Senegal’s Ndagga Rhythm Force.
Arriving ten years since Ernestus’ last trip to Nigeria - a breezy dub-disco reroute of Tony Allen’s Moyege - this return journey is progressively deeper, darker, almost psychedelic, feeling out nocturnal scenes of trampling bass and grubbing strings lit up with plangent brass flares in the first mix of April, before untangling a broadly more spacious and plasmic April Dub, and finally coming off like prime Basic Channel or Rhythm & Sound gear for the first minute of April Parts, until that heart-stopping kick reaffirms its presence front and centre of the mix with elephantine force.
No messing about, these are fucking killer.
Mark Ernestus simmers down the Lagos-based brass band, Obadikah, in three version for Honest Jon’s, following release of their Obadikah LP and Ernestus’ own, recent efforts with Senegal’s Ndagga Rhythm Force.
Arriving ten years since Ernestus’ last trip to Nigeria - a breezy dub-disco reroute of Tony Allen’s Moyege - this return journey is progressively deeper, darker, almost psychedelic, feeling out nocturnal scenes of trampling bass and grubbing strings lit up with plangent brass flares in the first mix of April, before untangling a broadly more spacious and plasmic April Dub, and finally coming off like prime Basic Channel or Rhythm & Sound gear for the first minute of April Parts, until that heart-stopping kick reaffirms its presence front and centre of the mix with elephantine force.
No messing about, these are fucking killer.
Mark Ernestus simmers down the Lagos-based brass band, Obadikah, in three version for Honest Jon’s, following release of their Obadikah LP and Ernestus’ own, recent efforts with Senegal’s Ndagga Rhythm Force.
Arriving ten years since Ernestus’ last trip to Nigeria - a breezy dub-disco reroute of Tony Allen’s Moyege - this return journey is progressively deeper, darker, almost psychedelic, feeling out nocturnal scenes of trampling bass and grubbing strings lit up with plangent brass flares in the first mix of April, before untangling a broadly more spacious and plasmic April Dub, and finally coming off like prime Basic Channel or Rhythm & Sound gear for the first minute of April Parts, until that heart-stopping kick reaffirms its presence front and centre of the mix with elephantine force.
No messing about, these are fucking killer.
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Mark Ernestus simmers down the Lagos-based brass band, Obadikah, in three version for Honest Jon’s, following release of their Obadikah LP and Ernestus’ own, recent efforts with Senegal’s Ndagga Rhythm Force.
Arriving ten years since Ernestus’ last trip to Nigeria - a breezy dub-disco reroute of Tony Allen’s Moyege - this return journey is progressively deeper, darker, almost psychedelic, feeling out nocturnal scenes of trampling bass and grubbing strings lit up with plangent brass flares in the first mix of April, before untangling a broadly more spacious and plasmic April Dub, and finally coming off like prime Basic Channel or Rhythm & Sound gear for the first minute of April Parts, until that heart-stopping kick reaffirms its presence front and centre of the mix with elephantine force.
No messing about, these are fucking killer.