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BRE.AK

Polarize marks Shai FM’s solo debut on Elicit with four cuts of rhythm-driven precision. You can pre-order the EP now on Bandcamp. Full release drops on September 30th.

Artwork by Deborah Mora

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ELCT07 | Shai FM - Polarize (Previews)

Coco Bryce - Alaniara

Bassweight Nostalgia Vol. 3 continues Debba’s self-released series exploring the emotional weight of UK club music. Following the stripped, heavy focus of Volume 2, this instalment contrasts light and dark — two sides of the same late-night moment. The EP balances radiant melody and pressure-heavy low-end, tracing Debba’s evolving sound palette through chrome synths, vocal flickers and dense percussion.

Tracklist:

1. Debba ‘Flirting’

An upbeat, euphoric stepper built on shimmering pads and tightly wound drums. Flirting channels the warm rush of early-morning dancefloors — bright, playful and weighty in equal measure.

2. Debba ‘Blush’

A darker counterpoint to its A-side: Blush leans into moody bass pressure and processed male vocals, unfolding in smoky, half-lit tension. Heavy, minimal and hypnotic, it’s Debba at his most introspective and club-driven.

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Flirting

Ouuu

Adelphi

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Digital & Vinyl: https://djobeka-music.bandcamp.com/album/a-world-no-more
https://soundcloud.com/djobeka

The rhythmic dynamics and emotive attitudes of A World No More captures the density of soundsystem culture in Obeka’s ancestral roots. YUKU presents the Bermudians debut album capturing a Neo-Colonial dystopia, protest and Afro-Futurism hyperextended through decaying sonic structures of a dark past and its grievances which very much exist today.

Growing into adulthood within the walls of British and European Colonial systems meant the disconnection and lostness in a new country hid me from the world at a young age. Unlike London’s vast and culturally engaging migrant communities, the industrial milling town of Stockport introduced a coldness towards people from other countries I experienced in my first year after relocating from Bermuda. I couldn’t understand why. Whether cold words thrown towards me or actions upon other people who look like me, it has shown to be a dooming societal virus with no cure. The most comfort was found through what was familiar - drums and rhythmic spirituality of my homeland. It was a safe-haven, a place to empty the anger and confusion. It’s been 15 years since relocating and as my sound evolved, it seems classism, racism, oppression and civil control of ethnic peoples has become worse - even now more legalised and normalised. Ogun (a powerful Yoruba deity associated with anger, justice and war) acts as the opening sequence of the record and its symbolism. Using distorted bass frequencies and dissected Regga-Dub immersed in live-sampled ghostly voices of the lost ones. This sonic exercising is also applied in Drillaman - a stampede of industrial framework and metallic instruments wielded over moody Dancehall MC’ing, magnifying two parallel worlds in cocooned evolution. The resurrection of Transatlantic African cultures and identity have never been silenced, rather carried elsewhere through trade routes of enslavement, which was pivotal when composing and completing the album upon returning home to the Caribbean for the first time ever. After reconnecting with my heritage my blurred vision of what's wrong in the world became so clear. Guidance in empty plains seek truth throughout the pain - A statement of finding oneself expressed on the poetic closing track A World No More.

On Fawohodie (A West African Adinkra symbol that represents independence, freedom, and emancipation stamped on the album cover) the motive and atmosphere begins to change. Afro-Caribbean idealism which refers to the philosophical concept that emphasizes the interconnectedness of individuals and the importance of community, often contrasting with Western individualism, begins to take shape in a new universe. We can co-exist. The track framework uses machine-led software forming frequencies we have no control over, then manipulated through decomposing soundscapes, scattered hand-drums and human-made weapons of control - exposing the hidden disparity that’s been carried over generations whilst balancing hopeful and musical foundations towards equality and peace. On Pressure and Kuduro! the writing direction attempts to wake people up. Not settling for a composed approach like in past projects, quite the opposite. A call for native sonic awareness, dismantled vocals of protests, eroded percussion using chains, gears and motorised harmonies sculpted in challenging abstract behaviors far outside my comfort zone. A direct abrasiveness and weight I want people to feel, whilst finding hope and solace through enchanting choirs and hypnotic basslines in complete synchrony.

“Purity in sound manifests when you least expect it. The smallest memory or feeling grows from a seed into a sonic language that you, and only you can interpret and release back into the world.”

Get Me

08. Obeka - Ready for the Soundman  [YUKU]

DAWN03

Perilous (Siege)

Full Focus (Charli XCX Focus Edit)

Back with a 2-step number sampling Skepta’s Logan Sama freestyle.

Mastered by ZONNA.

MONEY

contact: fesojosef1999@gmail.com
instagram: https://www.instagram.com/fesoj.1999/

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