Merging LA rap and eastern atmospherics, Idris Vicuñas border-crossing live act got increasingly enthralling the more he tried to alienate his audience
For Eyedress AKA 23-year-old Filipino freakball Idris Vicuña its a night full of wonders. I can rap, oh shit! he exclaims, spitting standard hip-hop tropes, expletives and fellatio requests over compulsive beats on Snakes Never Prosper and Manila Ice. Samples, man! he gasps as a reggae guitar emanates from his DJs laptop, Its from the future! Were basically cheating on stage!
Leaping into the crowd to dance, if this sticky pub backroom in Dalston seems like a brave new world to Vicuña, its because it smells to him less of stale microbrewery lagers and moustache wax, and more of emancipation. Having been held in Manila by red tape while married to a Japanese woman, signed to French and UK labels via Skype and airmailed contracts, and endured a failed teenage move to California hence his LA slacker banter about how the lack of a moshpit is weak and if someone gave me some weed Id play for 50 hours , his punkish snarls speak of a bitter, caged creative unleashed, and his music batters borders, too. His opening brace of rap tracks merge urgent South Central polemic with misty eastern atmospherics and cavernous soul hooks, and when he moves on to sing about missing his wife on Tokyo Ghost, he becomes a witch-house poltergeist, pining in spectral falsetto over slo-mo J-pop.
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by Mark Beaumont via Electronic music | The Guardian
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