The second LP from the Bugandan techno outfit hailing from Kampala, Uganda aims at the hostile immigration and freedom of movement policies implemented in the UK, as well as across the world. The ultra-metallic Nihiloxlica logo on the cover art echoes a growing presence of metal influences, while the official-document styling wryly evokes the bureaucratic nightmare at the heart of the project. Tracks like Asidi and Baganga flirt with the dystopian, mechanical patterns and tonalities of djent godfathers Meshuggah, while the gargantuan synth line of the title track summons the spirit of an 8-string guitar, synthesised palm-mutes, effortlessly compounded with the molotov cocktail of Bugandan ngoma (drums) and club sounds the band is revered for. On tracks like Olutobazzi, Postloya and Trip Chug, the drums themselves are reanimated and manipulated, further blurring the line between tradition and techno. Source of Denial was tracked over an intense month of sessions at Nyege Nyege studios.
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The second LP from the Bugandan techno outfit hailing from Kampala, Uganda aims at the hostile immigration and freedom of movement policies implemented in the UK, as well as across the world. The ultra-metallic Nihiloxlica logo on the cover art echoes a growing presence of metal influences, while the official-document styling wryly evokes the bureaucratic nightmare at the heart of the project. Tracks like Asidi and Baganga flirt with the dystopian, mechanical patterns and tonalities of djent godfathers Meshuggah, while the gargantuan synth line of the title track summons the spirit of an 8-string guitar, synthesised palm-mutes, effortlessly compounded with the molotov cocktail of Bugandan ngoma (drums) and club sounds the band is revered for. On tracks like Olutobazzi, Postloya and Trip Chug, the drums themselves are reanimated and manipulated, further blurring the line between tradition and techno. Source of Denial was tracked over an intense month of sessions at Nyege Nyege studios.
