Sudanese ambient music producer Edyth drops chill EP ‘Goth Tropicale’
Exploring the Kuwait-based Sudanese-born producer Edyth’s latest EP of smoky downtempo electronica.
Culturally diverse, Edyth’s music easily follows suit, with a healthy fusion of synth, electronica, ambient, and bass heavy production that lends a special quality to his production. Edyth is the stage name for Mohamed Abnaof, a Sudanese-born, now Kuwait-based electronic and ambient music producer whose brand of chill and bass-heavy synth music has been causing ripples for a while now.
His latest release, an EP titled ‘Goth Tropicale’, is a short collection of five pieces that have a streak of tasty synths and pads running across them. His latest release, an EP titled ‘Goth Tropicale’, is a short collection of five pieces that have a streak of tasty synths and pads running across them. Edyth’s production on the EP is masterful and those cuts have a running streak of trap beats and chill wave synths, creating a sound that defines the identity of the EP, and ties back to the rest of Edyth’s output quite nicely.
The 5 tracks feature perfectly processed beats and samples, sparse nonlinear vocals, and the output mindblowing. This short piece of work is immersive and easy to get lost in. A great showcase of Edyth’s talent and production sensibilities. The starter might be an exception. The sensual ‘Desert Bump’ is a short introduction that clocks in at about 2 minutes long. No processed vocals here. Instead, the tune uses a soaring strings sample that’s lush and luxurious à-la James Bond themes. The beats are chill and minimal, and the absent bass is a neat trick that keeps this track feels airy and floaty.
‘Follow Your Leader’ follows. Another extremely chill piece that’s more intricately structured. Another 2-chord composition that’s mystical and illusive. A charismatic melody is conveyed by a couple different percussive and metallic synths, defining the essence of the piece, and the introduction of the bass is a showcase of Edyth’s intricate bass lines.
Ya Mum (Never Left) has a similar minimal composition that’s more acid jazz inspired this time around. The hi-hats are rhythmically nuanced, the keys are warm and soft, the piano is clear and sparkling, and the production is as pristine as ever, something that fans of Edyth would be familiar with, and this release is, of course, no different.
This short piece of work that’s immersive and easy to get lost in. A showcase for Edyth’s sensibilities as a capable producer and musician.