Takkak Takkak
Takkak Takkak
Boomkat Product Review:
Up-to-the-minute rave inventions by Shigeru Ishihara (Scotch Rolex) & Mo’ong Santoso Pribadi (half of Indonesia’s Raja Kirik) for Kampala’s undisputed heavyweights Nyege Nyege Tapes.
On ‘Takkak Takkak’ one of Nyege Nyege Tapes’ most regular characters, Japanese artist Shigeru Ishihara aka Scotch Rolex, brings his border-oblivious musical visa to Pribadi’s upending of gamelan tradition and command of its complex meter in a hallucinatory bloodletting of energies. For nigh on 20 years Ishigara, under myriad pseudonyms, has followed his nose from breakcore and chiptune paradigms to its logical, energetic and aesthetic branches, most recently alongside Shackleton, Kiki Hitomi and Gooooose. He now finds an ideal spar for his mutable, restive thrust in Mo’ong Santoso Pribadi, who matches and ratchets his partner to fascinating degrees across a ritualistic barnstormer.
The advanced rhythmelodic conventions of Indonesian gamelan spur the duo to ravishing bouts of devilish polymeter and noise on nine counts. Underpinning percussive swarms with dancehall-rugged bombast, and given to an unruly folk discord, the results fling bodies from the hot coal-stepper ‘Garang’, with its screeching strings, to forests of overgrown metallic structures seemingly played by a stampeding herd of pachyderms and horn-wielding battalions of ancestral spirits in ‘Takkatakka’.
They sail farther south to invoke Antipodean didgeridoo in the rousing clatter of ‘Raung’, and anthropomorphic ode ‘Salamander’ escalates along spiralling trance arps, whilst ‘Raksasa’ vivdly reminds us of Pribadi’s work with Yennu Ariendra in Raja Kirik, and anyone following the Kongo Tekno mutations of Authentically Plastic or Nkisi will get theirs in the thunder of ‘Amok.
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Boomkat Product Review:
Up-to-the-minute rave inventions by Shigeru Ishihara (Scotch Rolex) & Mo’ong Santoso Pribadi (half of Indonesia’s Raja Kirik) for Kampala’s undisputed heavyweights Nyege Nyege Tapes.
On ‘Takkak Takkak’ one of Nyege Nyege Tapes’ most regular characters, Japanese artist Shigeru Ishihara aka Scotch Rolex, brings his border-oblivious musical visa to Pribadi’s upending of gamelan tradition and command of its complex meter in a hallucinatory bloodletting of energies. For nigh on 20 years Ishigara, under myriad pseudonyms, has followed his nose from breakcore and chiptune paradigms to its logical, energetic and aesthetic branches, most recently alongside Shackleton, Kiki Hitomi and Gooooose. He now finds an ideal spar for his mutable, restive thrust in Mo’ong Santoso Pribadi, who matches and ratchets his partner to fascinating degrees across a ritualistic barnstormer.
The advanced rhythmelodic conventions of Indonesian gamelan spur the duo to ravishing bouts of devilish polymeter and noise on nine counts. Underpinning percussive swarms with dancehall-rugged bombast, and given to an unruly folk discord, the results fling bodies from the hot coal-stepper ‘Garang’, with its screeching strings, to forests of overgrown metallic structures seemingly played by a stampeding herd of pachyderms and horn-wielding battalions of ancestral spirits in ‘Takkatakka’.
They sail farther south to invoke Antipodean didgeridoo in the rousing clatter of ‘Raung’, and anthropomorphic ode ‘Salamander’ escalates along spiralling trance arps, whilst ‘Raksasa’ vivdly reminds us of Pribadi’s work with Yennu Ariendra in Raja Kirik, and anyone following the Kongo Tekno mutations of Authentically Plastic or Nkisi will get theirs in the thunder of ‘Amok.
Boomkat Product Review:
Up-to-the-minute rave inventions by Shigeru Ishihara (Scotch Rolex) & Mo’ong Santoso Pribadi (half of Indonesia’s Raja Kirik) for Kampala’s undisputed heavyweights Nyege Nyege Tapes.
On ‘Takkak Takkak’ one of Nyege Nyege Tapes’ most regular characters, Japanese artist Shigeru Ishihara aka Scotch Rolex, brings his border-oblivious musical visa to Pribadi’s upending of gamelan tradition and command of its complex meter in a hallucinatory bloodletting of energies. For nigh on 20 years Ishigara, under myriad pseudonyms, has followed his nose from breakcore and chiptune paradigms to its logical, energetic and aesthetic branches, most recently alongside Shackleton, Kiki Hitomi and Gooooose. He now finds an ideal spar for his mutable, restive thrust in Mo’ong Santoso Pribadi, who matches and ratchets his partner to fascinating degrees across a ritualistic barnstormer.
The advanced rhythmelodic conventions of Indonesian gamelan spur the duo to ravishing bouts of devilish polymeter and noise on nine counts. Underpinning percussive swarms with dancehall-rugged bombast, and given to an unruly folk discord, the results fling bodies from the hot coal-stepper ‘Garang’, with its screeching strings, to forests of overgrown metallic structures seemingly played by a stampeding herd of pachyderms and horn-wielding battalions of ancestral spirits in ‘Takkatakka’.
They sail farther south to invoke Antipodean didgeridoo in the rousing clatter of ‘Raung’, and anthropomorphic ode ‘Salamander’ escalates along spiralling trance arps, whilst ‘Raksasa’ vivdly reminds us of Pribadi’s work with Yennu Ariendra in Raja Kirik, and anyone following the Kongo Tekno mutations of Authentically Plastic or Nkisi will get theirs in the thunder of ‘Amok.
Boomkat Product Review:
Up-to-the-minute rave inventions by Shigeru Ishihara (Scotch Rolex) & Mo’ong Santoso Pribadi (half of Indonesia’s Raja Kirik) for Kampala’s undisputed heavyweights Nyege Nyege Tapes.
On ‘Takkak Takkak’ one of Nyege Nyege Tapes’ most regular characters, Japanese artist Shigeru Ishihara aka Scotch Rolex, brings his border-oblivious musical visa to Pribadi’s upending of gamelan tradition and command of its complex meter in a hallucinatory bloodletting of energies. For nigh on 20 years Ishigara, under myriad pseudonyms, has followed his nose from breakcore and chiptune paradigms to its logical, energetic and aesthetic branches, most recently alongside Shackleton, Kiki Hitomi and Gooooose. He now finds an ideal spar for his mutable, restive thrust in Mo’ong Santoso Pribadi, who matches and ratchets his partner to fascinating degrees across a ritualistic barnstormer.
The advanced rhythmelodic conventions of Indonesian gamelan spur the duo to ravishing bouts of devilish polymeter and noise on nine counts. Underpinning percussive swarms with dancehall-rugged bombast, and given to an unruly folk discord, the results fling bodies from the hot coal-stepper ‘Garang’, with its screeching strings, to forests of overgrown metallic structures seemingly played by a stampeding herd of pachyderms and horn-wielding battalions of ancestral spirits in ‘Takkatakka’.
They sail farther south to invoke Antipodean didgeridoo in the rousing clatter of ‘Raung’, and anthropomorphic ode ‘Salamander’ escalates along spiralling trance arps, whilst ‘Raksasa’ vivdly reminds us of Pribadi’s work with Yennu Ariendra in Raja Kirik, and anyone following the Kongo Tekno mutations of Authentically Plastic or Nkisi will get theirs in the thunder of ‘Amok.
Edition of 200 copies, comes with a download of the album dropped to your account.
Out of Stock
Boomkat Product Review:
Up-to-the-minute rave inventions by Shigeru Ishihara (Scotch Rolex) & Mo’ong Santoso Pribadi (half of Indonesia’s Raja Kirik) for Kampala’s undisputed heavyweights Nyege Nyege Tapes.
On ‘Takkak Takkak’ one of Nyege Nyege Tapes’ most regular characters, Japanese artist Shigeru Ishihara aka Scotch Rolex, brings his border-oblivious musical visa to Pribadi’s upending of gamelan tradition and command of its complex meter in a hallucinatory bloodletting of energies. For nigh on 20 years Ishigara, under myriad pseudonyms, has followed his nose from breakcore and chiptune paradigms to its logical, energetic and aesthetic branches, most recently alongside Shackleton, Kiki Hitomi and Gooooose. He now finds an ideal spar for his mutable, restive thrust in Mo’ong Santoso Pribadi, who matches and ratchets his partner to fascinating degrees across a ritualistic barnstormer.
The advanced rhythmelodic conventions of Indonesian gamelan spur the duo to ravishing bouts of devilish polymeter and noise on nine counts. Underpinning percussive swarms with dancehall-rugged bombast, and given to an unruly folk discord, the results fling bodies from the hot coal-stepper ‘Garang’, with its screeching strings, to forests of overgrown metallic structures seemingly played by a stampeding herd of pachyderms and horn-wielding battalions of ancestral spirits in ‘Takkatakka’.
They sail farther south to invoke Antipodean didgeridoo in the rousing clatter of ‘Raung’, and anthropomorphic ode ‘Salamander’ escalates along spiralling trance arps, whilst ‘Raksasa’ vivdly reminds us of Pribadi’s work with Yennu Ariendra in Raja Kirik, and anyone following the Kongo Tekno mutations of Authentically Plastic or Nkisi will get theirs in the thunder of ‘Amok.
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