LA's Maral follows up 2020's ace "Push" with another ferric blast of ear-to-the-ground no wave dub and damaged DIY "folk club", curving ghostly samples around lo-fi drums.
2019's "Mahur Club" was an urgent proof of concept from Iranian-American producer Maral, using her vast personal archive of Iranian folk, classical and pop recordings to rebuild pointed club rhythms and templates. "Push" sharpened the blade a little, ratcheting up the budget and joining Maral's process with dub history and post-punk grot, featuring collaborations with Lee "Scratch" Perry and Crass's Penny Rimbaud cuz - why not. Now she's back with "Ground Groove", a further development of her personal musical fingerprint that additionally obscures her arsenal of ghost grooves beneath a blitzed assembly of overdriven drums and gut-churning low end.
This time around, Maral pipes more of her own live recordings into the mix, playing guitar and bass and singing over jagged, tape-saturated percussion and all manner of sampled flutes, santurs and wails. Opening track 'Feedback Jam' is Maral's way of preparing us for what we're about to hear: doom-drone guitars, pounding cassette-damaged kicks, occidental microtonal shimmers and serrated noise that echoes like its trapped in King Tubby's mixing desk. Maral is a rare beatmaker who allows herself to lean into the inherent groove of a low tempo, settling into a sensual crawl on 'Heart Shimmer' and hinting at Houston rap as much as Jamaican dub.
Her tracks are short and direct, never outstaying their welcome. If Maral can blaze through an idea in just a few moments, she does so; some of the best tracks - 'Hold My Hand, Go For A Walk' and the brilliantly squashed 'Shy Night' - don't even break the two minute mark. On 'Mari's Groove', she uses an MC-909 Groovebox to formulate a glacially downtempo crunch that's perfectly broken and expressive, and on 'Walk and Talk', the album's longest track, she extends a loose rhythm underneath devotional Iranian vocals and redolent spoken word. Recommended.
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LA's Maral follows up 2020's ace "Push" with another ferric blast of ear-to-the-ground no wave dub and damaged DIY "folk club", curving ghostly samples around lo-fi drums.
2019's "Mahur Club" was an urgent proof of concept from Iranian-American producer Maral, using her vast personal archive of Iranian folk, classical and pop recordings to rebuild pointed club rhythms and templates. "Push" sharpened the blade a little, ratcheting up the budget and joining Maral's process with dub history and post-punk grot, featuring collaborations with Lee "Scratch" Perry and Crass's Penny Rimbaud cuz - why not. Now she's back with "Ground Groove", a further development of her personal musical fingerprint that additionally obscures her arsenal of ghost grooves beneath a blitzed assembly of overdriven drums and gut-churning low end.
This time around, Maral pipes more of her own live recordings into the mix, playing guitar and bass and singing over jagged, tape-saturated percussion and all manner of sampled flutes, santurs and wails. Opening track 'Feedback Jam' is Maral's way of preparing us for what we're about to hear: doom-drone guitars, pounding cassette-damaged kicks, occidental microtonal shimmers and serrated noise that echoes like its trapped in King Tubby's mixing desk. Maral is a rare beatmaker who allows herself to lean into the inherent groove of a low tempo, settling into a sensual crawl on 'Heart Shimmer' and hinting at Houston rap as much as Jamaican dub.
Her tracks are short and direct, never outstaying their welcome. If Maral can blaze through an idea in just a few moments, she does so; some of the best tracks - 'Hold My Hand, Go For A Walk' and the brilliantly squashed 'Shy Night' - don't even break the two minute mark. On 'Mari's Groove', she uses an MC-909 Groovebox to formulate a glacially downtempo crunch that's perfectly broken and expressive, and on 'Walk and Talk', the album's longest track, she extends a loose rhythm underneath devotional Iranian vocals and redolent spoken word. Recommended.
LA's Maral follows up 2020's ace "Push" with another ferric blast of ear-to-the-ground no wave dub and damaged DIY "folk club", curving ghostly samples around lo-fi drums.
2019's "Mahur Club" was an urgent proof of concept from Iranian-American producer Maral, using her vast personal archive of Iranian folk, classical and pop recordings to rebuild pointed club rhythms and templates. "Push" sharpened the blade a little, ratcheting up the budget and joining Maral's process with dub history and post-punk grot, featuring collaborations with Lee "Scratch" Perry and Crass's Penny Rimbaud cuz - why not. Now she's back with "Ground Groove", a further development of her personal musical fingerprint that additionally obscures her arsenal of ghost grooves beneath a blitzed assembly of overdriven drums and gut-churning low end.
This time around, Maral pipes more of her own live recordings into the mix, playing guitar and bass and singing over jagged, tape-saturated percussion and all manner of sampled flutes, santurs and wails. Opening track 'Feedback Jam' is Maral's way of preparing us for what we're about to hear: doom-drone guitars, pounding cassette-damaged kicks, occidental microtonal shimmers and serrated noise that echoes like its trapped in King Tubby's mixing desk. Maral is a rare beatmaker who allows herself to lean into the inherent groove of a low tempo, settling into a sensual crawl on 'Heart Shimmer' and hinting at Houston rap as much as Jamaican dub.
Her tracks are short and direct, never outstaying their welcome. If Maral can blaze through an idea in just a few moments, she does so; some of the best tracks - 'Hold My Hand, Go For A Walk' and the brilliantly squashed 'Shy Night' - don't even break the two minute mark. On 'Mari's Groove', she uses an MC-909 Groovebox to formulate a glacially downtempo crunch that's perfectly broken and expressive, and on 'Walk and Talk', the album's longest track, she extends a loose rhythm underneath devotional Iranian vocals and redolent spoken word. Recommended.
LA's Maral follows up 2020's ace "Push" with another ferric blast of ear-to-the-ground no wave dub and damaged DIY "folk club", curving ghostly samples around lo-fi drums.
2019's "Mahur Club" was an urgent proof of concept from Iranian-American producer Maral, using her vast personal archive of Iranian folk, classical and pop recordings to rebuild pointed club rhythms and templates. "Push" sharpened the blade a little, ratcheting up the budget and joining Maral's process with dub history and post-punk grot, featuring collaborations with Lee "Scratch" Perry and Crass's Penny Rimbaud cuz - why not. Now she's back with "Ground Groove", a further development of her personal musical fingerprint that additionally obscures her arsenal of ghost grooves beneath a blitzed assembly of overdriven drums and gut-churning low end.
This time around, Maral pipes more of her own live recordings into the mix, playing guitar and bass and singing over jagged, tape-saturated percussion and all manner of sampled flutes, santurs and wails. Opening track 'Feedback Jam' is Maral's way of preparing us for what we're about to hear: doom-drone guitars, pounding cassette-damaged kicks, occidental microtonal shimmers and serrated noise that echoes like its trapped in King Tubby's mixing desk. Maral is a rare beatmaker who allows herself to lean into the inherent groove of a low tempo, settling into a sensual crawl on 'Heart Shimmer' and hinting at Houston rap as much as Jamaican dub.
Her tracks are short and direct, never outstaying their welcome. If Maral can blaze through an idea in just a few moments, she does so; some of the best tracks - 'Hold My Hand, Go For A Walk' and the brilliantly squashed 'Shy Night' - don't even break the two minute mark. On 'Mari's Groove', she uses an MC-909 Groovebox to formulate a glacially downtempo crunch that's perfectly broken and expressive, and on 'Walk and Talk', the album's longest track, she extends a loose rhythm underneath devotional Iranian vocals and redolent spoken word. Recommended.
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LA's Maral follows up 2020's ace "Push" with another ferric blast of ear-to-the-ground no wave dub and damaged DIY "folk club", curving ghostly samples around lo-fi drums.
2019's "Mahur Club" was an urgent proof of concept from Iranian-American producer Maral, using her vast personal archive of Iranian folk, classical and pop recordings to rebuild pointed club rhythms and templates. "Push" sharpened the blade a little, ratcheting up the budget and joining Maral's process with dub history and post-punk grot, featuring collaborations with Lee "Scratch" Perry and Crass's Penny Rimbaud cuz - why not. Now she's back with "Ground Groove", a further development of her personal musical fingerprint that additionally obscures her arsenal of ghost grooves beneath a blitzed assembly of overdriven drums and gut-churning low end.
This time around, Maral pipes more of her own live recordings into the mix, playing guitar and bass and singing over jagged, tape-saturated percussion and all manner of sampled flutes, santurs and wails. Opening track 'Feedback Jam' is Maral's way of preparing us for what we're about to hear: doom-drone guitars, pounding cassette-damaged kicks, occidental microtonal shimmers and serrated noise that echoes like its trapped in King Tubby's mixing desk. Maral is a rare beatmaker who allows herself to lean into the inherent groove of a low tempo, settling into a sensual crawl on 'Heart Shimmer' and hinting at Houston rap as much as Jamaican dub.
Her tracks are short and direct, never outstaying their welcome. If Maral can blaze through an idea in just a few moments, she does so; some of the best tracks - 'Hold My Hand, Go For A Walk' and the brilliantly squashed 'Shy Night' - don't even break the two minute mark. On 'Mari's Groove', she uses an MC-909 Groovebox to formulate a glacially downtempo crunch that's perfectly broken and expressive, and on 'Walk and Talk', the album's longest track, she extends a loose rhythm underneath devotional Iranian vocals and redolent spoken word. Recommended.