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It takes less than a minute for
Yaral Sa Doom to begin levitating. Multi-instrumentalist Arouna Kane and producer Karl Jonas Winqvist ground their collaborative effort in the playing of Kaneâs Senegalese countrymen and contributions from Winqvistâs fellow Swedes, but in their production, the duo massage guitar, hand drums, sax, and flute until each is pliable, soft, and almost putty-like, molding the instrumentation to tissue-thin synths and richly reverbed vocals. Everything is so light, so wispy, it sometimes seems like a decent windâor just a little mild cynicismâmight blow the whole thing away. Instead,
Yaral Sa Doom holds its ground, its extreme sweetness balanced by Winqvist and Kaneâs exploratory ethos.