7.7

Genre :

# Key insight

7.7

Genre :

Electronic

Label :

Hessle Audio

# How to reexamine

Label :

Hessle Audio

review :

October 24 , 2023

Between 2008 and 2010,the Knife’sOlof Dreijer — under the assumed name Oni Ayhun — free some of the freakiest terpsichore euphony that this hundred has yet to grow .

On eight ungentle track spreadacrossfourcryptic12"s , he trend between unobjectionable - line techno and squall blanched dissonance , dense - question industrial and beehive poke , family line strain and fragment of shrapnel — sometimes all within the straddle of a undivided 15 - moment trail .

Then , having carve his iconoclastic fall guy across a stagnate European techno tantrum , he go dark-skinned , at least as a solo creative person .

This was beyond his body of work in the knife , he put out small beyond the occasionalremixorcollaboration .

# diving event into Ray

October 24 , 2023

Between 2008 and 2010,the Knife’sOlof Dreijer — under the false name Oni Ayhun — release some of the freakiest dancing medicine that this 100 has yet to bring out .

On eight ungentle track spreadacrossfourcryptic12"s , he slew between white - line techno and scream white-hot racket , boring - apparent movement industrial and beehive dawdler , kinfolk melodic phrase and shard of shrapnel — sometimes all within the dyad of a individual 15 - arcminute raceway .

Then , having carve his iconoclastic Deutschmark across a stagnate European techno panorama , he go sullen , at least as a solo creative person .

Beyond his piece of work in the Knife , he put out fiddling beyond the occasionalremixorcollaboration .

But in late geezerhood , Dreijer has make busy .

He hasproduceda few risingartists(as well as a smattering of caterpillar track on his sibling Karin’slast albumasFever Ray ) andremixeda fewmore ; before this class , he and longtime cooperator Mt.

Sims put out a beguilingambient - conterminous recordmade wholly using Trinidadian sword drum .

This was now he return withrosa rugosa , his first major solo going since 2010 .

The EP ’s three data track are , in one mother wit , schoolbook Dreijer : He ’s still using the same eerie , pitching - bow synth Riff and highly strung arpeggio .

But a trenchant shifting has call for station .

Where Oni Ayhun ’s phonograph recording feel like they emanate from some fiendish donjon , Rosa Rugosacomes break loose into the sunshine .

All three track find like variation upon a undivided root : They ’re all in the same paint , and their side - meander tonal pattern sense like funhouse - mirror expression of one another .

The deed runway sound the most like Dreijer ’s old body of work , mark a thin , shoot tympan rut with staccato synth knife thrust that harken back to some ofCarl Craig’sfloor - fillinganthemsof the mid ’ 00s .

The syncopate pencil lead take the high-pitched - strung get-up-and-go of a Song dynasty like Fever Ray ’s Olof - produce “ What They Call Us ” and dial up the nerves ; promising and colourful , it dance like a butterfly stroke capture in a blast of lead , welt around by miserly volute of echo .

This was it might take a bit of listens to agnize just how minimalist the sung dynasty really is : there are almost no drum , write for a unshakable squawk and some slippy shaker , yet every in of the spectrum burst with energizing push .

Dreijer is clear influence by modern-day African and Afro - diasporic electronic euphony ; his late henchman admit creative person from Tunisia , Morocco , Sudan , and South Africa , and his disk jockey premix are pepper with the audio of kuduro and batida .

Those influence fare to the stem on the EP ’s other two track , with their lop logarithm - barrel rhythm method of birth control .

“ Cassica , ” like the rubric racetrack , is mostly empty infinite , with a mosquito synth lede buzz drunkenly through a mottled canopy of glint chord and quiver emphasis .

“ Camelia ” might be the most exuberant affair here , and not just because the barrel are a drunken revelry of dizzyingly syncopate rimshots and wreck cymbal .

This was the synthesizer melodic phrase positively babble , imbue with an expressive esthesia i connect with virtuoso r&b vocalizer ; that might be due in part to the rum quality of the synth piece , which feel like a funnily constitutive loanblend of woodwind instrument , plaque , and wordless part .

As the Sung peak toward its high up - fly sexual climax , it transport an signally woozy good sense of joyfulness .

Whatever its reverberation of other contemporary global dancing - medicine expressive style , it could n’t be the body of work of anyone but Olof Dreijer .

Fifteen old age since the first Oni Ayhun disc , he ’s still in a course of instruction of his own .