Record Label: Atjazz Record Company

Trying to contain my excitement as I review this new promo by Martin Iveson but it’s very hard you know. Apparently inspired by the Indian beer ‘Cobra’ (obviously drunk in-between studio breaks and bacon sarnies), I say there’s nothing remotely Asian in this wicked little track. South Africa’s adopted son of house music is taking his music and the African inspired house scene down the intelligent route.

Taking himself away from his Atjazz moniker he’s delivering something more ubiquitous. The XL edit delivers a concoction of intellectual syncopated symphonies of percussion meets precise beats. Of course with its naturally perfect I expect nothing less when you have percussionist extraordinaire Gabriele Poso weaving the mystical – the man who puts the Y in most of the tracks that come from Yoruba Records. The Afro-Cuban percussionist and Timba School of Music graduate marries flawlessly with Iveson’s musical execution of building pace then transporting you somewhere stratospheric.

An offering is what you definitely receive with the Afefe Iku Offering. The supernatural man of mystery first came to light when he remixed The Day We Met For Coffee from Osunlade’s Aquarian Moon album and became a protégé in the Yoruba Records camp. This artist is steeped in so much legend and hearsay it has me tickled, from being groomed for the Yoruban priesthood to being a recluse to being Osunlade’s alter-ego. To me it doesn’t matter who or what he is – I just know that when he gets his hands on a track to remix he adds psychedelic textures to it and he does just that here.

Submarine depths achieved by just the slight tweaking of hand and a pinch of that Yoruban sapore proving less really is more especially when the track is already genius is genius in itself. The best man was chosen for the job, but still I love the rough copy the Demo version presents. Even though it’s the last track it feels like  the first, a raw unrefined version and built for club-heavy rotation. Like I always say I’m a sucka’ for a heavy beat and cheeky hooks, I get a bit of both here love the ending too.

Reviewed by Sandra Swaybe-Barrett

On General Release October 3