The Knife's Olof Dreijer (fka Oni Ayhun) continues his solo voyage with this sparkling three tracker, picking up where last year's 'Souvenir' and 'Rosa Rugosa' and marking out a balmy island between supple rhythmic melodicism and West Coast new age-inspired bliss.
Dreijer emerged from the shadows last year, ditching his mysterious Oni Ayhun pseudonym and finally working under his own name. 'Coral' is loosely inspired by 'Souvenir', his ingenious steel drum-led collaboration with Mt. Sims, but the influence is hard to place on the title track. It's classic Dreijer in many ways, with a lead melody you'll be humming to yrself for days and a lilting dancefloor pulse that's indebted to batida, slopping and slipping around skeletal analog synths. Clocking in a 8-minutes, it's almost an EP on its own, but Dreijer has bundled 'Coral' with two additional beatless tracks, and that's where the shadow 'Souvenir' is most visible.
On 'Hazel', muffled string plucks are couched in familiar metallophone chimes; Dreijer's unique earworm melodies still dance around the track, but without a beat, he lets them ring into fluttered, IASOS-strength pads. It's fairytale ambience that's composed with the meticulousness of ECM's Stephan Micus, its relative minimalism betraying Dreijer's laser focus. And 'Flora' is even more weightless, with a warped, artificial vocal that harmonizes with Lee Gamble's 'Models' mode, morphing into ethereal, cybernetic flutes. Dreijer takes his cues from vintage ambient and new age gear, but ponders the future simultaneously, re-imagining hazy folk memories using glassy, modernist electronics. Like 'Souvenir', it's utterly captivating.
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The Knife's Olof Dreijer (fka Oni Ayhun) continues his solo voyage with this sparkling three tracker, picking up where last year's 'Souvenir' and 'Rosa Rugosa' and marking out a balmy island between supple rhythmic melodicism and West Coast new age-inspired bliss.
Dreijer emerged from the shadows last year, ditching his mysterious Oni Ayhun pseudonym and finally working under his own name. 'Coral' is loosely inspired by 'Souvenir', his ingenious steel drum-led collaboration with Mt. Sims, but the influence is hard to place on the title track. It's classic Dreijer in many ways, with a lead melody you'll be humming to yrself for days and a lilting dancefloor pulse that's indebted to batida, slopping and slipping around skeletal analog synths. Clocking in a 8-minutes, it's almost an EP on its own, but Dreijer has bundled 'Coral' with two additional beatless tracks, and that's where the shadow 'Souvenir' is most visible.
On 'Hazel', muffled string plucks are couched in familiar metallophone chimes; Dreijer's unique earworm melodies still dance around the track, but without a beat, he lets them ring into fluttered, IASOS-strength pads. It's fairytale ambience that's composed with the meticulousness of ECM's Stephan Micus, its relative minimalism betraying Dreijer's laser focus. And 'Flora' is even more weightless, with a warped, artificial vocal that harmonizes with Lee Gamble's 'Models' mode, morphing into ethereal, cybernetic flutes. Dreijer takes his cues from vintage ambient and new age gear, but ponders the future simultaneously, re-imagining hazy folk memories using glassy, modernist electronics. Like 'Souvenir', it's utterly captivating.
The Knife's Olof Dreijer (fka Oni Ayhun) continues his solo voyage with this sparkling three tracker, picking up where last year's 'Souvenir' and 'Rosa Rugosa' and marking out a balmy island between supple rhythmic melodicism and West Coast new age-inspired bliss.
Dreijer emerged from the shadows last year, ditching his mysterious Oni Ayhun pseudonym and finally working under his own name. 'Coral' is loosely inspired by 'Souvenir', his ingenious steel drum-led collaboration with Mt. Sims, but the influence is hard to place on the title track. It's classic Dreijer in many ways, with a lead melody you'll be humming to yrself for days and a lilting dancefloor pulse that's indebted to batida, slopping and slipping around skeletal analog synths. Clocking in a 8-minutes, it's almost an EP on its own, but Dreijer has bundled 'Coral' with two additional beatless tracks, and that's where the shadow 'Souvenir' is most visible.
On 'Hazel', muffled string plucks are couched in familiar metallophone chimes; Dreijer's unique earworm melodies still dance around the track, but without a beat, he lets them ring into fluttered, IASOS-strength pads. It's fairytale ambience that's composed with the meticulousness of ECM's Stephan Micus, its relative minimalism betraying Dreijer's laser focus. And 'Flora' is even more weightless, with a warped, artificial vocal that harmonizes with Lee Gamble's 'Models' mode, morphing into ethereal, cybernetic flutes. Dreijer takes his cues from vintage ambient and new age gear, but ponders the future simultaneously, re-imagining hazy folk memories using glassy, modernist electronics. Like 'Souvenir', it's utterly captivating.
The Knife's Olof Dreijer (fka Oni Ayhun) continues his solo voyage with this sparkling three tracker, picking up where last year's 'Souvenir' and 'Rosa Rugosa' and marking out a balmy island between supple rhythmic melodicism and West Coast new age-inspired bliss.
Dreijer emerged from the shadows last year, ditching his mysterious Oni Ayhun pseudonym and finally working under his own name. 'Coral' is loosely inspired by 'Souvenir', his ingenious steel drum-led collaboration with Mt. Sims, but the influence is hard to place on the title track. It's classic Dreijer in many ways, with a lead melody you'll be humming to yrself for days and a lilting dancefloor pulse that's indebted to batida, slopping and slipping around skeletal analog synths. Clocking in a 8-minutes, it's almost an EP on its own, but Dreijer has bundled 'Coral' with two additional beatless tracks, and that's where the shadow 'Souvenir' is most visible.
On 'Hazel', muffled string plucks are couched in familiar metallophone chimes; Dreijer's unique earworm melodies still dance around the track, but without a beat, he lets them ring into fluttered, IASOS-strength pads. It's fairytale ambience that's composed with the meticulousness of ECM's Stephan Micus, its relative minimalism betraying Dreijer's laser focus. And 'Flora' is even more weightless, with a warped, artificial vocal that harmonizes with Lee Gamble's 'Models' mode, morphing into ethereal, cybernetic flutes. Dreijer takes his cues from vintage ambient and new age gear, but ponders the future simultaneously, re-imagining hazy folk memories using glassy, modernist electronics. Like 'Souvenir', it's utterly captivating.
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The Knife's Olof Dreijer (fka Oni Ayhun) continues his solo voyage with this sparkling three tracker, picking up where last year's 'Souvenir' and 'Rosa Rugosa' and marking out a balmy island between supple rhythmic melodicism and West Coast new age-inspired bliss.
Dreijer emerged from the shadows last year, ditching his mysterious Oni Ayhun pseudonym and finally working under his own name. 'Coral' is loosely inspired by 'Souvenir', his ingenious steel drum-led collaboration with Mt. Sims, but the influence is hard to place on the title track. It's classic Dreijer in many ways, with a lead melody you'll be humming to yrself for days and a lilting dancefloor pulse that's indebted to batida, slopping and slipping around skeletal analog synths. Clocking in a 8-minutes, it's almost an EP on its own, but Dreijer has bundled 'Coral' with two additional beatless tracks, and that's where the shadow 'Souvenir' is most visible.
On 'Hazel', muffled string plucks are couched in familiar metallophone chimes; Dreijer's unique earworm melodies still dance around the track, but without a beat, he lets them ring into fluttered, IASOS-strength pads. It's fairytale ambience that's composed with the meticulousness of ECM's Stephan Micus, its relative minimalism betraying Dreijer's laser focus. And 'Flora' is even more weightless, with a warped, artificial vocal that harmonizes with Lee Gamble's 'Models' mode, morphing into ethereal, cybernetic flutes. Dreijer takes his cues from vintage ambient and new age gear, but ponders the future simultaneously, re-imagining hazy folk memories using glassy, modernist electronics. Like 'Souvenir', it's utterly captivating.