This is just deadly: Durban’s Dominowe drops a debut solo album of stark bangers after opening duties on both Gqom Oh!: The Sound of Durban Volume 1, and their Wozamixtape group showing. Top to toe this feels like some of the most vital dance music on the planet right now.
Working with the barest essentials - cold ass drums, minor key strings, and sometimes vocal stabs - on every track he rides the groove to the bone, making so much other modern house and techno sound unnecessarily bourgeois and a little silly by comparison.
There’s no fist-pump metronome shit here - everything is synched to feet, hips and shoulders like it matters; from the percolated drums and dread pressure of Newlines Mgido to the sort of darkness you’d imagine Marcus Nasty to play in Umthakati, and the hypnotic Bhenga Nezinja, thru to the streaking electro-trance lines that invade and supremely twyst out in Club Killer, or the way that Instrumental sounds like a more stylish vision of the oblique syncopation in Jesse Osborne Panther’s session for Raster Noton.
This is something else. Unmissable for all dancer, DJs!
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This is just deadly: Durban’s Dominowe drops a debut solo album of stark bangers after opening duties on both Gqom Oh!: The Sound of Durban Volume 1, and their Wozamixtape group showing. Top to toe this feels like some of the most vital dance music on the planet right now.
Working with the barest essentials - cold ass drums, minor key strings, and sometimes vocal stabs - on every track he rides the groove to the bone, making so much other modern house and techno sound unnecessarily bourgeois and a little silly by comparison.
There’s no fist-pump metronome shit here - everything is synched to feet, hips and shoulders like it matters; from the percolated drums and dread pressure of Newlines Mgido to the sort of darkness you’d imagine Marcus Nasty to play in Umthakati, and the hypnotic Bhenga Nezinja, thru to the streaking electro-trance lines that invade and supremely twyst out in Club Killer, or the way that Instrumental sounds like a more stylish vision of the oblique syncopation in Jesse Osborne Panther’s session for Raster Noton.
This is something else. Unmissable for all dancer, DJs!
This is just deadly: Durban’s Dominowe drops a debut solo album of stark bangers after opening duties on both Gqom Oh!: The Sound of Durban Volume 1, and their Wozamixtape group showing. Top to toe this feels like some of the most vital dance music on the planet right now.
Working with the barest essentials - cold ass drums, minor key strings, and sometimes vocal stabs - on every track he rides the groove to the bone, making so much other modern house and techno sound unnecessarily bourgeois and a little silly by comparison.
There’s no fist-pump metronome shit here - everything is synched to feet, hips and shoulders like it matters; from the percolated drums and dread pressure of Newlines Mgido to the sort of darkness you’d imagine Marcus Nasty to play in Umthakati, and the hypnotic Bhenga Nezinja, thru to the streaking electro-trance lines that invade and supremely twyst out in Club Killer, or the way that Instrumental sounds like a more stylish vision of the oblique syncopation in Jesse Osborne Panther’s session for Raster Noton.
This is something else. Unmissable for all dancer, DJs!
This is just deadly: Durban’s Dominowe drops a debut solo album of stark bangers after opening duties on both Gqom Oh!: The Sound of Durban Volume 1, and their Wozamixtape group showing. Top to toe this feels like some of the most vital dance music on the planet right now.
Working with the barest essentials - cold ass drums, minor key strings, and sometimes vocal stabs - on every track he rides the groove to the bone, making so much other modern house and techno sound unnecessarily bourgeois and a little silly by comparison.
There’s no fist-pump metronome shit here - everything is synched to feet, hips and shoulders like it matters; from the percolated drums and dread pressure of Newlines Mgido to the sort of darkness you’d imagine Marcus Nasty to play in Umthakati, and the hypnotic Bhenga Nezinja, thru to the streaking electro-trance lines that invade and supremely twyst out in Club Killer, or the way that Instrumental sounds like a more stylish vision of the oblique syncopation in Jesse Osborne Panther’s session for Raster Noton.
This is something else. Unmissable for all dancer, DJs!
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This is just deadly: Durban’s Dominowe drops a debut solo album of stark bangers after opening duties on both Gqom Oh!: The Sound of Durban Volume 1, and their Wozamixtape group showing. Top to toe this feels like some of the most vital dance music on the planet right now.
Working with the barest essentials - cold ass drums, minor key strings, and sometimes vocal stabs - on every track he rides the groove to the bone, making so much other modern house and techno sound unnecessarily bourgeois and a little silly by comparison.
There’s no fist-pump metronome shit here - everything is synched to feet, hips and shoulders like it matters; from the percolated drums and dread pressure of Newlines Mgido to the sort of darkness you’d imagine Marcus Nasty to play in Umthakati, and the hypnotic Bhenga Nezinja, thru to the streaking electro-trance lines that invade and supremely twyst out in Club Killer, or the way that Instrumental sounds like a more stylish vision of the oblique syncopation in Jesse Osborne Panther’s session for Raster Noton.
This is something else. Unmissable for all dancer, DJs!