Mexico City's Nicolas Guerrero dips under the N.A.A.F.I umbrella to unleash his compact, cybernetic take on hi-gloss, bass-heavy club sounds. RIYL Batu, Omaar, INVT.
No newcomer, Nico has been releasing sickly club deconstructions since 2013, appearing on Timedance, Mother's Finest and Midnight Shift before joining the N.A.A.F.I crew for "Si". Within four tracks, he's able to offer a tidy introduction to his sonic landscape, beginning with the aptly titled "THE SOUND". Nestling comfortably between pressurized dembow and soundsystem-ready halfstep D&B - with the deejay vocal to prove it - it's the EP's most reloadable cut, sparingly edited and familiar without being over egged.
Elsewhere 'Radio' moves towards peak time, losing Berghain-ready psychedelic blips in a stuttering cloud of shifting percussion that's more psychoacoustic than you'd expect, before 'Trampa' and 'Juno' lead us carefully into electro territory, with the latter harking back to Miami's on-the-cusp-of-revival bass scene.
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Mexico City's Nicolas Guerrero dips under the N.A.A.F.I umbrella to unleash his compact, cybernetic take on hi-gloss, bass-heavy club sounds. RIYL Batu, Omaar, INVT.
No newcomer, Nico has been releasing sickly club deconstructions since 2013, appearing on Timedance, Mother's Finest and Midnight Shift before joining the N.A.A.F.I crew for "Si". Within four tracks, he's able to offer a tidy introduction to his sonic landscape, beginning with the aptly titled "THE SOUND". Nestling comfortably between pressurized dembow and soundsystem-ready halfstep D&B - with the deejay vocal to prove it - it's the EP's most reloadable cut, sparingly edited and familiar without being over egged.
Elsewhere 'Radio' moves towards peak time, losing Berghain-ready psychedelic blips in a stuttering cloud of shifting percussion that's more psychoacoustic than you'd expect, before 'Trampa' and 'Juno' lead us carefully into electro territory, with the latter harking back to Miami's on-the-cusp-of-revival bass scene.
Mexico City's Nicolas Guerrero dips under the N.A.A.F.I umbrella to unleash his compact, cybernetic take on hi-gloss, bass-heavy club sounds. RIYL Batu, Omaar, INVT.
No newcomer, Nico has been releasing sickly club deconstructions since 2013, appearing on Timedance, Mother's Finest and Midnight Shift before joining the N.A.A.F.I crew for "Si". Within four tracks, he's able to offer a tidy introduction to his sonic landscape, beginning with the aptly titled "THE SOUND". Nestling comfortably between pressurized dembow and soundsystem-ready halfstep D&B - with the deejay vocal to prove it - it's the EP's most reloadable cut, sparingly edited and familiar without being over egged.
Elsewhere 'Radio' moves towards peak time, losing Berghain-ready psychedelic blips in a stuttering cloud of shifting percussion that's more psychoacoustic than you'd expect, before 'Trampa' and 'Juno' lead us carefully into electro territory, with the latter harking back to Miami's on-the-cusp-of-revival bass scene.
Mexico City's Nicolas Guerrero dips under the N.A.A.F.I umbrella to unleash his compact, cybernetic take on hi-gloss, bass-heavy club sounds. RIYL Batu, Omaar, INVT.
No newcomer, Nico has been releasing sickly club deconstructions since 2013, appearing on Timedance, Mother's Finest and Midnight Shift before joining the N.A.A.F.I crew for "Si". Within four tracks, he's able to offer a tidy introduction to his sonic landscape, beginning with the aptly titled "THE SOUND". Nestling comfortably between pressurized dembow and soundsystem-ready halfstep D&B - with the deejay vocal to prove it - it's the EP's most reloadable cut, sparingly edited and familiar without being over egged.
Elsewhere 'Radio' moves towards peak time, losing Berghain-ready psychedelic blips in a stuttering cloud of shifting percussion that's more psychoacoustic than you'd expect, before 'Trampa' and 'Juno' lead us carefully into electro territory, with the latter harking back to Miami's on-the-cusp-of-revival bass scene.