Yola Fatoush’s self-titled EP, released through Parlour Records in June earlier this year, introduces the duo’s emphatic cascade of sound, which washes over the listener and sees them deserving the appellations of “immersive” and “transcendental” given to them by their label.
From the synthesised bells on the track The Premises, mixed in with discordant and droning bass patterns, to the choral arrangements on Usher in Spring, it’s clear that the band draws in tonal pallets from a variety of influences.
Leading the EP, however, is the engaging track Celine which has yelps and staccato synth bleeps and chords jarring throughout the verses; these open up to a woozy chorus that melts all the punch in the former part of the song into an “immersive” and melodic haze.
The pitched down ‘R’n’B’ samples on tracks like Circle of Pain are indebted to ‘R’n’B influences; the group cite as Chicago’s DJ Nate and producer Jeremih as experimental artists they feel connected to.
Amidst the leftfield electronic influence there is perceptible pop sensibility that informs an ear for melody and song craft Grimes would be proud of.
The attraction of the band, having said all this, is the combination of influence and technique in what is a very listenable pop style. Look out for the band as they tour in the next couple of weeks, particularly at the Oxjam Festival at The Bowery in Sheffield.