The Long Count
It would be reductive to say that the music of Delia Beatriz aka Debit exists in the usual two modes ascribed to every DJ on the planet; beat maker and experimenter. Since her 2018 debut, she’s set herself up as a deliberate, academically-minded producer, fusing distinctly Northern Mexican forms of tribal guarachero with the harsh bombast of industrial techno, resulting in music as eminently danceable as it is imbued with the political energy of post-colonial expropriation. The Long Count may be her least danceable by default – try finding a conventional snare-kick measure here – but it may be Beatriz’s most stylistically and thematically cohesive work to date, and a clear-minded realisation of her overarching project.
Informed by Beatriz’s research into Mayan instrumentation and machine learning, the vaporous drones of her choice instruments – ocarinas, whistles and flutes – bring to mind a claustrophobic stroll through pitch-black forests (or a week-long camping trip, as the day-and-night cycle of its track listing suggests), surrounded by cawing birds and humming crickets. Taken as a whole, The Long Count is at once melancholically haunting and oddly comforting, both an elegy for age-old pre-colonial cultures and a declaration of their everlasting life.
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