Mysterious artist Negro Dinero meshes ambient vapors, experimental dembow and hard, minimal techno on his debut album, using the project to lay the foundations for a proposed neocommunist techno state.
'Isotopia' is more than just an album, it's described as "a solution to all the problems the modern world brings." Against institutional Western culture and colonialism, the land of Isotopia is creatively framed by the music, that embodies Negro Dinero's interest in Afro Caribbean rhythms, field recordings, and Faitiche-style sample experiments. From track to track the album appears to change form as if each was handled by a different artist: 'Billete de ida' is jazzy and ethereal, 'Equally Oppressed' is squashed and haunted dembow, and 'Chopo' takes us directly to the rave, cutting Berghain-ready kicks with skippy Afro-Latin rattles and baile-style vocal cut-ups.
Surprisingly, it never gets too overwhelming. The wonked modular reggaeton sound of 'Paternalismo cultural' is just curvaceous enough to happily drift into 'Mi refugio es el amor', a billowing ambient cut that's closer to daddy Basinski than to Daddy Yankee. "Isotopia" is a triumph of determination - it's not multi-genre so much as it attempts to build a map of ideas, references and influences, urging us to listen to the political and cultural messages behind the melancholy wails and ancestral rhythms. Now that's science fiction.
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Mysterious artist Negro Dinero meshes ambient vapors, experimental dembow and hard, minimal techno on his debut album, using the project to lay the foundations for a proposed neocommunist techno state.
'Isotopia' is more than just an album, it's described as "a solution to all the problems the modern world brings." Against institutional Western culture and colonialism, the land of Isotopia is creatively framed by the music, that embodies Negro Dinero's interest in Afro Caribbean rhythms, field recordings, and Faitiche-style sample experiments. From track to track the album appears to change form as if each was handled by a different artist: 'Billete de ida' is jazzy and ethereal, 'Equally Oppressed' is squashed and haunted dembow, and 'Chopo' takes us directly to the rave, cutting Berghain-ready kicks with skippy Afro-Latin rattles and baile-style vocal cut-ups.
Surprisingly, it never gets too overwhelming. The wonked modular reggaeton sound of 'Paternalismo cultural' is just curvaceous enough to happily drift into 'Mi refugio es el amor', a billowing ambient cut that's closer to daddy Basinski than to Daddy Yankee. "Isotopia" is a triumph of determination - it's not multi-genre so much as it attempts to build a map of ideas, references and influences, urging us to listen to the political and cultural messages behind the melancholy wails and ancestral rhythms. Now that's science fiction.
Mysterious artist Negro Dinero meshes ambient vapors, experimental dembow and hard, minimal techno on his debut album, using the project to lay the foundations for a proposed neocommunist techno state.
'Isotopia' is more than just an album, it's described as "a solution to all the problems the modern world brings." Against institutional Western culture and colonialism, the land of Isotopia is creatively framed by the music, that embodies Negro Dinero's interest in Afro Caribbean rhythms, field recordings, and Faitiche-style sample experiments. From track to track the album appears to change form as if each was handled by a different artist: 'Billete de ida' is jazzy and ethereal, 'Equally Oppressed' is squashed and haunted dembow, and 'Chopo' takes us directly to the rave, cutting Berghain-ready kicks with skippy Afro-Latin rattles and baile-style vocal cut-ups.
Surprisingly, it never gets too overwhelming. The wonked modular reggaeton sound of 'Paternalismo cultural' is just curvaceous enough to happily drift into 'Mi refugio es el amor', a billowing ambient cut that's closer to daddy Basinski than to Daddy Yankee. "Isotopia" is a triumph of determination - it's not multi-genre so much as it attempts to build a map of ideas, references and influences, urging us to listen to the political and cultural messages behind the melancholy wails and ancestral rhythms. Now that's science fiction.
Mysterious artist Negro Dinero meshes ambient vapors, experimental dembow and hard, minimal techno on his debut album, using the project to lay the foundations for a proposed neocommunist techno state.
'Isotopia' is more than just an album, it's described as "a solution to all the problems the modern world brings." Against institutional Western culture and colonialism, the land of Isotopia is creatively framed by the music, that embodies Negro Dinero's interest in Afro Caribbean rhythms, field recordings, and Faitiche-style sample experiments. From track to track the album appears to change form as if each was handled by a different artist: 'Billete de ida' is jazzy and ethereal, 'Equally Oppressed' is squashed and haunted dembow, and 'Chopo' takes us directly to the rave, cutting Berghain-ready kicks with skippy Afro-Latin rattles and baile-style vocal cut-ups.
Surprisingly, it never gets too overwhelming. The wonked modular reggaeton sound of 'Paternalismo cultural' is just curvaceous enough to happily drift into 'Mi refugio es el amor', a billowing ambient cut that's closer to daddy Basinski than to Daddy Yankee. "Isotopia" is a triumph of determination - it's not multi-genre so much as it attempts to build a map of ideas, references and influences, urging us to listen to the political and cultural messages behind the melancholy wails and ancestral rhythms. Now that's science fiction.