A masterclass in modern folk-techno fusion, pitting Acholi fiddle virtuoso Ocen in the turbulent yet disciplined computer matrices of Rian Treanor with jaw-dropping effect for East African powerhouse, NNT
Uganda meets UK in devilishly ingenious style on ‘Saccades’, the long-in-the-works result of Rian Treanor’s 2018 residency at Nyege Nyege Tapes’ Kampala-based studio incubator. Thousands of miles from his Rotherham home, Rian forged a vital creative kinship with Acholi fiddle player Ocen James, using physical modelling software techniques to create a virtual instrument based around the tunings of the a’dungu, an arched harp, as well as the nah or nag, that allowed Rian to “jam” with Ocen’s rigi rigi, a single string violin.
Under a title that ideally sums up the rapid, rhythmelodic flux of their pointillist percussion, plucks and strokes, ‘Saccades’ throws down some of the most exhilarating outernational treks of recent times. Within a system allowing for Rian to react in real time to Ocen’s expressive chops, they play off each other in utterly beguiling styles that effectively bridge ancient Nilotic tradition with up-to-the-second computer muzik, via free jazz and deep fwd club tekkerz.
Across 9 original zingers, and a surprisingly straight-played Farmers Manual remix, Rian & Ocen harness a scintillating rhythmic energy and ingenuity, diffracting tradition into modernity between the cluttering polyrhythms of ‘Bunga Bule’ and dusk-hailing soundscape of ‘Casascade’, with properly thrilling results in the needlepoint stepper ’Tiyo Ki’, and creakiest free jazz on ‘As It Happens’, plus whorls of iridescent folk-techno futurism in ‘The Dead Centre’ and ‘Agoya’ sequenced beside more haunting use of curdled timbres on ‘Memory Pressure’, or rowdy ceilidh-like party music in ‘Rigi Rigi’.
We were lucky enough to witness an early live iteration of this improvised jam on stage at NNT’s 2018 festival, and can now marvel at the finished product; a radically fluid fusion of what were previously, mutually exclusive styles, projecting the historic, systems-based examples of David Behrman, or indeed Mark Fell’s algorithmic duets with instrumentalists, to the centre of the dancefloor. No hype, it’s simply the best record we’ve heard from Rian or Ocen - a new high water mark of cross-cultural collaboration that makes our head top fizzy as fuck.
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A masterclass in modern folk-techno fusion, pitting Acholi fiddle virtuoso Ocen in the turbulent yet disciplined computer matrices of Rian Treanor with jaw-dropping effect for East African powerhouse, NNT
Uganda meets UK in devilishly ingenious style on ‘Saccades’, the long-in-the-works result of Rian Treanor’s 2018 residency at Nyege Nyege Tapes’ Kampala-based studio incubator. Thousands of miles from his Rotherham home, Rian forged a vital creative kinship with Acholi fiddle player Ocen James, using physical modelling software techniques to create a virtual instrument based around the tunings of the a’dungu, an arched harp, as well as the nah or nag, that allowed Rian to “jam” with Ocen’s rigi rigi, a single string violin.
Under a title that ideally sums up the rapid, rhythmelodic flux of their pointillist percussion, plucks and strokes, ‘Saccades’ throws down some of the most exhilarating outernational treks of recent times. Within a system allowing for Rian to react in real time to Ocen’s expressive chops, they play off each other in utterly beguiling styles that effectively bridge ancient Nilotic tradition with up-to-the-second computer muzik, via free jazz and deep fwd club tekkerz.
Across 9 original zingers, and a surprisingly straight-played Farmers Manual remix, Rian & Ocen harness a scintillating rhythmic energy and ingenuity, diffracting tradition into modernity between the cluttering polyrhythms of ‘Bunga Bule’ and dusk-hailing soundscape of ‘Casascade’, with properly thrilling results in the needlepoint stepper ’Tiyo Ki’, and creakiest free jazz on ‘As It Happens’, plus whorls of iridescent folk-techno futurism in ‘The Dead Centre’ and ‘Agoya’ sequenced beside more haunting use of curdled timbres on ‘Memory Pressure’, or rowdy ceilidh-like party music in ‘Rigi Rigi’.
We were lucky enough to witness an early live iteration of this improvised jam on stage at NNT’s 2018 festival, and can now marvel at the finished product; a radically fluid fusion of what were previously, mutually exclusive styles, projecting the historic, systems-based examples of David Behrman, or indeed Mark Fell’s algorithmic duets with instrumentalists, to the centre of the dancefloor. No hype, it’s simply the best record we’ve heard from Rian or Ocen - a new high water mark of cross-cultural collaboration that makes our head top fizzy as fuck.
A masterclass in modern folk-techno fusion, pitting Acholi fiddle virtuoso Ocen in the turbulent yet disciplined computer matrices of Rian Treanor with jaw-dropping effect for East African powerhouse, NNT
Uganda meets UK in devilishly ingenious style on ‘Saccades’, the long-in-the-works result of Rian Treanor’s 2018 residency at Nyege Nyege Tapes’ Kampala-based studio incubator. Thousands of miles from his Rotherham home, Rian forged a vital creative kinship with Acholi fiddle player Ocen James, using physical modelling software techniques to create a virtual instrument based around the tunings of the a’dungu, an arched harp, as well as the nah or nag, that allowed Rian to “jam” with Ocen’s rigi rigi, a single string violin.
Under a title that ideally sums up the rapid, rhythmelodic flux of their pointillist percussion, plucks and strokes, ‘Saccades’ throws down some of the most exhilarating outernational treks of recent times. Within a system allowing for Rian to react in real time to Ocen’s expressive chops, they play off each other in utterly beguiling styles that effectively bridge ancient Nilotic tradition with up-to-the-second computer muzik, via free jazz and deep fwd club tekkerz.
Across 9 original zingers, and a surprisingly straight-played Farmers Manual remix, Rian & Ocen harness a scintillating rhythmic energy and ingenuity, diffracting tradition into modernity between the cluttering polyrhythms of ‘Bunga Bule’ and dusk-hailing soundscape of ‘Casascade’, with properly thrilling results in the needlepoint stepper ’Tiyo Ki’, and creakiest free jazz on ‘As It Happens’, plus whorls of iridescent folk-techno futurism in ‘The Dead Centre’ and ‘Agoya’ sequenced beside more haunting use of curdled timbres on ‘Memory Pressure’, or rowdy ceilidh-like party music in ‘Rigi Rigi’.
We were lucky enough to witness an early live iteration of this improvised jam on stage at NNT’s 2018 festival, and can now marvel at the finished product; a radically fluid fusion of what were previously, mutually exclusive styles, projecting the historic, systems-based examples of David Behrman, or indeed Mark Fell’s algorithmic duets with instrumentalists, to the centre of the dancefloor. No hype, it’s simply the best record we’ve heard from Rian or Ocen - a new high water mark of cross-cultural collaboration that makes our head top fizzy as fuck.
A masterclass in modern folk-techno fusion, pitting Acholi fiddle virtuoso Ocen in the turbulent yet disciplined computer matrices of Rian Treanor with jaw-dropping effect for East African powerhouse, NNT
Uganda meets UK in devilishly ingenious style on ‘Saccades’, the long-in-the-works result of Rian Treanor’s 2018 residency at Nyege Nyege Tapes’ Kampala-based studio incubator. Thousands of miles from his Rotherham home, Rian forged a vital creative kinship with Acholi fiddle player Ocen James, using physical modelling software techniques to create a virtual instrument based around the tunings of the a’dungu, an arched harp, as well as the nah or nag, that allowed Rian to “jam” with Ocen’s rigi rigi, a single string violin.
Under a title that ideally sums up the rapid, rhythmelodic flux of their pointillist percussion, plucks and strokes, ‘Saccades’ throws down some of the most exhilarating outernational treks of recent times. Within a system allowing for Rian to react in real time to Ocen’s expressive chops, they play off each other in utterly beguiling styles that effectively bridge ancient Nilotic tradition with up-to-the-second computer muzik, via free jazz and deep fwd club tekkerz.
Across 9 original zingers, and a surprisingly straight-played Farmers Manual remix, Rian & Ocen harness a scintillating rhythmic energy and ingenuity, diffracting tradition into modernity between the cluttering polyrhythms of ‘Bunga Bule’ and dusk-hailing soundscape of ‘Casascade’, with properly thrilling results in the needlepoint stepper ’Tiyo Ki’, and creakiest free jazz on ‘As It Happens’, plus whorls of iridescent folk-techno futurism in ‘The Dead Centre’ and ‘Agoya’ sequenced beside more haunting use of curdled timbres on ‘Memory Pressure’, or rowdy ceilidh-like party music in ‘Rigi Rigi’.
We were lucky enough to witness an early live iteration of this improvised jam on stage at NNT’s 2018 festival, and can now marvel at the finished product; a radically fluid fusion of what were previously, mutually exclusive styles, projecting the historic, systems-based examples of David Behrman, or indeed Mark Fell’s algorithmic duets with instrumentalists, to the centre of the dancefloor. No hype, it’s simply the best record we’ve heard from Rian or Ocen - a new high water mark of cross-cultural collaboration that makes our head top fizzy as fuck.
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A masterclass in modern folk-techno fusion, pitting Acholi fiddle virtuoso Ocen in the turbulent yet disciplined computer matrices of Rian Treanor with jaw-dropping effect for East African powerhouse, NNT
Uganda meets UK in devilishly ingenious style on ‘Saccades’, the long-in-the-works result of Rian Treanor’s 2018 residency at Nyege Nyege Tapes’ Kampala-based studio incubator. Thousands of miles from his Rotherham home, Rian forged a vital creative kinship with Acholi fiddle player Ocen James, using physical modelling software techniques to create a virtual instrument based around the tunings of the a’dungu, an arched harp, as well as the nah or nag, that allowed Rian to “jam” with Ocen’s rigi rigi, a single string violin.
Under a title that ideally sums up the rapid, rhythmelodic flux of their pointillist percussion, plucks and strokes, ‘Saccades’ throws down some of the most exhilarating outernational treks of recent times. Within a system allowing for Rian to react in real time to Ocen’s expressive chops, they play off each other in utterly beguiling styles that effectively bridge ancient Nilotic tradition with up-to-the-second computer muzik, via free jazz and deep fwd club tekkerz.
Across 9 original zingers, and a surprisingly straight-played Farmers Manual remix, Rian & Ocen harness a scintillating rhythmic energy and ingenuity, diffracting tradition into modernity between the cluttering polyrhythms of ‘Bunga Bule’ and dusk-hailing soundscape of ‘Casascade’, with properly thrilling results in the needlepoint stepper ’Tiyo Ki’, and creakiest free jazz on ‘As It Happens’, plus whorls of iridescent folk-techno futurism in ‘The Dead Centre’ and ‘Agoya’ sequenced beside more haunting use of curdled timbres on ‘Memory Pressure’, or rowdy ceilidh-like party music in ‘Rigi Rigi’.
We were lucky enough to witness an early live iteration of this improvised jam on stage at NNT’s 2018 festival, and can now marvel at the finished product; a radically fluid fusion of what were previously, mutually exclusive styles, projecting the historic, systems-based examples of David Behrman, or indeed Mark Fell’s algorithmic duets with instrumentalists, to the centre of the dancefloor. No hype, it’s simply the best record we’ve heard from Rian or Ocen - a new high water mark of cross-cultural collaboration that makes our head top fizzy as fuck.