Boya‘s only credit prior to this, his self-titled debut EP, was a track on Opal […]
Boya‘s only credit prior to this, his self-titled debut EP, was a track on Opal Tapes’ Cold Holiday compilation from last year. The producer’s sound slots in well with that label’s rough aesthetic, and indeed with the one Mister Saturday Night has been honing lately as well. The three tracks here are perhaps purposefully distorted, but unlike the works of many producers chasing this trend, there are clearly some production chops hidden underneath. This is ultimately what makes the record work.
“That’s Us” manages to cash in on the excessive sidechain-compression trend as well, though its piercing intensity and thudding drums are satisfyingly balanced by a sweet, gauzy, reverberating soul loop. If it wasn’t so hiss-saturated, it could pass for something on the Rush Hour label. “Idler” executes a similar balance; its rhythm rushes with woody bongos and shuffling hi-hats, and is punctuated with edgy but submerged bass stabs. It is more somber and not as ebullient, but again, its well-honed sense of funk counters its erosion. As one might expect from its title, “Valves” is less personable. It has an aggressive stomp, though it’s thicker than the average pounding throwback track, with industrial groans and clipped vocals lending it a churning feeling. It’s the most overtly clubby track here, and moreover shows the artist’s versatility, but it does feel a bit obvious. Hopefully, Boya will lean more toward the other pieces’ sensibilities in the future, as both show promising levels of craftsmanship.