Jako Maron continues to galvanise the rich rhythmic tradition of Réunion island into innovative new directions, sprawling through hard-hitting, totally singular drum machine workouts for Uganda’s indomitable Nyege Nyege Tapes.
As the label passes a decade of revelatory works from the global south, Jako Maron’s music is emblematic of the way Nyege Nyege Tapes’ focus on contemporary generations factors tradition into the hyper-present. The seven parts of ‘Mahavélouz’ range from 3 minute dervishes to mesmerising extended jags, plus a haunting finale introducing flutes and searing modular synths to the mix. It builds on the fierce examples of Maron’s electro Maloya experiments of 2018 with farther modulations of the style’s vernacular, augmenting its pulsating 6/8 signatures with tough kicks and piquant bleeps around the ancestral sound of the bobre - a string-activated shaker closely related to the berimbau associated with Afro-Brazilian musics - to hit a new, sharply focussed peak of a very particular sound, filled with ritualist purpose.
Maron sharpens his sound to heavier dancefloor potential on all counts whilst never losing sight of its roots. The recognisable percussive palettes of the TR-606, TR-707, and TR-909 are pulled into rudely unfamiliar forms as he toggles the pressure between swingeing, distorted clangour in ‘Paré Po Saviré’ at the front, thru the acidic bass tumult of ‘Bék Dann Dir’, to a standout of reticulated electro minimalism on centrepiece ‘DEUS ex Maloya’, and really stretches out to allow dancers to get right into it on ‘Mdé Prototrash’.
Finally, he accents the bobre’s voice with a burning, transcendent intensity in the jagged jack of ‘Zésprimaron’ and offsets that energy in a final piece full of chirruping flutes and modular tones, re-hoofed with a quickstep trot that fires the tendons like little else in the Western world.
Volcanic music.
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Jako Maron continues to galvanise the rich rhythmic tradition of Réunion island into innovative new directions, sprawling through hard-hitting, totally singular drum machine workouts for Uganda’s indomitable Nyege Nyege Tapes.
As the label passes a decade of revelatory works from the global south, Jako Maron’s music is emblematic of the way Nyege Nyege Tapes’ focus on contemporary generations factors tradition into the hyper-present. The seven parts of ‘Mahavélouz’ range from 3 minute dervishes to mesmerising extended jags, plus a haunting finale introducing flutes and searing modular synths to the mix. It builds on the fierce examples of Maron’s electro Maloya experiments of 2018 with farther modulations of the style’s vernacular, augmenting its pulsating 6/8 signatures with tough kicks and piquant bleeps around the ancestral sound of the bobre - a string-activated shaker closely related to the berimbau associated with Afro-Brazilian musics - to hit a new, sharply focussed peak of a very particular sound, filled with ritualist purpose.
Maron sharpens his sound to heavier dancefloor potential on all counts whilst never losing sight of its roots. The recognisable percussive palettes of the TR-606, TR-707, and TR-909 are pulled into rudely unfamiliar forms as he toggles the pressure between swingeing, distorted clangour in ‘Paré Po Saviré’ at the front, thru the acidic bass tumult of ‘Bék Dann Dir’, to a standout of reticulated electro minimalism on centrepiece ‘DEUS ex Maloya’, and really stretches out to allow dancers to get right into it on ‘Mdé Prototrash’.
Finally, he accents the bobre’s voice with a burning, transcendent intensity in the jagged jack of ‘Zésprimaron’ and offsets that energy in a final piece full of chirruping flutes and modular tones, re-hoofed with a quickstep trot that fires the tendons like little else in the Western world.
Volcanic music.
Jako Maron continues to galvanise the rich rhythmic tradition of Réunion island into innovative new directions, sprawling through hard-hitting, totally singular drum machine workouts for Uganda’s indomitable Nyege Nyege Tapes.
As the label passes a decade of revelatory works from the global south, Jako Maron’s music is emblematic of the way Nyege Nyege Tapes’ focus on contemporary generations factors tradition into the hyper-present. The seven parts of ‘Mahavélouz’ range from 3 minute dervishes to mesmerising extended jags, plus a haunting finale introducing flutes and searing modular synths to the mix. It builds on the fierce examples of Maron’s electro Maloya experiments of 2018 with farther modulations of the style’s vernacular, augmenting its pulsating 6/8 signatures with tough kicks and piquant bleeps around the ancestral sound of the bobre - a string-activated shaker closely related to the berimbau associated with Afro-Brazilian musics - to hit a new, sharply focussed peak of a very particular sound, filled with ritualist purpose.
Maron sharpens his sound to heavier dancefloor potential on all counts whilst never losing sight of its roots. The recognisable percussive palettes of the TR-606, TR-707, and TR-909 are pulled into rudely unfamiliar forms as he toggles the pressure between swingeing, distorted clangour in ‘Paré Po Saviré’ at the front, thru the acidic bass tumult of ‘Bék Dann Dir’, to a standout of reticulated electro minimalism on centrepiece ‘DEUS ex Maloya’, and really stretches out to allow dancers to get right into it on ‘Mdé Prototrash’.
Finally, he accents the bobre’s voice with a burning, transcendent intensity in the jagged jack of ‘Zésprimaron’ and offsets that energy in a final piece full of chirruping flutes and modular tones, re-hoofed with a quickstep trot that fires the tendons like little else in the Western world.
Volcanic music.
Jako Maron continues to galvanise the rich rhythmic tradition of Réunion island into innovative new directions, sprawling through hard-hitting, totally singular drum machine workouts for Uganda’s indomitable Nyege Nyege Tapes.
As the label passes a decade of revelatory works from the global south, Jako Maron’s music is emblematic of the way Nyege Nyege Tapes’ focus on contemporary generations factors tradition into the hyper-present. The seven parts of ‘Mahavélouz’ range from 3 minute dervishes to mesmerising extended jags, plus a haunting finale introducing flutes and searing modular synths to the mix. It builds on the fierce examples of Maron’s electro Maloya experiments of 2018 with farther modulations of the style’s vernacular, augmenting its pulsating 6/8 signatures with tough kicks and piquant bleeps around the ancestral sound of the bobre - a string-activated shaker closely related to the berimbau associated with Afro-Brazilian musics - to hit a new, sharply focussed peak of a very particular sound, filled with ritualist purpose.
Maron sharpens his sound to heavier dancefloor potential on all counts whilst never losing sight of its roots. The recognisable percussive palettes of the TR-606, TR-707, and TR-909 are pulled into rudely unfamiliar forms as he toggles the pressure between swingeing, distorted clangour in ‘Paré Po Saviré’ at the front, thru the acidic bass tumult of ‘Bék Dann Dir’, to a standout of reticulated electro minimalism on centrepiece ‘DEUS ex Maloya’, and really stretches out to allow dancers to get right into it on ‘Mdé Prototrash’.
Finally, he accents the bobre’s voice with a burning, transcendent intensity in the jagged jack of ‘Zésprimaron’ and offsets that energy in a final piece full of chirruping flutes and modular tones, re-hoofed with a quickstep trot that fires the tendons like little else in the Western world.
Volcanic music.
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Jako Maron continues to galvanise the rich rhythmic tradition of Réunion island into innovative new directions, sprawling through hard-hitting, totally singular drum machine workouts for Uganda’s indomitable Nyege Nyege Tapes.
As the label passes a decade of revelatory works from the global south, Jako Maron’s music is emblematic of the way Nyege Nyege Tapes’ focus on contemporary generations factors tradition into the hyper-present. The seven parts of ‘Mahavélouz’ range from 3 minute dervishes to mesmerising extended jags, plus a haunting finale introducing flutes and searing modular synths to the mix. It builds on the fierce examples of Maron’s electro Maloya experiments of 2018 with farther modulations of the style’s vernacular, augmenting its pulsating 6/8 signatures with tough kicks and piquant bleeps around the ancestral sound of the bobre - a string-activated shaker closely related to the berimbau associated with Afro-Brazilian musics - to hit a new, sharply focussed peak of a very particular sound, filled with ritualist purpose.
Maron sharpens his sound to heavier dancefloor potential on all counts whilst never losing sight of its roots. The recognisable percussive palettes of the TR-606, TR-707, and TR-909 are pulled into rudely unfamiliar forms as he toggles the pressure between swingeing, distorted clangour in ‘Paré Po Saviré’ at the front, thru the acidic bass tumult of ‘Bék Dann Dir’, to a standout of reticulated electro minimalism on centrepiece ‘DEUS ex Maloya’, and really stretches out to allow dancers to get right into it on ‘Mdé Prototrash’.
Finally, he accents the bobre’s voice with a burning, transcendent intensity in the jagged jack of ‘Zésprimaron’ and offsets that energy in a final piece full of chirruping flutes and modular tones, re-hoofed with a quickstep trot that fires the tendons like little else in the Western world.
Volcanic music.