Amina Hocine apparently writes her songs in almost a stream of consciousness style, picking up bits and bobs from whatever engages her that day, a Youtube video, a woman on the street, and then she creates some eccentric, deconstructed elctro pop around it, as is the case with EP2. It’s some strong stuff with Amina’s gentle voice contesting with cutting, crashing electronics.
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Electro-pop from the crawl space. Amina Hocine’s newest EP sounds spacious, from its opening segue of stretched-out bleeping and blooping, but it quickly reveals itself to be an urgent, suffocating listen; “Jar” has thrilling marching percussion as well as beats that skim water and syncopate on a whim, offering the perfect resting point for Hocine’s restless intonations of “beginning to doubt”, blurted out ad nauseum until we're clear about that.
Opener “Jar” might suggest a reverence for more straightforward synth pop in the vein of pop artists like Mozart’s Sister and 2010 Sufjan Stevens, but “Infiltrating the Past” shows off harder, housier scholarship -- the beats are thorough and flat before eventually being reintroduced with extra kick, Hocine’s voice floating alongside as sound effects filter in, processed as rawly as Fatima Al Qadiri’s ‘Asiatisch’.
Final track “Ode To The Woman on the Tram” takes itself literally for a few seconds, sampling what I have to assume is a woman on the tram, before diving into the EP’s silliest cut: a processed vocal gives way to a serene beat and a voice that sounds hurried and humoured, recalling Bell’s shocking ‘Diamonite’. It’s still strangely dark, which might be attributed to the constant disappearing acts of Hocine: her music is prominent, but she only rarely interrupts it at choice moments, letting the beats go where she cannot. These three songs are evidence of a strong songwriter who knows when to abstain for maximum effect.
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