Momoweb / Disposition / Goulbap
UKF architect Roska dons his Bakongo hat for a tweaky rass-out on Peverelist’s reverse sublabel of Livity Sound
Joining the likes of Batu, Bruce and Forest Drive West on the label, Roska comms more stripped down than usual with three cuts ideally meant to be held in the mix with similar, bare bones gear.
Up top, the clipped, acidic swang of ‘Momoweb’ is arguably the most minimalist riddim in Roska’s arsenal, with all the detail found in very slight nudges of rhythmelodic cadence, pure Congo percussion style. Down below he allows more space into the mix with subtle field recordings implying that the wavy synths, live-sounding drums and heaving subs of ‘Disposition’ were captured as is, under the sun, outdoors, and likewise the careful spacing of the drums and sparing bass jabs in ‘Goulbap’ have a wickedly live, in-the-moment feel just begging to be blended in-the-mix.
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UKF architect Roska dons his Bakongo hat for a tweaky rass-out on Peverelist’s reverse sublabel of Livity Sound
Joining the likes of Batu, Bruce and Forest Drive West on the label, Roska comms more stripped down than usual with three cuts ideally meant to be held in the mix with similar, bare bones gear.
Up top, the clipped, acidic swang of ‘Momoweb’ is arguably the most minimalist riddim in Roska’s arsenal, with all the detail found in very slight nudges of rhythmelodic cadence, pure Congo percussion style. Down below he allows more space into the mix with subtle field recordings implying that the wavy synths, live-sounding drums and heaving subs of ‘Disposition’ were captured as is, under the sun, outdoors, and likewise the careful spacing of the drums and sparing bass jabs in ‘Goulbap’ have a wickedly live, in-the-moment feel just begging to be blended in-the-mix.
UKF architect Roska dons his Bakongo hat for a tweaky rass-out on Peverelist’s reverse sublabel of Livity Sound
Joining the likes of Batu, Bruce and Forest Drive West on the label, Roska comms more stripped down than usual with three cuts ideally meant to be held in the mix with similar, bare bones gear.
Up top, the clipped, acidic swang of ‘Momoweb’ is arguably the most minimalist riddim in Roska’s arsenal, with all the detail found in very slight nudges of rhythmelodic cadence, pure Congo percussion style. Down below he allows more space into the mix with subtle field recordings implying that the wavy synths, live-sounding drums and heaving subs of ‘Disposition’ were captured as is, under the sun, outdoors, and likewise the careful spacing of the drums and sparing bass jabs in ‘Goulbap’ have a wickedly live, in-the-moment feel just begging to be blended in-the-mix.
UKF architect Roska dons his Bakongo hat for a tweaky rass-out on Peverelist’s reverse sublabel of Livity Sound
Joining the likes of Batu, Bruce and Forest Drive West on the label, Roska comms more stripped down than usual with three cuts ideally meant to be held in the mix with similar, bare bones gear.
Up top, the clipped, acidic swang of ‘Momoweb’ is arguably the most minimalist riddim in Roska’s arsenal, with all the detail found in very slight nudges of rhythmelodic cadence, pure Congo percussion style. Down below he allows more space into the mix with subtle field recordings implying that the wavy synths, live-sounding drums and heaving subs of ‘Disposition’ were captured as is, under the sun, outdoors, and likewise the careful spacing of the drums and sparing bass jabs in ‘Goulbap’ have a wickedly live, in-the-moment feel just begging to be blended in-the-mix.
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UKF architect Roska dons his Bakongo hat for a tweaky rass-out on Peverelist’s reverse sublabel of Livity Sound
Joining the likes of Batu, Bruce and Forest Drive West on the label, Roska comms more stripped down than usual with three cuts ideally meant to be held in the mix with similar, bare bones gear.
Up top, the clipped, acidic swang of ‘Momoweb’ is arguably the most minimalist riddim in Roska’s arsenal, with all the detail found in very slight nudges of rhythmelodic cadence, pure Congo percussion style. Down below he allows more space into the mix with subtle field recordings implying that the wavy synths, live-sounding drums and heaving subs of ‘Disposition’ were captured as is, under the sun, outdoors, and likewise the careful spacing of the drums and sparing bass jabs in ‘Goulbap’ have a wickedly live, in-the-moment feel just begging to be blended in-the-mix.