Niño NiñoClase de 1984 EP
8 / 10
- Artista: Niño,
DONKY PITCH (DKY002, 12” + digital)
It’s hard to categorise what Niño does, because he hasn’t really got “a” style: he’s got many, in a chameleonic sound that mutates with every track. Some constants are maintained though: analogue synths, grenade-like basslines and a certain retro feel. But beyond that, the producer from Valladolid, Spain makes skweee, post- dubstep or neo-boogie, although he doesn’t keep the genres “pure”, so to speak – a bit of Andy Barracuda and a bit of Hudson Mohawke, in general lines. The tag “wonky beats” doesn’t work, either, because nothing on “Clase de 1984” – the natural follow-up to the “3D” 7” released on Galleta Records – is made with the intention of sounding like broken material. Niño always maintains a swing and warmth that will not make the listener dizzy; it’s always melodic, even though some tracks have the soul of a robot.
The title implies nostalgia and an obsession for the age of the shoulder pads, especially for the synthetic black music in the vein of Zapp, but never sounding like Ford & Lopatin or Com Truise. There are very different aromas that make the 12” worthwhile from start to finish: “The Man And The Earth” – a nod, or so we assume, to Spanish naturalist and broadcaster Félix Rodríguez de la Fuente – sounds like something between Yellow Magic Orchestra and Tangerine Dream, just like “Buio Omega”, a synth fantasy peppered with Eprom-style basslines, while on “Clase de 1984” and “Innsmouth” black sounds prevail, from the Slugabed-HudMo spectrum – funk with keyboards played with only one finger. Of Niño’s original tracks, it’s “Bright Lights Big City”, which sounds like Prince inventing cosmic music, that stands apart when it comes to tempos, but the level is maintained: all tracks, the remixes included – Offshore takes “Buio Omega” to a field of spasmodic 808s, almost crunk-like; the digital bonus tracks are signed by Krsur (skweee) and Kelpe