CLASH Deputy Editor Shahzaib Hussain explores the universe of the latest and most significant alternative releases in this Astral Realm segment; a transitional space for those in search of mood music that lies outside the mainstream. Each compilation includes an interview with a Focus Artist, a spotlight on a Next Wave artist, and a carefully chosen selection of noteworthy releases from the month.
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Focus Artist: Deki Alem
A few years ago, when I stumbled upon this brother duo emerging from the obscure Stockholm underground, I sensed the stirrings of an energized movement behind them. By instigating a rhythmic rebellion through trip-hop and Big Beat explorations, Deki Alem – comprised of Johnny Boakye Bennett and Sammy Boakye Bennett – stands as anarchic punk-poets challenging the uniformity of our industry.
Their debut album ‘Forget In Mass’ is an achievement of both spirit and sound. Eschewing moralistic themes, it favors fluid, expansive grooves that are meant to be experienced communally. With no superfluous elements, Deki Alem has crafted a soundtrack for those late-night moods while guiding listeners back from the edge of our overstimulated reality to the open space of the dancefloor.
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Let’s begin by exploring your origins. Share some details about life before music. What was it like in Gothenburg? What scenes and subcultures shaped your experiences?
Johnny Boakye Bennett: Before venturing into music, like many boys we grew up with, our aspiration was to become professional footballers. We meandered through our studies and eventually gravitated toward music at the age of 24. Hip-hop has always been the backdrop for everything. Although other scenes and subcultures influenced us, none matched the impact of hip-hop and its accompanying culture.
The name Deki Alem reflects your identity and heritage. Could you explain its significance?
JBB: In Tigrinya, it translates to ‘children of the world,’ but culturally, it acknowledges one’s roots. Our mother’s name is Alem, so we are Deki Alem, meaning Alem’s children.
On the surface, Deki Alem is a brother duo, but key figures like Richard Zastenker and Johannes Klahr also contribute to shaping your nightlife sound. What does a typical studio session entail? Is it even accurate to call it typical?
Sammy Boakye Bennett: It varies. Sometimes we start ideas collaboratively in the studio, while at other times I’ll bring in a sample or a fledgling idea, and the rest of the group expands on it, or vice versa. We all engage in every aspect of the creative process, even with defined roles.
My introduction to your music was through the tracks ‘Razor’ and ‘Act Nice’ in 2022. These songs are rich in UK underground history. They are poetic, polemical, yet also quirky and unconventional. The sound feels both inviting and confrontational, a dissonance that seems characteristic of your music. Reflect on Deki Alem in 2022. Who were you during that time? How pivotal were those foundational moments you established?
SBB: That period was crucial for us to grow organically, without specific goals in mind. Coming out of COVID left us with ample time to create something that stirred feelings of vitality when everything else felt stagnant. I believe that time led us to focus less on the music industry's commercial aspects and more on creating our path and establishing our artist identity.
With the ‘Fluent Stutter’ EP, what did you aim to explore? Was it about refining your sound and message?
SBB: That EP holds special significance for us. It was the first instance where we felt we had something meaningful to develop without losing our momentum. We took a trip to central Sweden where we produced several tracks, like ‘Shadowman’ and ‘Only Wit U.’ Our first EP, ‘Among Heads,’ maintained its integrity and was unapologetic about not conforming. ‘Fluent Stutter’ allowed us to preserve that energy even as we gained some recognition.
When did the concept for your debut album ‘Forget In Mass’ begin to take shape? What prompted its creation?
SBB: Interestingly, it began two years ago at the same location as ‘Fluent Stutter.’ We visited Dalarna for a second time and returned with a slew of ideas. ‘Tip Of Your Tongue’ is the only track we continued to develop from that trip, but we kept recording thereafter, especially after returning from Accra early last year, which helped us solidify our work further.
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‘Forget In Mass’ is a concise, cohesive eight-track project, contrasting with the excessively lengthy releases common in the streaming era. Was that a deliberate decision to adopt a less-is-more philosophy?
JBB: Not specifically, but our current creative process tends to yield more concise projects. Next time could be different, but for now, these trimmed-down records align with where we’re at
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CLASH Deputy Editor Shahzaib Hussain explores the universe of the latest and most crucial alternative releases in this Astral Realm segment; a