El Murki, ‘Breakeadito’

Posted by on October 2, 2017

el murki

Orange Milk Records, 5.5.2017

Don’t call it a footwork album. That’s what Orange Milk Records are keen to stress right from the get-go about El Murki’s Breakeadito tape, while they acknowledge a “distant footwork flavor . . . when the sub bass triplets kick in.” Those influences are definitely there across the tracks that make up Breakeadito, undeniably, though it would be more than a little lazy to lump El Murki — who hails from Argentina — in with the more recognizable spin-offs of the Chicago sound. Fleeting comparisons like that are easy but fraught, glossing over both El Murki’s origins and the variety communicated in Orange Milk’s growing international influence.

According to Orange Milk, El Murki — real name Leandro Ramirez — got his chops in Buenos Aires’ free noise/improvisational community, and that perhaps more than anything emphasizes the truth behind Breakeadito. Flavors and textures collide and bounce off each other, as if Ramirez was having a really good run on some kind of futuristic pinball machine. However familiar you are with the neglected Argentinian or South Americn experimental scenes though, listening to Breakeadito should at least ensure that you will want to know and hear more.

If anything, Breakeadito is more frenetic than any footwork or juke music I’ve ever heard. Manipulated vocal samples, bent flute sounds and otherworldly, cosmic zaps abound. With “Lumpen Situacionista” for example,  both the quirky electronics and the frantic percussion take on a life of their own.  Even if some of the drum work here is reminiscent of footwork, the rhythm patterns and time signatures are on a whole new level. Elsewhere there’s an more haunted feel to the composition, as with “Kahn” —  radio interference threatens to take over, while synths groan longingly in the background.”…abstracted beat music” is right.

At five minutes and forty-eight seconds, “160 Tranqui” is the by far Breakeadito‘s longest cut. During that time, the track unravels and unfurls, tumbles and refolds itself over and over in an ambitious feat of sonic landscaping. There might not be a truly consistent lexicon for hearing an album like this, but “160 Tranqui” exemplifies it’s spectacular drift and spontaneity. Glitch-ridden, unpredictable and challenging, it’s a delight, and probably serves best as the mission statement for this tape.