Loose Lips

Bambounou - Parametr Perkusja - DISK14

Release Review

Bambounou - Parametr Perkusja - DISK14

Parisian producer Jéremy Guindo-Zegiestowski is best known for his work as Bambounou on 50Weapons. He delivered two albums and a sizeable wedge of EPs of fractured rhythms, looming bass and techno propulsion to Modeselektor’s now-defunct label during an era in the aftershock from dubstep. 

Returning to the fray with his first new material in three years, this 12” feels like a fresh start for Guindo-Zegiestowski, and it’s significant that it’s appearing on Disk. Alongside Burnt Friedman and other left-field rhythm explorers, Disk co-founder Don’t DJ’s polyrhythmic drum science has helped foster a zeitgeist of sorts, inspiring producers, DJs and listeners craving new thrills beyond the dogma of Western rhythms. With the increased interest in exotic sounds from far-flung corners of the globe, and by extension Jon Hassell’s ideas around Fourth World music, we’re currently in a climate that celebrates the dissolution of familiar time signatures and seeks to achieve transcendental elevation through a mixture of future-minded technology and ancient tradition.

Bambounou’s earlier sound was already reaching beyond convention, but still crackled with a youthful impulse to feed the rave and use a little studio shock n’ awe to deliver its message. On the three tracks that make up Parametr Perkusja, the tone is noticeably more mature and meditative, but not at the expense of danceable energy. “Kosovo Hardcore” is a sharp-angled beast that might scare off conventional DJs, but it’s still brimming with physicality in its low frequency blows and cyclical nature. The chimes that fly in over the top of the track have a hypnotic effect akin to a looped up Robert Hood riff, but the grid-free whirring of this and the other elements cuts a refreshing path through decades of over-familiar, rigid structures. 

Opening track “Dernier Metro” is the most unusual of all the tracks, leaving the dance behind to revel in the tonality of the percussion. The subtle warbling synth tones in the background of the track feel like a distant echo of earlier Bambounou music. The interlocking, rickety mechanics of the beats feel aligned with the Euclidean cycles of Don’t DJ’s work both solo and as part of Durian Brothers. 

“VVVVV” provides conventional comfort in a grounding 4/4 kick drum, but there’s enough subtle currents shifting above the undertow to create genuine intrigue. In its extended run time, micro detailing and powerful presence, it’s the perfect club tool, crying out for extended mixing but equally rich enough to roll out on its own and draw the mind deeper into a well of repetitive immersion. 

Between the programming and the sound palette, it’s clear Guindo-Zegiestowski has purposefully thrust himself into a new period of creativity, and the inspiration driving him is explicit as he steps out in Don’t DJ’s back yard. Wherever the influence comes from, this record reaffirms his position as one of the brightest sparks in the ever buoyant Parisian scene, and it bodes well for what comes next in this new epoch of Bambounou.