If there is one common theme, a common thread, that ties all of the music of Afefe Iku together, it is probably the transcendent nature that permeates in all of his compositions.
His music has always attempted to reach some sort of outer realm that we can’t see or touch but that we can definitely feel. From the physicality of his debut album ‘Artifacts Of Pottery Vessels’ (2008) to the more pensive and introspective energies of ‘Order of Direction’ (2014), Iku’s otherworldly creations have always attempted to be more in tune with the infinite. In ‘or.bit’ however, Afefe seems to come back to earth. Musically, this album comes full circle from his previous works.
‘Computer Play’ starts out the proceedings, almost as a direct continuation of ‘Order Of Direction’. The rhythmically jittery 8-bit sounding keys being surrounded by the sound of birds and nature serves as a sonic copy of our current state of affairs. We start our day with our digital toys, and while we acknowledge our natural surroundings, we don’t engage.
‘Nana Baruku’ is a beautiful mid-tempo tribute to the supreme Orisha, the wise ancient mother of the universe and protector of all that is female.
Pushing into the deep, ancestral futuristic space that Afefe Iku is known for ‘MagicWave’ is cosmic elegance for the dancefloor. Sparse in its arrangement, potent in its execution.
‘Interspectral’ continues delving into that deep tech-house that Iku started to explore on his extremely underrated EP, ‘The Blues’ (2012). Another sparse arrangement allowing the rolling modular synth lines to slowly caress your body.
Since being under the tutelage of label owner Osunlade, Iku has kept a very quiet profile. No social media, no YouTube performances, no special Boiler Room sets, and definitely no bs gimmicks. His work continues to be untainted by a scene that has become about everything but the music. The corporate takeover, the hype beasts, the hipsters, the current culture in general has diluted this thing we called house to nothing more than EDM-Light. In what is probably Iku’s most direct rejection of the current music scene, ‘Not In The Mood’ is one of his most sinister and cynical productions. With Osunlade keeping things 100 on the spoken word, Iku is not alone in this feeling. We’re definitely not in the mood.
Afefe Iku 'or.bit'
1. Afefe Iku ‘Computer Play’
2. Afefe Iku ‘Nana Baruku’
3. Afefe Iku ‘Vernacular’
4. Afefe Iku ‘MagicWave’
5. Afefe Iku featuring Osunlade ‘Not In The Mood’
6. Afefe Iku featuring Dario Rosa ‘Interspectral’
7. Afefe Iku ‘A Night In Paris’
8. Afefe Iku featuring Centaur Jackson ‘Quiet Time’
Written & Produced by Afefe Iku
Track 5 Vocals by Osunlade
Track 6 Additional Instruments by Dario Rosa
Track 8 Percussion & Synths by Centaur Jackson
Recorded & Mixed @ The I’lle, OuterSpace
Mastered by Martin Iveson for ARCO Labs
Executive Producer: Osunlade
Published by Yoruba Peoples Music (ASCAP)/Sony ATV Music
P&C 2020 Yoruba Records
His music has always attempted to reach some sort of outer realm that we can’t see or touch but that we can definitely feel. From the physicality of his debut album ‘Artifacts Of Pottery Vessels’ (2008) to the more pensive and introspective energies of ‘Order of Direction’ (2014), Iku’s otherworldly creations have always attempted to be more in tune with the infinite. In ‘or.bit’ however, Afefe seems to come back to earth. Musically, this album comes full circle from his previous works.
‘Computer Play’ starts out the proceedings, almost as a direct continuation of ‘Order Of Direction’. The rhythmically jittery 8-bit sounding keys being surrounded by the sound of birds and nature serves as a sonic copy of our current state of affairs. We start our day with our digital toys, and while we acknowledge our natural surroundings, we don’t engage.
‘Nana Baruku’ is a beautiful mid-tempo tribute to the supreme Orisha, the wise ancient mother of the universe and protector of all that is female.
Pushing into the deep, ancestral futuristic space that Afefe Iku is known for ‘MagicWave’ is cosmic elegance for the dancefloor. Sparse in its arrangement, potent in its execution.
‘Interspectral’ continues delving into that deep tech-house that Iku started to explore on his extremely underrated EP, ‘The Blues’ (2012). Another sparse arrangement allowing the rolling modular synth lines to slowly caress your body.
Since being under the tutelage of label owner Osunlade, Iku has kept a very quiet profile. No social media, no YouTube performances, no special Boiler Room sets, and definitely no bs gimmicks. His work continues to be untainted by a scene that has become about everything but the music. The corporate takeover, the hype beasts, the hipsters, the current culture in general has diluted this thing we called house to nothing more than EDM-Light. In what is probably Iku’s most direct rejection of the current music scene, ‘Not In The Mood’ is one of his most sinister and cynical productions. With Osunlade keeping things 100 on the spoken word, Iku is not alone in this feeling. We’re definitely not in the mood.
Afefe Iku 'or.bit'
1. Afefe Iku ‘Computer Play’
2. Afefe Iku ‘Nana Baruku’
3. Afefe Iku ‘Vernacular’
4. Afefe Iku ‘MagicWave’
5. Afefe Iku featuring Osunlade ‘Not In The Mood’
6. Afefe Iku featuring Dario Rosa ‘Interspectral’
7. Afefe Iku ‘A Night In Paris’
8. Afefe Iku featuring Centaur Jackson ‘Quiet Time’
Written & Produced by Afefe Iku
Track 5 Vocals by Osunlade
Track 6 Additional Instruments by Dario Rosa
Track 8 Percussion & Synths by Centaur Jackson
Recorded & Mixed @ The I’lle, OuterSpace
Mastered by Martin Iveson for ARCO Labs
Executive Producer: Osunlade
Published by Yoruba Peoples Music (ASCAP)/Sony ATV Music
P&C 2020 Yoruba Records
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