Aïsha Devi introduces Germany-based Cuban artist Réelle on her Danse Noire label with the tense and biting club music of ‘Kissing Myself’, including a dynamic remix by Dis Fig.
Entering the same schism of queered dance-not-dance music as Loticor Ziúr on Kissing Myself - the first in a one-two of album statements - Reélle trades in a hyper-contemporary sonic language of curdled dissonance, smeared timbres and warped industrial rhythms.
Kissing Myself presents pleasingly catty, needling hi-register tones and brute bass force, and Smile seems to emulate the icky cringe of a forced, gnasher flashing selfie. At its apex, Pink recalls some fusion of Mykki Blanco’s fiercest personas and the hyper chromium convulsions of earlier Arca experiments, also making ace use of YouTube-style compression, whereas God is all unresolved ambient tension.
The Dis Fig remix of All I Have Left brings it straight to the middle of the ‘floor with bolshy rhythms and a swollen reese bass to set it right of.
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Aïsha Devi introduces Germany-based Cuban artist Réelle on her Danse Noire label with the tense and biting club music of ‘Kissing Myself’, including a dynamic remix by Dis Fig.
Entering the same schism of queered dance-not-dance music as Loticor Ziúr on Kissing Myself - the first in a one-two of album statements - Reélle trades in a hyper-contemporary sonic language of curdled dissonance, smeared timbres and warped industrial rhythms.
Kissing Myself presents pleasingly catty, needling hi-register tones and brute bass force, and Smile seems to emulate the icky cringe of a forced, gnasher flashing selfie. At its apex, Pink recalls some fusion of Mykki Blanco’s fiercest personas and the hyper chromium convulsions of earlier Arca experiments, also making ace use of YouTube-style compression, whereas God is all unresolved ambient tension.
The Dis Fig remix of All I Have Left brings it straight to the middle of the ‘floor with bolshy rhythms and a swollen reese bass to set it right of.
Aïsha Devi introduces Germany-based Cuban artist Réelle on her Danse Noire label with the tense and biting club music of ‘Kissing Myself’, including a dynamic remix by Dis Fig.
Entering the same schism of queered dance-not-dance music as Loticor Ziúr on Kissing Myself - the first in a one-two of album statements - Reélle trades in a hyper-contemporary sonic language of curdled dissonance, smeared timbres and warped industrial rhythms.
Kissing Myself presents pleasingly catty, needling hi-register tones and brute bass force, and Smile seems to emulate the icky cringe of a forced, gnasher flashing selfie. At its apex, Pink recalls some fusion of Mykki Blanco’s fiercest personas and the hyper chromium convulsions of earlier Arca experiments, also making ace use of YouTube-style compression, whereas God is all unresolved ambient tension.
The Dis Fig remix of All I Have Left brings it straight to the middle of the ‘floor with bolshy rhythms and a swollen reese bass to set it right of.
Aïsha Devi introduces Germany-based Cuban artist Réelle on her Danse Noire label with the tense and biting club music of ‘Kissing Myself’, including a dynamic remix by Dis Fig.
Entering the same schism of queered dance-not-dance music as Loticor Ziúr on Kissing Myself - the first in a one-two of album statements - Reélle trades in a hyper-contemporary sonic language of curdled dissonance, smeared timbres and warped industrial rhythms.
Kissing Myself presents pleasingly catty, needling hi-register tones and brute bass force, and Smile seems to emulate the icky cringe of a forced, gnasher flashing selfie. At its apex, Pink recalls some fusion of Mykki Blanco’s fiercest personas and the hyper chromium convulsions of earlier Arca experiments, also making ace use of YouTube-style compression, whereas God is all unresolved ambient tension.
The Dis Fig remix of All I Have Left brings it straight to the middle of the ‘floor with bolshy rhythms and a swollen reese bass to set it right of.