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Within Will Saul‘s AUS Music, Shenoda is something of a secret weapon. He epitomises the imprint’s characteristic blend of chin-stroking production values and skull-rattling frequencies. You probably already know the East London resident from his collaborations with Huxley, or his placement in enormous Hydra-curated lineups at venues such as the Warehouse Project alongside Richie Hawtin, Ben UFO and John Talabot. Shenoda’s selections for Watch The Hype focus on the masters who inform his work, and he neatly sums up his craft when describing one track’s nature as “really functional club music that’s unique also”. This can be seen in his sets, whose throbbing mixture of techno, house and acid entrances dancers with each twist.
In the same vein as records like John Coltrane’s ‘A Love Supreme’, which prove that a jazz quartet can achieve more than a full orchestra, Shenoda’s production style combines a few perfectly crafted elements to form records that sound alive. This can be seen in tracks such as previous Radio 1 Hottest Record in the World ‘Minute‘, which begins with a shaded grumpy bassline and punchy percussion, layers in brightly ethereal vocals and ambient textures, and then oscillates between the light and dark.
The title track on Shenoda’s recent EP, the appropriately titled Burn, compresses this oscillation into a single flickering synth riff that gently burrows its way into listeners’ heads, before burning out and suddenly returning in full force with an unexpectedly joyous vocal chant. Like the best releases on AUS, these tracks are equally ideal for peak time sets and arguments about whether house is “proper music”. ‘Burn”s midway embrace of hedonism makes perfect sense in the context of his recent purported creative burst, directed by a desire not to overthink things. Shenoda has been bringing his love of physical grooves to the forefront of his practice with tracks founded on live hardware jams, resulting in “a ton of new tracks I’m really happy with” due to be released later this year. Thinkers and dancers alike had best keep their eyes on him.