The electro Maloya experiments of Jako Maron
// les expériences electro maloya de jako maron

« les expériences electro maloya de jako maron » / « The electro Maloya experiments of Jako Maron »

Album 11 tracks (2018) MP3 & K7 tapes, label = Nyege nyege tapes (Ouganda)

Disponible sur Bandcamp :

Album diponible sur boomkat aussi :

Boomkat Product Review :
Irresistible electro Maloya from the island of Réunion in the Indian Ocean, plucked out by Uganda’s amazing Nyege Nyege Tapes…

Les Experience electro Maloya is the first ever compilation of Jako Maron’s plugged-in updates of the traditional, politicised form of folk music from Réunion, a tiny island off the coast of Madagascar in the Indian Ocean. Like séga, Réunion’s other main musical style, Maloya’s origins can be traced back to African slaves and indentured Indian workers. But unlike séga, Maloya’s stripped down drum ’n bow rhythms and call-and-response vocals, which were originally used as ritual mediations as far back as the 17th C., have become a form of protest music favoured by the island’s creole population in the 1900’s, leading it to be banned during the ‘70s because of its associations with the Communist party.

In 2018, Jako Maron’s electro Maloya instrumentals are perhaps less explicitly politicised, yet they still carry the charge of eons of encrypted ritual thru their geometric designs and inexorable dancefloor traction. In 11 parts, Maron uses modular synthesis and drum machines to mutate and relay Maloya’s meaning for the island modern indigenous population as well as users far beyond the island.

The results are some of the canniest, most infectious recordings we’ve heard from Nyege Nyege Tapes or indeed this region of the world, all generally (but not exclusively) working with slow tempos and a range of humid, piquant, and hypnotic synthlines that lend the sound to strong comparison with everything from Equiknoxx’s mutant dancehall, thru the current Flex sound outta NYC, to the sorta crooked dembow fusions explored by Brian Piñeyro (DJ Python/DJ Wey) and that recent Drew McDowell X Hiro Kone EP, or even the acid modulations of his Belgian namesake, Ro Maron.

Highly recommended!

Resident advisor review :
On Jako Maron’s The Electro Maloya Experiments, his album for the adventurous Ugandan label Nyege Nyege Tapes, there are almost never more than three loops going at once. You’ll hear syncopated shakers and triplet rhythms that aren’t common in techno, but otherwise you might not realize he’s reinterpreting maloya rhythms from his home island of Réunion, off the coast of Madagascar. Some of these dark, inscrutable synth sketches could even be mistaken for Demdike Stare or Ron Morelli working in minimalist mode. That’s what makes this fusion so intriguing: rather than emphasizing the novelty of this folkloric-electronic pairing, Maron opts for a subtler, deeper kind of hybrid.

Click here to read the full review on

Loose Lips review :
To mediate between the living and the dead with electronic music? To pay tribute to ancestors with the most modern technology available? Some might choose to ostracise Jako Maron for this choice – I prefer to commend him. The result is a hypnotic, distinct form of what would resemble minimal house to some. Rumbling through the floor are somber notes of chest-rumbling bass synths, dotted by rhythmic kicks reminiscent of heartbeats. The droning tones lurking beyond the veil of lows is a dissonant high resonance, tying together an outright cerebral sound.

The swinging beats and particular use of accompanying percussion stay true to the origin of the music, while maintaining a purely instrumental take on the genre. Though we cannot be sure these Maloya songs are specifically protest songs, they definitely hold the energy of them, given the organic feeling of the modular synthesis and dark, almost trudging cadences. This release comes highly recommended to those who enjoy punchy, thumping techno, electro, or some of the dancier industrial.

Songs like « Batbaté Maloya, « Maloya Valsé chok 1″, and « Katangaz » will fill your ears ’til they’re as full as your stomach, consider the chunky bass your steak dinner. « Malabanndélé » and « Fanali dann bwa » are the soup and salad to aid your appetite, being much lighter. Consider everything beyond that to be dessert – your hunger won’t be able to be sated, and it’ll be sweet from here on out. Morphing modular plucks and squelches plumped up with reverb and cooked with a marinade that tastes of braindance.

If you plan to delve into the world of The electro Maloya experiments of Jako Maron, be sure to pack everything you need – it’s quite a trip. Send us a postcard while you’re there!

Click here to read the review on

Pitchfork Review :
9 Must-Hear Albums from Nyege Nyege Tapes, the Label Putting Africa’s Electronic Underground on the Map.
Heard out of context, this album might not immediately scan as African music. The percussive zaps are reminiscent of the Finnish group Pan Sonic’s icy minimalism; the glowering synth buzz suggests Berlin industrial drone at its most austere. But this isn’t techno. The loping polyrhythms come from the traditional Maloya music of Jako Maron’s native Réunion Island, 587 miles west of Madagascar. In the late 1990s, Maron began working with modular synthesizers and drum machines, refashioning Maloya drumming’s intricate pulses for an all-electronic setup, and the results are as hypnotic as they come, no matter your frame of reference.

Click here to read the review on

the album is on the top 20 of :
Les 20 meilleurs albums de musique électronique de 2018

Click here to read the review on review :
My favorite music is trance. And not trance in the genre sense, however you might use it. Trance in the (outer) bodily sense, in the speaking-in-tongues type of way. Stubborn groove. Awkward ballet. It wasn’t until I heard Omar-S that I truly understood what one could with three (or four or five or infinite) tracks. As long as you could make each one resonate fibrally than you were creating something that was irreducible to the sum of its parts. I was feeling, becoming forever entranced, not to mention taking a step outside of my . Create a space for anyone to ‘truly listen’ and the soundwaves will transmute into raw molecular affect.

And I suppose that’s why I’ve cottoned to little in the throw-your-hands-up-in-the-air trance category that is popular in so many parts of the globe. Trance is serious business. Be it Harmonia 74 or “Thank You For Letting Me Be Myself” or the music of Jako Maron, it’s all about getting to the next level, bodied intensivity and extensivity.

Click here to read the review on

// Ecouter / Listen

// À propos de / About ... jako Maron


Jako Maron est un alien sonore. Un franc-tireur pour qui tradition rime avec expérimentation. A La Réunion, il est l’auteur d’une combinaison rare, comme une extension électro du folklore réunionnais. Influencé autant par le hip-hop old school et le dub que par les bleeps électroniques , il propulse les musiques traditionnelles de ce coin du monde (maloya et séga) dans un futur libre de toute contrainte. Creusant un sillon jamais rectiligne, ses beats louvoient entre binaire et ternaire. Jako Maron ne cherche pas la fusion globale. Il sait que ses propres racines lui permettent de toucher à l’universel et que ses moyens pour y parvenir seront électroniques.

// photos, videos / social network

Le Shop
// Acheter / Buy