Olof Dreijer ov The Knife and Oni Ayhun does his rudest thing for Hessle Audio on three tracks tanned by BUFO and the crew
After returning to the fray in 2023 with the killer steel drum excursion of ‘Souvenir’ with Mt. Sims, Olof Dreijer reprises the sort of uniquely expressive melodic leads and swinging function to his beloved Oni Ayhun records of 2008-2010 on the ‘Rosa Rugosa’ EP.
While betraying the electro-tranced vestiges of those Oni zingers, Dreijer’s work feels more fluid and free here, carrying over some of his work on sibling, Karin Dreijer’s Fever Ray records, and colourful, polyrhythmic inspiration from their producer, Nídia, into loosey goosey club cuts that, after catching his killer set for Kiss Me Again at The White Hotel, we can confirm work a treat on the ‘floor.
The title tune feels like lysergic UKF, all scuffed swing and stereo-dubbed, weirdly mewling synth leads that we’re practically singing along to. The Afro-Latin inspiration bubbles up sexier in the wood-played percussion and percolated synth voices to ‘Camelia’, coming off like Altered Natives jamming with 0PN, and he really gets inside that chromatically curdled tone on the final flourish of ‘Cassia’, juxtaposed with with scudding high register motifs and syncopated, hand-played drums and gelatinous bass.
Straight up brilliant.
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Olof Dreijer ov The Knife and Oni Ayhun does his rudest thing for Hessle Audio on three tracks tanned by BUFO and the crew
After returning to the fray in 2023 with the killer steel drum excursion of ‘Souvenir’ with Mt. Sims, Olof Dreijer reprises the sort of uniquely expressive melodic leads and swinging function to his beloved Oni Ayhun records of 2008-2010 on the ‘Rosa Rugosa’ EP.
While betraying the electro-tranced vestiges of those Oni zingers, Dreijer’s work feels more fluid and free here, carrying over some of his work on sibling, Karin Dreijer’s Fever Ray records, and colourful, polyrhythmic inspiration from their producer, Nídia, into loosey goosey club cuts that, after catching his killer set for Kiss Me Again at The White Hotel, we can confirm work a treat on the ‘floor.
The title tune feels like lysergic UKF, all scuffed swing and stereo-dubbed, weirdly mewling synth leads that we’re practically singing along to. The Afro-Latin inspiration bubbles up sexier in the wood-played percussion and percolated synth voices to ‘Camelia’, coming off like Altered Natives jamming with 0PN, and he really gets inside that chromatically curdled tone on the final flourish of ‘Cassia’, juxtaposed with with scudding high register motifs and syncopated, hand-played drums and gelatinous bass.
Straight up brilliant.
Olof Dreijer ov The Knife and Oni Ayhun does his rudest thing for Hessle Audio on three tracks tanned by BUFO and the crew
After returning to the fray in 2023 with the killer steel drum excursion of ‘Souvenir’ with Mt. Sims, Olof Dreijer reprises the sort of uniquely expressive melodic leads and swinging function to his beloved Oni Ayhun records of 2008-2010 on the ‘Rosa Rugosa’ EP.
While betraying the electro-tranced vestiges of those Oni zingers, Dreijer’s work feels more fluid and free here, carrying over some of his work on sibling, Karin Dreijer’s Fever Ray records, and colourful, polyrhythmic inspiration from their producer, Nídia, into loosey goosey club cuts that, after catching his killer set for Kiss Me Again at The White Hotel, we can confirm work a treat on the ‘floor.
The title tune feels like lysergic UKF, all scuffed swing and stereo-dubbed, weirdly mewling synth leads that we’re practically singing along to. The Afro-Latin inspiration bubbles up sexier in the wood-played percussion and percolated synth voices to ‘Camelia’, coming off like Altered Natives jamming with 0PN, and he really gets inside that chromatically curdled tone on the final flourish of ‘Cassia’, juxtaposed with with scudding high register motifs and syncopated, hand-played drums and gelatinous bass.
Straight up brilliant.
Olof Dreijer ov The Knife and Oni Ayhun does his rudest thing for Hessle Audio on three tracks tanned by BUFO and the crew
After returning to the fray in 2023 with the killer steel drum excursion of ‘Souvenir’ with Mt. Sims, Olof Dreijer reprises the sort of uniquely expressive melodic leads and swinging function to his beloved Oni Ayhun records of 2008-2010 on the ‘Rosa Rugosa’ EP.
While betraying the electro-tranced vestiges of those Oni zingers, Dreijer’s work feels more fluid and free here, carrying over some of his work on sibling, Karin Dreijer’s Fever Ray records, and colourful, polyrhythmic inspiration from their producer, Nídia, into loosey goosey club cuts that, after catching his killer set for Kiss Me Again at The White Hotel, we can confirm work a treat on the ‘floor.
The title tune feels like lysergic UKF, all scuffed swing and stereo-dubbed, weirdly mewling synth leads that we’re practically singing along to. The Afro-Latin inspiration bubbles up sexier in the wood-played percussion and percolated synth voices to ‘Camelia’, coming off like Altered Natives jamming with 0PN, and he really gets inside that chromatically curdled tone on the final flourish of ‘Cassia’, juxtaposed with with scudding high register motifs and syncopated, hand-played drums and gelatinous bass.
Straight up brilliant.
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Olof Dreijer ov The Knife and Oni Ayhun does his rudest thing for Hessle Audio on three tracks tanned by BUFO and the crew
After returning to the fray in 2023 with the killer steel drum excursion of ‘Souvenir’ with Mt. Sims, Olof Dreijer reprises the sort of uniquely expressive melodic leads and swinging function to his beloved Oni Ayhun records of 2008-2010 on the ‘Rosa Rugosa’ EP.
While betraying the electro-tranced vestiges of those Oni zingers, Dreijer’s work feels more fluid and free here, carrying over some of his work on sibling, Karin Dreijer’s Fever Ray records, and colourful, polyrhythmic inspiration from their producer, Nídia, into loosey goosey club cuts that, after catching his killer set for Kiss Me Again at The White Hotel, we can confirm work a treat on the ‘floor.
The title tune feels like lysergic UKF, all scuffed swing and stereo-dubbed, weirdly mewling synth leads that we’re practically singing along to. The Afro-Latin inspiration bubbles up sexier in the wood-played percussion and percolated synth voices to ‘Camelia’, coming off like Altered Natives jamming with 0PN, and he really gets inside that chromatically curdled tone on the final flourish of ‘Cassia’, juxtaposed with with scudding high register motifs and syncopated, hand-played drums and gelatinous bass.
Straight up brilliant.