Arsenal Mikebe
DRUM MACHINE
Boomkat Product Review:
Powerful Kampala drum unit Arsenal Mikembe, featuring Jonathan Saldanha (Duma, HHY & The Macumbas, United Scum Soundclash), reimagine the TR-808 on an ingenious album for - who else - Nyege Nyege Tapes. Pure Ugandan polyrhythmic thunder to possess the spirit, no less!
In ‘Drum Machine’ battery unit Ssentongo Moses, Dratele Epiphany, and Luyambi Vincent de Paul encounter Ugandan sculptor Henry Segamwenge and pivotal NNT producer, Jonathan Uliel Saldanha, around a reverse-engineered TR-808 for one of Nyege Nyege Tapes’ definitive sides. It’s a fiercely disciplined and delirious demonstration of tradition factored by innovation; deploying a custom-built, steel-cast “percussion machine”, modelled on the famous Roland box, in six headlong manoeuvres that use the contraption to do things the 808 cannot, namely: polymetric rhythm.
We’re not quite sure what’s going on, but effectively the kit enables them to hinge hand-played hits, chants, and spectral electronics around offbeat kicks in complex time signatures that express a wealth of heritage and meaning encrypted in their patterns. It’s a thrust found in some of the best Afro-diasporic dance music from Nkisi to Howard Thomas, Jlin to Theo Parrish - heck, even those whitest of Black music nerds, Æ - but here effortlessly transcends their attempts to warp machine-locked grids with a mesmerising fluidity that translates so damn well to bodies in motion, and leaves us flapping like we’re dancing to architecture, if you catch our drift.
From the guttural howls and exhilarating, tri-legged trample of ‘Okuleekaana’, thru a relatively steady body-jacker ‘Amazina’, to the jittery, angular jump and parry of ‘Omuzimu’, into the roiling pressure waves and harmonised howl of ‘Boiller Omukka’, to the Konono No.1-esque distorted tang of ‘Masiini’, and febrile body calligraphy of ‘Bell Ghost’: dancers and rhythm fiends will know exactly what to do next. No half-stepping; you’re either committed to giving it up or just quietly sit this one out.
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Boomkat Product Review:
Powerful Kampala drum unit Arsenal Mikembe, featuring Jonathan Saldanha (Duma, HHY & The Macumbas, United Scum Soundclash), reimagine the TR-808 on an ingenious album for - who else - Nyege Nyege Tapes. Pure Ugandan polyrhythmic thunder to possess the spirit, no less!
In ‘Drum Machine’ battery unit Ssentongo Moses, Dratele Epiphany, and Luyambi Vincent de Paul encounter Ugandan sculptor Henry Segamwenge and pivotal NNT producer, Jonathan Uliel Saldanha, around a reverse-engineered TR-808 for one of Nyege Nyege Tapes’ definitive sides. It’s a fiercely disciplined and delirious demonstration of tradition factored by innovation; deploying a custom-built, steel-cast “percussion machine”, modelled on the famous Roland box, in six headlong manoeuvres that use the contraption to do things the 808 cannot, namely: polymetric rhythm.
We’re not quite sure what’s going on, but effectively the kit enables them to hinge hand-played hits, chants, and spectral electronics around offbeat kicks in complex time signatures that express a wealth of heritage and meaning encrypted in their patterns. It’s a thrust found in some of the best Afro-diasporic dance music from Nkisi to Howard Thomas, Jlin to Theo Parrish - heck, even those whitest of Black music nerds, Æ - but here effortlessly transcends their attempts to warp machine-locked grids with a mesmerising fluidity that translates so damn well to bodies in motion, and leaves us flapping like we’re dancing to architecture, if you catch our drift.
From the guttural howls and exhilarating, tri-legged trample of ‘Okuleekaana’, thru a relatively steady body-jacker ‘Amazina’, to the jittery, angular jump and parry of ‘Omuzimu’, into the roiling pressure waves and harmonised howl of ‘Boiller Omukka’, to the Konono No.1-esque distorted tang of ‘Masiini’, and febrile body calligraphy of ‘Bell Ghost’: dancers and rhythm fiends will know exactly what to do next. No half-stepping; you’re either committed to giving it up or just quietly sit this one out.
Boomkat Product Review:
Powerful Kampala drum unit Arsenal Mikembe, featuring Jonathan Saldanha (Duma, HHY & The Macumbas, United Scum Soundclash), reimagine the TR-808 on an ingenious album for - who else - Nyege Nyege Tapes. Pure Ugandan polyrhythmic thunder to possess the spirit, no less!
In ‘Drum Machine’ battery unit Ssentongo Moses, Dratele Epiphany, and Luyambi Vincent de Paul encounter Ugandan sculptor Henry Segamwenge and pivotal NNT producer, Jonathan Uliel Saldanha, around a reverse-engineered TR-808 for one of Nyege Nyege Tapes’ definitive sides. It’s a fiercely disciplined and delirious demonstration of tradition factored by innovation; deploying a custom-built, steel-cast “percussion machine”, modelled on the famous Roland box, in six headlong manoeuvres that use the contraption to do things the 808 cannot, namely: polymetric rhythm.
We’re not quite sure what’s going on, but effectively the kit enables them to hinge hand-played hits, chants, and spectral electronics around offbeat kicks in complex time signatures that express a wealth of heritage and meaning encrypted in their patterns. It’s a thrust found in some of the best Afro-diasporic dance music from Nkisi to Howard Thomas, Jlin to Theo Parrish - heck, even those whitest of Black music nerds, Æ - but here effortlessly transcends their attempts to warp machine-locked grids with a mesmerising fluidity that translates so damn well to bodies in motion, and leaves us flapping like we’re dancing to architecture, if you catch our drift.
From the guttural howls and exhilarating, tri-legged trample of ‘Okuleekaana’, thru a relatively steady body-jacker ‘Amazina’, to the jittery, angular jump and parry of ‘Omuzimu’, into the roiling pressure waves and harmonised howl of ‘Boiller Omukka’, to the Konono No.1-esque distorted tang of ‘Masiini’, and febrile body calligraphy of ‘Bell Ghost’: dancers and rhythm fiends will know exactly what to do next. No half-stepping; you’re either committed to giving it up or just quietly sit this one out.
Boomkat Product Review:
Powerful Kampala drum unit Arsenal Mikembe, featuring Jonathan Saldanha (Duma, HHY & The Macumbas, United Scum Soundclash), reimagine the TR-808 on an ingenious album for - who else - Nyege Nyege Tapes. Pure Ugandan polyrhythmic thunder to possess the spirit, no less!
In ‘Drum Machine’ battery unit Ssentongo Moses, Dratele Epiphany, and Luyambi Vincent de Paul encounter Ugandan sculptor Henry Segamwenge and pivotal NNT producer, Jonathan Uliel Saldanha, around a reverse-engineered TR-808 for one of Nyege Nyege Tapes’ definitive sides. It’s a fiercely disciplined and delirious demonstration of tradition factored by innovation; deploying a custom-built, steel-cast “percussion machine”, modelled on the famous Roland box, in six headlong manoeuvres that use the contraption to do things the 808 cannot, namely: polymetric rhythm.
We’re not quite sure what’s going on, but effectively the kit enables them to hinge hand-played hits, chants, and spectral electronics around offbeat kicks in complex time signatures that express a wealth of heritage and meaning encrypted in their patterns. It’s a thrust found in some of the best Afro-diasporic dance music from Nkisi to Howard Thomas, Jlin to Theo Parrish - heck, even those whitest of Black music nerds, Æ - but here effortlessly transcends their attempts to warp machine-locked grids with a mesmerising fluidity that translates so damn well to bodies in motion, and leaves us flapping like we’re dancing to architecture, if you catch our drift.
From the guttural howls and exhilarating, tri-legged trample of ‘Okuleekaana’, thru a relatively steady body-jacker ‘Amazina’, to the jittery, angular jump and parry of ‘Omuzimu’, into the roiling pressure waves and harmonised howl of ‘Boiller Omukka’, to the Konono No.1-esque distorted tang of ‘Masiini’, and febrile body calligraphy of ‘Bell Ghost’: dancers and rhythm fiends will know exactly what to do next. No half-stepping; you’re either committed to giving it up or just quietly sit this one out.
Edition of 200 copies, Mastered by Matthias Heinstein, vinyl Master by Declared Sound. Photography by Blackbeast & Jonathan Uliel Saldanha. Comes with a download dropped to your account.
Out of Stock
Boomkat Product Review:
Powerful Kampala drum unit Arsenal Mikembe, featuring Jonathan Saldanha (Duma, HHY & The Macumbas, United Scum Soundclash), reimagine the TR-808 on an ingenious album for - who else - Nyege Nyege Tapes. Pure Ugandan polyrhythmic thunder to possess the spirit, no less!
In ‘Drum Machine’ battery unit Ssentongo Moses, Dratele Epiphany, and Luyambi Vincent de Paul encounter Ugandan sculptor Henry Segamwenge and pivotal NNT producer, Jonathan Uliel Saldanha, around a reverse-engineered TR-808 for one of Nyege Nyege Tapes’ definitive sides. It’s a fiercely disciplined and delirious demonstration of tradition factored by innovation; deploying a custom-built, steel-cast “percussion machine”, modelled on the famous Roland box, in six headlong manoeuvres that use the contraption to do things the 808 cannot, namely: polymetric rhythm.
We’re not quite sure what’s going on, but effectively the kit enables them to hinge hand-played hits, chants, and spectral electronics around offbeat kicks in complex time signatures that express a wealth of heritage and meaning encrypted in their patterns. It’s a thrust found in some of the best Afro-diasporic dance music from Nkisi to Howard Thomas, Jlin to Theo Parrish - heck, even those whitest of Black music nerds, Æ - but here effortlessly transcends their attempts to warp machine-locked grids with a mesmerising fluidity that translates so damn well to bodies in motion, and leaves us flapping like we’re dancing to architecture, if you catch our drift.
From the guttural howls and exhilarating, tri-legged trample of ‘Okuleekaana’, thru a relatively steady body-jacker ‘Amazina’, to the jittery, angular jump and parry of ‘Omuzimu’, into the roiling pressure waves and harmonised howl of ‘Boiller Omukka’, to the Konono No.1-esque distorted tang of ‘Masiini’, and febrile body calligraphy of ‘Bell Ghost’: dancers and rhythm fiends will know exactly what to do next. No half-stepping; you’re either committed to giving it up or just quietly sit this one out.
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