Holograms of Oriental Electronic Music, these tracks belong to an aesthetics of 'recreational orientalism', channelling the modalities and austere timbral elegance of oriental classical and folk traditions as they emerge from extended conversations with the producer's device chain. Avoiding the sampling of middle eastern instruments in favor of developing a conceptually specific sound palette, the compositions on TANTRIC DUB EP can be seen as one answer to the question of how aesthetics of traditional musical styles may be transferred through an original electronic vocabulary, and joined with references to dominant electronic dance genres. The resulting hybrid occupies a space distinct from contemporary techno/electro or neo-traditional oriental music; to the producer, the tracks are perhaps closest in spirit to the works of pioneers of analog Oriental Electronic Music such as Darius Dolatshahi or Bryn Jones (Muslimgauze), whose approaches in such 'cultural transfer' are increasingly relevant today, as electronic music continues to be both an agent of and outlet for variegated and complex cultural identities.
Tantric Dub is best described as an improvisational lute melody resynthesized through the formant filter of a vocoder, set against a brooding backdrop and insistent percussive
element. The ensuing groove pushes into the territory shared between techno and ritual devotional music.
The following tracks, conceived as soundtracks to a virtual caravanserai rave, move into a more exuberant register. Pancha Tigris starts with an ornamented semitonal arabesque, giving way to an electro motif which is again taken up in the third track, Pancha Tantra. Together these compositions form stylistic blueprints for current work in the producer's syncretic rhythmic techno project.
released March 20, 2017
All three tracks composed and produced by Kamron Saniee
Tantric Dub and Pancha Tantra mastering by Gordon Minette and KS
Pancha Tigris mastered by Max Lange
Cover image by Kirill Borisov (@1919.today) and KS