As music and technology continue to progress, so do the vessels to create sound through, which has made way for some of the most diverse, engaging and often confusing palettes of sound today. Names like Daniel Lopatin, Holly Herndon, Arca, and Hot Sugar as well as many other current producers are well seasoned with capturing samples and reworking them into an instrument of their own. What sets Iranian born, London-based producer Ash Koosha (born Ashkan Kooshanejad) apart, is that it’s entirely likely that the sounds that paint his newest LP I AKA I don’t ever come from an instrument at all. Though that’s not exactly the case, in the span of 44 minutes Ash Koosha takes you on another sonic journey that stiches classical Iranian minimalism and mutilated field recordings together into a patchwork of synesthetic bliss.
Unlike the seamless, singular vision of last years incredible LP GUUD, I AKA I allows for each piece to breathe, and while it does add a seemingly fragmented element to the record as a whole, it better emphasizes the individual soundscapes created for each song. Creating seamless transitions between tracks like “Hex” and “Ooh Uhh” or “Snow” and “Growl” would be simple, but it’s an intentional choice to outline the individual tracks on I AKA I as opposed to painting them all into one mosaic. This decision is what makes standout tracks like “Biutiful” so jarring and memorable. As soon as the track begins, the melody immediately places you in the middle of a dark, haunted carnival ride before hurling you into the turbulent ricochet of sampled drums.
Koosha once again displays a mastery of panning and stereo dynamics with a constant flurry of samples dancing around the sonic field, each of which he treated “as it’s own physical object”.
Moments like “Feather” sound as if Koosha is utilizing a tangible instrument, but it’s almost impossible to tell. Many moments on I AKA I will likely have you scratching your head, if only to imagine how he managed to craft any one of these sounds, let alone entire pieces.
Even the more meditative, minimal moments like “Needs” remain densely textured and non-stationary, and not for the purpose of getting people moving, but as a way of making sure that no one finds traditional comfort with Koosha’s music. Producers like Arca work in a similar vein, but still allow for rhythm to be a driving element to their work. While I AKA I is littered with percussive samples, rarely are these arranged to show any semblance to a classic “beat”. Rather, I AKA I relies on it’s intricately textured samples and melodies to create a truly unique vision, which is even complete with virtual reality screenings in some parts of the world. “Growl”, Koosha’s closest offering to Ambient music still isn’t a completely relaxing listen; washes of reverb soaked vocals battle against an always-moving swarm of white noise to make for an angular, but still calming listen.
While I AKA I is one of the most sonically explorative releases that I’ve listened to in a while, it isn’t a record that feels entirely otherworldly. Many of the timbres that drive the record are uniquely organic, making the record feel more subterranean than celestial. It’s an enthralling statement that juxtaposes beauty and oddity, and one that nods to electronic pioneers of the past while still looking forward.
Rating: 3.9/5