Nihiloxica
Biiri
Boomkat Product Review:
Devilishly strong Bugandan techno psychedelia from Uganda/UK's Nihiloxica on their 2nd release for Nyege Nyege Tapes. Huge tip if yr into Shackleton, Mark Ernestus Ndagga Rhythm Force, Konono No.1, Ninos Du Brasil...
Where Nihiloxica’s first tape saw the Nilotika Cultural Ensemble percussionists and UK’s Jacob Maskell-Key and Pete Jones tentatively find their feet in a nascent mix of Bugandan drumming and raw electronics, this follow-up throws down four muscular tracks recorded live in single takes, demonstrating their skills toughened up by countless shows on road over the past 12 months and more; from Nyege Nyege Tapes amazing annual festival and clubs in Kampala, thru to stacks of European venues.
In the four burningly intense tracks of ‘Biiri’, the group’s cross-cultural dialogue becomes more fluid, urgent as a direct effect of their increased intuition. The results vividly feel like a natural evolution of their first release, with their keener focus on the loping undulations of the Baksimba (bass drum) groove and the plasmic mutability of Pete Jones’ synths rendering the full force of ancient tradition in a vividly unprecedented style.
While many pay service to the idea of a cosmic African music, ‘Biiri’ delivers it with effortless verve, coming off like Can and Bruce Haack’s wildest dreams with ‘Diggi Dagga’, then like Autechre meeting Shackleton in the swingeing, asymmetric rug-cutter ‘Baksimba’, before the thumping ‘Dubugwanjuba’ recalls a cross-continental echo of Mark Ernestus’ Ndagga Rhythm Force, and ‘Ding Ding’ utterly finishes off your dancing bones with raucous, red-lining distortion.
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Boomkat Product Review:
Devilishly strong Bugandan techno psychedelia from Uganda/UK's Nihiloxica on their 2nd release for Nyege Nyege Tapes. Huge tip if yr into Shackleton, Mark Ernestus Ndagga Rhythm Force, Konono No.1, Ninos Du Brasil...
Where Nihiloxica’s first tape saw the Nilotika Cultural Ensemble percussionists and UK’s Jacob Maskell-Key and Pete Jones tentatively find their feet in a nascent mix of Bugandan drumming and raw electronics, this follow-up throws down four muscular tracks recorded live in single takes, demonstrating their skills toughened up by countless shows on road over the past 12 months and more; from Nyege Nyege Tapes amazing annual festival and clubs in Kampala, thru to stacks of European venues.
In the four burningly intense tracks of ‘Biiri’, the group’s cross-cultural dialogue becomes more fluid, urgent as a direct effect of their increased intuition. The results vividly feel like a natural evolution of their first release, with their keener focus on the loping undulations of the Baksimba (bass drum) groove and the plasmic mutability of Pete Jones’ synths rendering the full force of ancient tradition in a vividly unprecedented style.
While many pay service to the idea of a cosmic African music, ‘Biiri’ delivers it with effortless verve, coming off like Can and Bruce Haack’s wildest dreams with ‘Diggi Dagga’, then like Autechre meeting Shackleton in the swingeing, asymmetric rug-cutter ‘Baksimba’, before the thumping ‘Dubugwanjuba’ recalls a cross-continental echo of Mark Ernestus’ Ndagga Rhythm Force, and ‘Ding Ding’ utterly finishes off your dancing bones with raucous, red-lining distortion.
Boomkat Product Review:
Devilishly strong Bugandan techno psychedelia from Uganda/UK's Nihiloxica on their 2nd release for Nyege Nyege Tapes. Huge tip if yr into Shackleton, Mark Ernestus Ndagga Rhythm Force, Konono No.1, Ninos Du Brasil...
Where Nihiloxica’s first tape saw the Nilotika Cultural Ensemble percussionists and UK’s Jacob Maskell-Key and Pete Jones tentatively find their feet in a nascent mix of Bugandan drumming and raw electronics, this follow-up throws down four muscular tracks recorded live in single takes, demonstrating their skills toughened up by countless shows on road over the past 12 months and more; from Nyege Nyege Tapes amazing annual festival and clubs in Kampala, thru to stacks of European venues.
In the four burningly intense tracks of ‘Biiri’, the group’s cross-cultural dialogue becomes more fluid, urgent as a direct effect of their increased intuition. The results vividly feel like a natural evolution of their first release, with their keener focus on the loping undulations of the Baksimba (bass drum) groove and the plasmic mutability of Pete Jones’ synths rendering the full force of ancient tradition in a vividly unprecedented style.
While many pay service to the idea of a cosmic African music, ‘Biiri’ delivers it with effortless verve, coming off like Can and Bruce Haack’s wildest dreams with ‘Diggi Dagga’, then like Autechre meeting Shackleton in the swingeing, asymmetric rug-cutter ‘Baksimba’, before the thumping ‘Dubugwanjuba’ recalls a cross-continental echo of Mark Ernestus’ Ndagga Rhythm Force, and ‘Ding Ding’ utterly finishes off your dancing bones with raucous, red-lining distortion.
Boomkat Product Review:
Devilishly strong Bugandan techno psychedelia from Uganda/UK's Nihiloxica on their 2nd release for Nyege Nyege Tapes. Huge tip if yr into Shackleton, Mark Ernestus Ndagga Rhythm Force, Konono No.1, Ninos Du Brasil...
Where Nihiloxica’s first tape saw the Nilotika Cultural Ensemble percussionists and UK’s Jacob Maskell-Key and Pete Jones tentatively find their feet in a nascent mix of Bugandan drumming and raw electronics, this follow-up throws down four muscular tracks recorded live in single takes, demonstrating their skills toughened up by countless shows on road over the past 12 months and more; from Nyege Nyege Tapes amazing annual festival and clubs in Kampala, thru to stacks of European venues.
In the four burningly intense tracks of ‘Biiri’, the group’s cross-cultural dialogue becomes more fluid, urgent as a direct effect of their increased intuition. The results vividly feel like a natural evolution of their first release, with their keener focus on the loping undulations of the Baksimba (bass drum) groove and the plasmic mutability of Pete Jones’ synths rendering the full force of ancient tradition in a vividly unprecedented style.
While many pay service to the idea of a cosmic African music, ‘Biiri’ delivers it with effortless verve, coming off like Can and Bruce Haack’s wildest dreams with ‘Diggi Dagga’, then like Autechre meeting Shackleton in the swingeing, asymmetric rug-cutter ‘Baksimba’, before the thumping ‘Dubugwanjuba’ recalls a cross-continental echo of Mark Ernestus’ Ndagga Rhythm Force, and ‘Ding Ding’ utterly finishes off your dancing bones with raucous, red-lining distortion.
Edition of 230 copies - double sided J-Card insert, includes an instant download dropped to your account.
Out of Stock
Boomkat Product Review:
Devilishly strong Bugandan techno psychedelia from Uganda/UK's Nihiloxica on their 2nd release for Nyege Nyege Tapes. Huge tip if yr into Shackleton, Mark Ernestus Ndagga Rhythm Force, Konono No.1, Ninos Du Brasil...
Where Nihiloxica’s first tape saw the Nilotika Cultural Ensemble percussionists and UK’s Jacob Maskell-Key and Pete Jones tentatively find their feet in a nascent mix of Bugandan drumming and raw electronics, this follow-up throws down four muscular tracks recorded live in single takes, demonstrating their skills toughened up by countless shows on road over the past 12 months and more; from Nyege Nyege Tapes amazing annual festival and clubs in Kampala, thru to stacks of European venues.
In the four burningly intense tracks of ‘Biiri’, the group’s cross-cultural dialogue becomes more fluid, urgent as a direct effect of their increased intuition. The results vividly feel like a natural evolution of their first release, with their keener focus on the loping undulations of the Baksimba (bass drum) groove and the plasmic mutability of Pete Jones’ synths rendering the full force of ancient tradition in a vividly unprecedented style.
While many pay service to the idea of a cosmic African music, ‘Biiri’ delivers it with effortless verve, coming off like Can and Bruce Haack’s wildest dreams with ‘Diggi Dagga’, then like Autechre meeting Shackleton in the swingeing, asymmetric rug-cutter ‘Baksimba’, before the thumping ‘Dubugwanjuba’ recalls a cross-continental echo of Mark Ernestus’ Ndagga Rhythm Force, and ‘Ding Ding’ utterly finishes off your dancing bones with raucous, red-lining distortion.
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