Tag Archives: Neana


Over the course of the past twelve months, the trans-continental South/Central American dance scene seemed to grow in both confidence in recognition as producers from Chile to Mexico flexed their various reinterpretations of folks musics and dance forms. Moreso, artists like Lao and Paul Marmota, Tomas Urquieta and Imaabs transgressed the traditional world of house and techno, drafting up wildly creative takes on dance music that subverted the hegemonic, often racially inferred physical and technological spaces in their respective cities of Santiago and Mexico City. We snagged Imaabs to lay out his favorite releases of the year, drawing source material from Chilean, Mexican, American and British producers. Enjoy and excuse the language barrier!

A selection is always a constellation, each track has to be able to open dimensions, generating movement, shouts, expressions, the body into a future, that does not subtract and multiply , but rather becomes intense; several of these tracks are instrumental, very percussive, others have voices that produce some recognition, voice, usually on a track is a face in which we identify.

This selection of the 10 most important tracks for me in 2014 focuses on links that open. For example, Rushmore’s “Bitch Please” has been apex at parties I played in Chile and Mexico; Marmota with “Malianteo” reopens a recognition territory between Chile, the apocalyptic vibes and Latin America ; the masterpiece called “Black Jesus” of Vaskular & Valesushi, two Chilean friends, thrill mixed with a Latin-Dembow dimension with Deep House vibes. Meanwhile, Kid Antoine is very European, but an expert in a post-apocalyptic latin dimension and that reminds me of Marmota´s Nueva EP (out now on NAAFI), resonating in such extreme places as Mexico and Denmark.

With transformations in mind, a song from the last quarter is “How About” of Dinamarca x Zutzut, Kassandra’s soft voice resonates much to the work of Kelela, but achieves a density and quite distinct flavor. Tomás Urquieta, my fellow battles, built one of the most consistent Eps I’ve managed to hear in this last year, beyond thinking about the Club, this EP is out of it, or at its limit; Somebody called it a kind of Post-club. Future Brown, opens a window and a way of doing pop, thinking of the club, and this track, Wanna Party, is but a manifesto of those osmosis. Another track that impressed me was the 2014, is the remix by Cyphr to “Moments XTC” of Zutzut and Lao (Extasis/Her), and the original track had struck me, but when he left the remix… I Said: amazing.

Inevitably you can not do a review of 2014 without mentioning Neana; means most of the old continent as USA, considered him as someone to must be listened to; the consistency is not enough, and successes are needed hits to the expected visibility and consolidation; the remix he makes to SPF666 is required in any dj set. Finally another great Latin American producer going to have to talk this 2015, what impresses me greatly is the expertise that takes into percussions, I think unusual and very unlike anything that has been done regarding club music.


A few months ago, Brenmar gave away the all-original High End Times Vol. 1 mixtape, a collection of collaborations that includes vocal work from Mykki Blanco and Sasha Go Hard as well as co-production from Uniique. Despite consistently excellent production value from Brenmar, the tape has its clear moments and its clear nadirs, in no small part due to unimpressive vocal efforts. Last week, songs from the long-awaited remix package for High End Times began to emerge at various publications, touting reworks by Byrell The Great, DJ Big O, Matic808 and more club specialists. Like most other remix packages he stars on though, Neana takes center stage on The Remixes, taking on the Uniique collaboration “Hey Ladies”, itself the most effusive club track of the tape, and working his magic into the interstices of the anthemic original. Whereas the original holds a good deal of call-and-response value, Neana strips out the majority of the vocals, coalescing the hard-as-nails percussive framework into a singular entity until the wooden beams of the track’s foundation verge on splintering. The rest of the package in more than adequate and offers some wonderful tools, but Neana has once again stolen the show.


Previewed in mixes for the past several months, Neana’s wildly creative “Val Venis Mix” of SPF666‘s “Scorpion Cache” has finally reached daylight. Part mashup, part interpolation, the prodigious London producer wraps King L‘s C-Sick produced “Val Venis” for a percussive ride, drawing its menacing melody out over a vexing kick drum pattern. Discharged of its youthful fury, C-Sick’s beat takes on a playful, 8-bit quality that allows Neana to flex his four-on-the-floor grime-meets-ballroom into a deadly club projectile. It’s the type of track that transcends its various influences and it embodies the reason why so many producers are attempting to replicate Neana’s production stylings. Its quality also represents why so few of those producers have managed to come anywhere near his prowess. Download the remix below and look out for the Scorpion Cache EP, out next month on Club Chemtrail.


For most, piri piri is a chili sauce with origins in Lusophone Africa, elevated into worldwide fame by the mouthwatering Nando’s franchise. For devotees of London’s club scene, Piri Piri has taken on a whole new meaning, primarily the nom de plume of a rising multi-national duo. Hailing respectively from Manchester and Spain, Piri Piri released their debut EP, Manifesto, on Sounds of Sumo back in 2012 and have steadily been gaining experience, production acumen and a fair amount of hype in the interim. Today marks the release of the Patterns EP on Silverback Recordings (Nguzunguzu, Grown Folk, Damu), the duo’s most high profile and most complete release to date. With remixes from Visionist, Neana, Jean Nipon and Matthias Zimmerman, Patterns touches on an innumerable amount of contemporary club criteria, infusing an adventurous experimental spirit into the standard club music platform.

Piri Piri’s ‘Patterns’ EP is out now on Silverback Recordings.

With a remix package this heavy, it’s always a possibility that an act’s original work can get bogged down by surrounding expectations. Not only do Piri Piri escape this fate, their original work is easily the highlight of the tape, allowing the remixers more room to flex their individual interpretations. “Peak” represents this in the fullest, a six minute four on the floor journey that manages, raises and alleviates tension with ease. It’s the sweaty, metallic form of dance music that’s a pre-requisite for warehouse parties replete with dank fog, squadrons of faceless patrons and a bevy of illicit substances. Set off by a rusty kick drum and a muffled male voice, “Peak” is an exercise in heartbeat accelerating music that combines ‘nuum history with a contemporary sound palette. While “Peak” hits all of the high notes as far as rawkus energy is concerned, “Quest” is near-comedown music, a beatific array of melodic synth tones fits for a Flying Lotus song. It’s only “near”-comedown music, because by the two minute mark, it explodes into a rattling, squeaking burner of a track. Meanwhile, “Ice Cream” sounds like the sui generis combination of Wu-Tang Clan and Model 500, an effortlessly aggressive track with a distinctly vintage flavor. It’s a drum machine workout hidden behind a call-and-response facade. It’s also near impossible to listen to without sub-consciously moving.

As noted above, the remix package is a massive entity in its own right and features some of our very favorite producers in its own right. That being said, Patterns is the Piri Piri show. It’s rare that such fully composed club music is produced by a relatively fresh act. It’s even rarer that said club music functions on a level above dance floor functionality. Patterns is the rare release that both mirrors a night out in its flow and performance and offers a transcendentally enjoyable experience beyond the dancefloor.

To celebrate the release of Patterns, Piri Piri graced us with an exclusive stream of the following promo mix. Full of jarring hip hop tunes from likes of Denzel Curry and Lil Ugly Mane, the mix helps explain some of the aesthetic decisions behind Patterns, but most of all, it’s just an outrageously fun listen. Pop it into your cassette player onto the way to the rave or play it for the friends you want to impress at the function. While Piri Piri’s first EP was titled ManifestoPatterns and the following mix might just eclipse it as far as definitive statements go.



If you were unfamiliar with the rising talent in the wot you call it world of instrumental grime, stripped-down techno and general sub-low bidness, it might come as a massive surprise to see so much collaboration and conversation occurring on a daily level. Twitter has the immediate capacity to connect artists, but it takes artist imperative to connect in the end. At times, it’s difficult to tell where the Gang Fatale boys, Her Records crew, Goon Club Allstars and joint Fade To Mind/Night Slugs powerhouse begin and end. The sheer amount of track sharing, bootlegging and wide-spread positive spirit would be encouraging in any sphere, but these guys and gals are at the very forefront of British dance music. That’s why it came as no surprise to see Neana listed as a remixer of Sudanim’s latest project, presciently titled The Link. Stream Neana’s remix below and check out the full EP here.


The holidays are the one time of year when I appreciate the fact that my Facebook and Twitter feeds are flooded with promotional posts. That’s because the holidays are the time for giving, specifically the time when producers dump all of their bootlegs/edits/unfinished tracks on the unsuspecting masses. The quality is generally a mixed bag, but we’ve received a deluge of heat in the past few days that deserves its fair due. On the raps front, Lil B, King Louie, Fredo SantanaLil Silk and Fabolous have let loose new tapes over the past week or so. All deserve your attention, although save Lil B’s 05 Fuck Em and maybe spend a little more time with Silk and Louie.

The good folks at Mixpak were also kind enough to hand out a bundle of free tracks from their roster and beyond. The Holiday Bundle evokes the grime, dancehall and soca-based riddim culture that Dre Skull has so carefully curated over the past few years. Sudanim, Murlo and Koyote all bring their best to the table.

You’ve likely seen these already as well, but big hitters Flying Lotus, Zed Bias, Ryan Hemsworth Clams Casino all gave bundles of tracks away in the past few days. Casino’s third Instrumental Mixtape is probably the most cohesive attempt of the bunch, but FlyLo’s assorted beats, remixes and bootlegs offer some intriguing insight into the producer and his cohort’s recording processes. The Hemsworth collection is largely edits he’s designed for live play and the “Post-Rock Tears” version of Future’s “Honest” is a real beauty. Two step legend Zed Bias handed over 200 MB of live recording, remixes and production work under both his ZB sobriquet and his Maddslinky nom de plume.

Hit the jump for a jambalaya of free tracks…

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As we witnessed in his recent Astral Plane mix, Neana and his Gang Fatale collective are more than willing to take club sounds to their starkest, deepest extent. “Ha Braque Got Jawbroken” sees Neana and fellow Gang Fatale don Ra’s Al (as NeanRa) taking ballroom into the gutter, churning the “ha” sample over a dense melange of dense arrangement of percolating percussion. The duo has also thrown up “42 Dunjunz” for free download, another must have for any trax enthusiast. Stream the former below and hit the jump to stream/download the latter.

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neana art FINALDrum tracks are simultaneously primitive and futuristic, drawing on both history and an admirable refusal to kowtow to the past. Modern drum tracks often utilize breaks that are decades old, but sound like nothing ever heard before. Over the past few years, labels like Night Slugs, Hessle Audio and Keysound Recordings have been delving into the realm of drum tracks, their respective artists massaging the ‘nuum sounds of grime, jungle and techno into a whole new beast. Peverelist, Pearson Sound, Objekt and more have set the pace for this fresh, percussive sound, but lately a new crop of producers, Akito, Visionist and Helix to name a few, have taken the torch and ran with it. Today we’re focusing on London-based Neana who’s garnered quite a bit of attention in recent months as a constant fixture in Bok Bok’s Rinse.FM mixes.

Drawing on a wide range of influences including noise act the Fuck Buttons and jazz drummer Roy Brooks, Neana has honed his ultra-percussive sound through a series of bootlegs, taking on the likes of Kingdom, Dizzee Rascal and Kanye West. As for Neana’s guest mix, it’s a 45+ minute exhibition through kicks, snares and breakbeat science, broken up with Jersey club and ballroom. Neana draws from American and British producers equally, amalgamating the wildly popular sounds of London with the still relatively insular sounds of Chicago, Philadelphia, Baltimore and New Jersey. Check out and download the mix below and hit the jump for the track list and Neana’s favorite drum tracks. We bet they’ll surprise you in the best way possible.

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