V/A - Kikommando
Label: PAN / Hakuna Kulala 
Cat.No. PAN 124 / HK029 
Format: DL / Book
Release Date: 6 August 2021
Purchase: pan.lnk.to/Kikommando
Video: https://bit.ly/3i2EgSg

A collective effort from a vital scene in Kampala, KIKOMMANDO takes its name from Ugandan street food of flat bread and beans. As a ‘food of soldiers’ offering maximum energy for minimum funds, the eponymous mixtape, video series and book project is an equally nourishing and ambitious proposition. It all began in the East African summer of 2018, during a two-month residency at the Nyege Nyege label and collective’s villa, in collaboration with their sublabel Hakuna Kulala. Producer and PAN artist Simone Trabucchi (aka STILL) opened the door to his temporary studio in the city and a crucial cross-cultural collaboration was born.

“The intention was to record as much as possible,” Trabucchi says about KIKOMMANDO’s musical showcase of eight Kampala-based artists, coming from the spectrum of musical influences, crossing trap, drill, cut ups, kuduro, electro, smooth jams—the list goes on. In creating a sonic space to support the expression of its featured singers, poets and emcees, the mixtape ties countless styles and flows into a single snapshot of a particular part of the Kampala music scene, at a particular point in time. The invective of rapper and street legend Blaq Bandana’s “Nkwaata” is laid over a spare and brooding ambient. Kampala Unit trumpet player and first-time singer, Florence, rolls a thick melodic texture through the organic clicks, knocks and atmospherics of “Bae Tasanze”. Jahcity’s unique lyricism combines a personal take on traditional music and soulful-reggae with a jerky, wobbly collection of drops and donks.

Meanwhile, Ecko Bazz applies his grimey vocals and rhythmic, introspective words to lead single ‘Ntabala (Rolex Riddim) at a particularly pertinent moment of self-reflection. “I was trying to listen to the voice inside myself and wanted to achieve a higher level of understanding of things, life,” he says about the themes that he felt inspired to explore with Trabucchi at the recording desk. The accompanying video, shot on a rooftop in the Kampala neighborhood of Ggaba, is one of a series of slick and high-definition films complementing each one of the KIKOMMANDO tracks. These also include contributions from Ugandan emcee and key Hakuna Kulala member Biga Yut, don dada of the GabaGaza gang Swordman Kitala (with Omutaba on percussion) and South Sudanese poet and singer Winnie Lado.

Also accompanying a ‘visual mixtape’ of moving images for each song on KIKOMMANDO is a recording diary of sorts, where Trabucchi compiles a vibrant collection of pictures, colours and textures reflecting the its heterogeneous sonic palette into a book. Together this multifaceted, interdisciplinary project showcases, what Lamin Fofana’s liner notes describe as, “amazing originality, complexity”, while “embracing dissonance”.

Trabucchi’s personal take on a kind of ‘digital dancehall’ defined the sound of his ground-breaking rumination on Italy’s colonial history on debut STILL album, I, in 2017. KIKOMMANDO is a different proposition entirely, where he finds new ways to complement the personality and skills of its contributors sprung from a constant stream of visitors arriving at the Nyege Nyege Villa’s makeshift studio. “It was a dialogue,” stresses Trabucchi, who has always preferred collaboration as a means to escape branded and stereotypical identities, while creating something new. “I created the musical platform to make the singers confident, and challenged them at the same time. Working together accelerates ideas and reveals that nothing is your invention alone. That’s why KIKOMMANDO is a mixtape to me, and not an album.”

The mixtape is mastered by Rashad Becker, featuring artwork by NMR. Tracks 1, 2, 3, 4, 7, 9, 11 & 12 mixed by Ville Haimala. Tracks 5, 6 & 8 mixed by Lorenzo Dal Ri.

@hakunakulala

KIKOMMANDO

STILL, ECKO BAZZ - Ntabala (Rolex Riddim) (PAN 124 / HK029)

IM089 - @galtier - Pulchra Es Elementis
Label: Infinite Machine
Release Date: September 24th,2021
Format: 12" / Digital

With 10 years in the ‘biz’ firmly under his belt, Jiah Wells is poised to release the first full-length LP of his Galtier project, Pulchra Es Elementis. Whilst Galtier is arguably one of the originators of the percussive style that would eventually fall under the Hard Drum label, the heightened theatrics of his recent output have seen him channel Blade Runner-styled sonics and move further away from absolute club functionality. Whilst Galtier’s output often seems to soundtrack hypothetical, off-planet words, Pulchra Es Elementis turns the focus inwards: towards Wells’ own emotional constellation, his evolving spirituality and his attempts to tap into planes of existence beyond the tangible. The album’s Latin title translates to ‘Elements are Beautiful’ and encapsulates the artist’s belief that there is grace in all of life’s aspects; pushing past what we deem as good or bad, minuscule or massive.

Pulchra Es Elementis begins with Crystalised Larva, a brooding opener of breathy pad synths and expansive kick drums which reverberate through the mix as if the hits originate from the bottom of a valley. There’s an indistinct sense of tension on this track, in part due to a central melody, which never resolves but only descends lower in pitch. This tension turns to explorative wonder on Wilfull Saviour, where a mirage of musical ideas come in and out of focus. Although the sonic worlds Galtier explores are internal to him, Wilfull Saviour still possesses that sense of a cosmic journey we’ve come to expect from Wells; an ardent fan of dystopian films and literature.

Continuing this emotional odyssey, Bruised, But Not Broken sees the artist push deeper into the psychological undergrowth; its murky tonality juxtaposes crisp, Reggaeton-inspired drum patterns with a heavily compressed one-note synth line that modulates wildly - cutting through the mix like a nagging thought that won’t leave your mind. Next up is U Were, U Are & What U Will Be, one of the more club-ready tracks of the LP, which gets us moving with a snarling bassline and layers upon layers of percussive hits and inflections.

At Pulchra Es Elementis’ mid-point is the LP’s title track, a drumless interlude where blissful, shimmering synths create a patchwork of intensities. Galtier’s approach to songwriting shines through here; ignoring musical pragmatics, he opts to feel his way through his compositions without knowing where they might end up. Following on from that weightless breather, Phantasiai turns up the freneticism with its head-spinning mix of drum programming and a glitched-out synth line that yo-yos up and down octaves. Things get even more furious on the Superficie-featuring Cavernam, a hollow Hard Drum banger inspired by Eskibeat sensibilities and designed to create a sense of self-implosion.

The album’s penultimate track, (U Are) Beautiful, is a tale of two halves: beginning with a moment of serenity as synthesizers swell like an ocean tide before evolving into a marching crescendo of raw energy. Rounding off the album, Shine Forth hurtles through pacey drum work and all manner of strange zaps and klaxons before giving way to a final dose of nebulous ambience.

A musical journey unlike any other ‘club music’ albums, Pulchra Es Elementis is an LP that demands to be consumed in one sitting. Reflecting on his place within the universe and the musical landscape, the album could be viewed as a musical exorcism which sees Galtier working through and shedding huge chunks of his ego that stuck to him out of fear of the unknown. Pulchra Es Elementis begins on an insecure, overwhelming or, even, existential note before rounding off with a related sense of vastness seen with new, more positive eyes. It’s a voyage we hope you will join him on.

Galtier - U Were, U Are & What U Will Be

Taken from SBKT048: 33EMYBW & Gooooose - Trans-Aeon Express

Artwork: Weirdcore
Design: Luke Griffiths
Mastering: Raphael Valensi
Release Date: 25th March 2022

In late 2020, in the midst of lock downs and worldwide uncertainty, London based visual artist Weirdcore presented his first solo exhibition, ‘Orient Flux’, at SKP-S in Beijing, supported by Kennedy London. Developed and produced remotely due to travel restrictions, the exhibition spanned 7 interconnecting audio-visual installations forming a ‘train station from the future’, with music and sound design by 33EMYBW and Gooooose. Initially arriving at the ‘Stellar Lounge’, passengers traversed through the ‘Oblique’ security checks, decompress and adjust their bodies for travel in the ‘Microcosmic’ zone, and pass through the ‘Infinity Gates’ and ‘Dimensional Horizon’ to finally board the ‘Trans-Aeon Express’, an illusory bullet train, to embark on a spatio-temporal journey through time.

‘Trans-Aeon Express’ by 33EMYBW and Gooooose is a continuation of this project, with music and sound design from the exhibition, as well as new tracks inspired by and sampling elements/ambience from the various installations. Released on a limited-edition LP, as well as digitally, the album features new artwork by Weirdcore, updating and evolving the original Orient Flux emblem, with graphic design and layout by Luke Griffiths.

Special thanks to Kennedy London and SKP-S Beijing.

Trans-Aeon Express

33EMYBW - Macrocosmic

Hold onto your seats as pq returns to the spooky shit imprint with a racing new EP, ‘exhaust loop’. Described in the press release as ‘balloony tunes’, it feels like the most appropriate way to talk about these weird and wonky tracks. With the release coming up next week, we have the exclusive stream of the turbo-charged ‘cheek’ leaving you breathless in your tracks. 

Founded by pq, ekhe and spooky-j, spooky shit was launched in 2019 as a platform to house their boisterous, in your face club records whether that’s solo or under their trio moniker Hot In Da Club. 

‘Exhaust Loop’ by pq will be released on the 4th November via spooky shit - pre-order here: https://spookyshit.bandcamp.com/album/exhaust-loop

@sp00kyshit
@pqjonez

Premiere: pq - cheek [spooky shit]

Taken from SBKT052: Rilla - Yukou / 遊光 EP
Mastered by Raphael Valensi
Artwork by Tianyi

Release date: 26th October 2022

‘Yukou / 遊光’ is Kyoto-based DJ and producer Rilla’s second EP for SVBKVLT. 5 tracks, plus remixes from Nahash, Tra Tra Trax’ Bitter Babe and Gorong Gorong’s Kadapat.

Yukou / 遊光 is a combination of the words 遊 (play) and 光 (light). It can be directly translated as ‘wandering light’, but also can mean ‘God of fire’ or ‘Demon fire’. which is often used in Japanese to refer to the fire that accompanies a ghost.

Yukou / 遊光  EP

Rilla - Magatama (Bitter Babe Remix)

mastering by @dj-heroin
artwork by Aljoscha Lanz @lordsoft
fonts by Dinamo Typefaces @abcdinamo @fabianharb

nunu - cycle three (lord soft remix)

Pro Unlimited refers to soundcloud premium accounts from the ancient ages. It's an archeological dig the label used to find its sources. 

This 17 tracks various is a wide spectrum gathering of label affiliates, newcomers and producers we had a crush on in the past months.

It's generous in term of styles and offers uplifting ambient, psychedelic ravy cuts, punk trip hop, post-clubbish belters and a big variety of sound design pleasures.

Available in CD limited edition and digital (link in bio)

Mastering : Lorenzo Targhetta
Design : Christophe Synak & Nina Muro
A&R : @sleekfata

08 - Hedo Hydr8 - BAD (feat. $LIMI)

Tzusing X The Chemical Brothers X Phelimuncasi X Afrika Bambaataa - ABADIR Hey Balkanize Mashup

KL€IN €UROPA

Music Video: https://www.youtube.com/watch?v=9-kJaQ_ng4g

Released September 10, 2019

Cover Art by Software2050 IRL (鳳漢玉)
Mastering by Jeremy Cox
Label: UnderU

Hougong Crash 後宮亂鬥

For the first output of an ongoing exchange between East Africa and East Asia via collectives Nyege Nyege/Hakuna Kulala (Kampala - Uganda) and SVBKVLT (Shanghai – China), we are excited to present ‘Slip A’ and ‘Slip B’, two Eps made during Slikback’s China tour/residency in April 2019.

After making first contact online in late 2018 and subsequently meeting up at CTM festival, Berlin, in January 2019, Nyege Nyege and SVBKVLT founded the beginning of a long term project exploring collaborations between East-Africa and East-Asia based artists.

For the first stage of the project, SVBKVLT invited Kenyan producer Slikback to China for a 3-week tour and residency in April 2019. During these 3 weeks, Slikback performed in 5 cities (Shenzhen, Shanghai, Hangzhou, Nanjing and Beijing), spending time in the studio with artists throughout the tour. The results of these studio sessions are now being presented in the form of two Eps, to be released simultaneously across the two labels Hakuna Kulala and SVBKVLT on September 6th, coinciding with Nyege Nyege Festival 2019, Jinja – Uganda, at which Slikback and 2 of the collaborators, Hyph11e and 33EMYBW, will perform.

‘Slip A’

The first EP, entitled ‘Slip A’ consists of 3 collaborations with SVBKVLT artists 33EMYBW, Osheyack and Yen Tech. Started in China and then finished remotely between Nairobi and Shanghai, the 3 tracks each find their place right in the middle of the artists styles, each track complimenting but twisting each others sound into something new. ‘Slip A’ will be released via Hakuna Kulala on September 6th 2019. 

Artwork by Moroto Hvy Ind

HK012 EP Preview: Slip A Slikback & 33EMYBW - ZENO

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Hougong Crash 後宮亂鬥

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