For years, Bas Bron aka Fatima Yamaha flew under the music community’s radar. His first EP, ‘What’s A Girl To Do’, was released by Irish label D1 Recordings in 2004 and remained unheard by most, at least initially. But following Dekmantel’s recent reissue, combined with long-time support from Glaswegian DJs Jackmaster and Hudson Mohawke (the latter sampling Yamaha on ‘Resistance’ from his 2015 album ‘Lantern’), Bron found his way into the clubs, homes and hearts of those enraptured by the Dutchman’s mesmerising, celestial style.
Fast-forward to November 2015, when news broke that Bron would be releasing the first Fatima Yamaha LP ‘Imaginary Lines’ via his own Magnetron Music. The question is: has the producer created an album that enchants its listeners in the same way as his previous work, now over a decade old?
The answer, thankfully, is yes. Like its predecessor, ‘Imaginary Lines’ emits the feeling of being a timeless classic. Bron has retained his distinctive sound, resulting in a record that boasts an impressively textured palette, meandering through Techno, Funk and Electronica all in one beautiful soundscape.
Opening track ‘Shuppatsu’, a short orchestral piece, offers a perfect insight into the dreamy, Funk-laden style that Bron offers on the record. This leads into ‘Borderlines II’, coming in with a deep, rolling kick drum, peppered with cosmic synths and fidgety, pulsing effects. The track never really breaks away from its main chord pattern, but when you have the skill to make such a catchy hook, why move off course?
‘Love Invaders’ follows, one of the standout tracks. Featuring distorted vocals, delicate doses of synths and of course a bass-heavy beat, Yamaha nods to his previous EP, resulting in tender Techno that plays through with precision and grace. The same can be said about ‘Sazak Bay’, which shimmers with a serene, considered manner.
Bron excels at making music that yields a particularly introspective response from the listener. Even the album’s pacier tracks such as ‘Love Invaders’ or ‘Sooty Shearwater, King of Migration’ evoke an emotional reaction. It almost feels as if Yamaha has spent all these years crafting them out of porcelain. Despite its relatively short length, ‘Imaginary Lines’ is a work of brilliance. Here’s hoping we don’t have to wait another decade for the next project.
Words: Nathan Diamond