Niño
Árbol

Hyperactive-1 EP

With an EP that wouldn't be out of place on The Bunker New York's roster, Niño Árbol extends his roots and tries to expand his stylistic reach.

I'm pretty sure this happens quite often in every country: an artist will be considered as visionary for the simple fact that they're copying or just taking inspiration from a style that is not widely recognized in their respective nation. I have always found this position a bit exaggerated, but a lot of times it has more to do with the audience or the press rather than with the artists themselves. In the case of Kevin Martínez Rodríguez, the real name behind the moniker Niño Árbol, he has been lauded as one of the most innovative and unique electronic artists in Mexico. Such statement might be debatable, but it is true that his sound is not one you’ll hear quite often on national night clubs.

Niño Árbol's music might be a little more complex and cerebral than what you're average DJ is playing at a local bar, but at its core, it has the same effect. It is something that, while very rich in detail, you can play while you're engaging in other activities because it doesn't demand that you focus on anything other than the beats.

The four pieces on his most recent EP manifest their hyperkinetic nature through the same cadence, using the same type of structure: a series of start-and-stop pulses that come back stronger after a few bars. Whether it is through the use envelop filters or by duplicating their presence thanks to a discrete -albeit thick- bass line, those beats never become tiresome even if they insist upon themselves after a while. To this, we can add the fact that Niño Árbol seems to aim for contrast, by interpolating brief scales and textures that sound calming against the propulsive energy of those non-stop rhythms. These elements are thrown in at the very exact moment the pieces may start to sound redundant.

Almost as a parody, one within the context of the album's concept, the titular track turns out to be the most... hyperactive as it was endowed with the strongest beat in the whole EP. It does not have an aggressive tempo or delivery, but it is the most urgent sounding; it is almost as if the previous two tracks were mere warm up. When the song ends, a lonely note tries to stretch its existence for as long as possible only to give up after a few seconds. It could be a tender moment, almost tragic in nature, but we're hit with the same non-stop dynamics once "Bracing" begins, downplaying the possiblity of any nuance.

This is the artist's second release this year, and while it is a pretty solid EP, it does not display the same versatility his previous LP did. Everything sounds very static, and ironically, despite of its never-ending climax feel, Hyperactive lacks exciting moments. It is quite disappointing, specially when one listens to the marvelous "Untitled IV" off of María, San José, which shows why he is considered a risk-taking artist. On that album, Niño dared to take some interesting detours within the album and within the songs themselves, managing to create a multifaceted, and truly psychedelic, experience.

Hyperactive-1 might not be as mature as it is being sold to us, but it is in no way a decrease in quality. Niño Árbol's catalogue has remained consistent, and while it has only shown horizontal growth, it has been significant nonetheless. His pieces might not be interchangeable with one another, but if we were to binge on Niño's discography, it might be hard to tell when an album has finished and a new has started; however, that might be irrelevant when the main goal -making us dance- is achieved. 

Saying that this EP wouldn't be out of place on The Bunker New York's roster may feel an attack on the uniqueness it preaches, but the fact that it can be considered to be worthy of being in the same team as LDY OSC or Wata Igarashi just proves how talented Kevin really is.