The debut release from Myakkah on Diskotopia entitled Warehouse Soul was delivered with a scarce amount of personal backstory but a rich aesthetic of past, present and future sonic notes interwoven into something truly unique. Warehouse Soul comes across like vintage NYC house recordings culled from dusty DAT tapes in the early 90s that by contrast contained lost reel-to- reel Motown session outtakes which were then buried in a time capsule only to be dug up and completed in the year 2025.
Warehouse Soul kicks off with Eyes Up, an optimistic start of the night rich with gauze-covered synthesizer breaths, driving kickdrums, scattershot percussive hits, resonating sub bass and disembodied dancehall shoutouts. Owing equal debts to Bobby Konders’ early productions as it does to Wally Badarou or even Photek, Eyes Up is a mission statement to the dusty yet digital realm Myakkah occupies.
Eyes Down moves into darker territory altogether boasting an acid-indebted lead, eskibeat percussion, catacomb-dwelling kicks and foreboding vocal cuts. It’s basically what an excursion into the secret catacombs of a club lost somewhere in the time-space continuum would sound like.
Myakkah takes a left turn into semi-cosmic realms for I Want To Feel as zero-gravity synth pads balance deftly on precision drum programming, rolling basslines and calls of “wanting to be in hyperspace” coalesce into a peak-time cut for tomorrow’s yesterday.
Myakkah sums up the journey with Modern Life by simultaneously dropping and upping the tempo. A hollowed-out boom bap riddim with dread chords, a diva’s yearnings and voices of New York’s past ride amongst Reinforced-indebted percussion into waves of push and pull which finally culminate back into a smoky haze somewhere in the same realm of where Warehouse Soul began.