Houston-based Mexican producer Panch Briones sprays candy paint over prickly Latin club formations, bringing sadcore lowrider rap and soundsystem-ready club flexes together in perfect harmony for Hyperdub. RIYL Siete Catorce, Clams Casino, Joker, Ikonika.
Have you ever wondered what soulful Texas rap - think Z-Ro and Trae tha Truth - might sound like if its minor-key phonk was cut with syncopated Mexican rhythmic forms? Santa Muerte's debut "Eslabon" attempts to provide an answer. Briones grew up in Mexico's Sierra mountains and is now stationed in Houston where he's been scientifically examining the links between Southern rap, indigenous Mexican culture and global bass music. On 'Tonantzin' his motivation is felt immediately with neon-drenched synths and minor key piano blasts that cut directly into tweaky trap-cum-dubstep rhythms. If we didn't know better we might think Joker was involved, but his stylistic mashups were a view from afar - Briones meanwhile works from inside the belly of the beast and is able to capture a more accurate approximation.
'Coahuiltecan' sounds completely different but the motivation remains the same. This time Briones leans heavily into kinetic tribal drum patterns, bringing in a mutant koto loop to fire our minds back to US rap; mid way through the track the beat switches up completely, dipping into rolling 808-heavy trap. 'Emma' is almost completely beatless, harking back to Clams Casino's era-defining "Instrumentals" album with its snatched vocals and saturated synths, and wiry closing track 'Laberinto' assembles each element into a slippery whole, with euphoric synths, hard-swung syncopated beats and woozy Southern-style blues. Very strong stuff.
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Houston-based Mexican producer Panch Briones sprays candy paint over prickly Latin club formations, bringing sadcore lowrider rap and soundsystem-ready club flexes together in perfect harmony for Hyperdub. RIYL Siete Catorce, Clams Casino, Joker, Ikonika.
Have you ever wondered what soulful Texas rap - think Z-Ro and Trae tha Truth - might sound like if its minor-key phonk was cut with syncopated Mexican rhythmic forms? Santa Muerte's debut "Eslabon" attempts to provide an answer. Briones grew up in Mexico's Sierra mountains and is now stationed in Houston where he's been scientifically examining the links between Southern rap, indigenous Mexican culture and global bass music. On 'Tonantzin' his motivation is felt immediately with neon-drenched synths and minor key piano blasts that cut directly into tweaky trap-cum-dubstep rhythms. If we didn't know better we might think Joker was involved, but his stylistic mashups were a view from afar - Briones meanwhile works from inside the belly of the beast and is able to capture a more accurate approximation.
'Coahuiltecan' sounds completely different but the motivation remains the same. This time Briones leans heavily into kinetic tribal drum patterns, bringing in a mutant koto loop to fire our minds back to US rap; mid way through the track the beat switches up completely, dipping into rolling 808-heavy trap. 'Emma' is almost completely beatless, harking back to Clams Casino's era-defining "Instrumentals" album with its snatched vocals and saturated synths, and wiry closing track 'Laberinto' assembles each element into a slippery whole, with euphoric synths, hard-swung syncopated beats and woozy Southern-style blues. Very strong stuff.
Houston-based Mexican producer Panch Briones sprays candy paint over prickly Latin club formations, bringing sadcore lowrider rap and soundsystem-ready club flexes together in perfect harmony for Hyperdub. RIYL Siete Catorce, Clams Casino, Joker, Ikonika.
Have you ever wondered what soulful Texas rap - think Z-Ro and Trae tha Truth - might sound like if its minor-key phonk was cut with syncopated Mexican rhythmic forms? Santa Muerte's debut "Eslabon" attempts to provide an answer. Briones grew up in Mexico's Sierra mountains and is now stationed in Houston where he's been scientifically examining the links between Southern rap, indigenous Mexican culture and global bass music. On 'Tonantzin' his motivation is felt immediately with neon-drenched synths and minor key piano blasts that cut directly into tweaky trap-cum-dubstep rhythms. If we didn't know better we might think Joker was involved, but his stylistic mashups were a view from afar - Briones meanwhile works from inside the belly of the beast and is able to capture a more accurate approximation.
'Coahuiltecan' sounds completely different but the motivation remains the same. This time Briones leans heavily into kinetic tribal drum patterns, bringing in a mutant koto loop to fire our minds back to US rap; mid way through the track the beat switches up completely, dipping into rolling 808-heavy trap. 'Emma' is almost completely beatless, harking back to Clams Casino's era-defining "Instrumentals" album with its snatched vocals and saturated synths, and wiry closing track 'Laberinto' assembles each element into a slippery whole, with euphoric synths, hard-swung syncopated beats and woozy Southern-style blues. Very strong stuff.
Houston-based Mexican producer Panch Briones sprays candy paint over prickly Latin club formations, bringing sadcore lowrider rap and soundsystem-ready club flexes together in perfect harmony for Hyperdub. RIYL Siete Catorce, Clams Casino, Joker, Ikonika.
Have you ever wondered what soulful Texas rap - think Z-Ro and Trae tha Truth - might sound like if its minor-key phonk was cut with syncopated Mexican rhythmic forms? Santa Muerte's debut "Eslabon" attempts to provide an answer. Briones grew up in Mexico's Sierra mountains and is now stationed in Houston where he's been scientifically examining the links between Southern rap, indigenous Mexican culture and global bass music. On 'Tonantzin' his motivation is felt immediately with neon-drenched synths and minor key piano blasts that cut directly into tweaky trap-cum-dubstep rhythms. If we didn't know better we might think Joker was involved, but his stylistic mashups were a view from afar - Briones meanwhile works from inside the belly of the beast and is able to capture a more accurate approximation.
'Coahuiltecan' sounds completely different but the motivation remains the same. This time Briones leans heavily into kinetic tribal drum patterns, bringing in a mutant koto loop to fire our minds back to US rap; mid way through the track the beat switches up completely, dipping into rolling 808-heavy trap. 'Emma' is almost completely beatless, harking back to Clams Casino's era-defining "Instrumentals" album with its snatched vocals and saturated synths, and wiry closing track 'Laberinto' assembles each element into a slippery whole, with euphoric synths, hard-swung syncopated beats and woozy Southern-style blues. Very strong stuff.