Since seeping out from the Lisbon underground in 2012 with some clandestine internet musics and supplemented by a debut LP—Love which garnered universal admiration and confusion—Yong Yong have since relocated and reconvened at the other end of Europe.
The duo have re-assessed their sound, experimenting with near-dancefloor-bothering beat making, warped samples on degrading loops and a much deeper exploration of the frayed atmospherics that they only hinted at previously. On Greatest It’s Yong Yong have further embraced the ethical rectitude of the mistake, further opened the crack in the mirror that popular culture perpetually presents to the consumer. Making a virtue of their limitations, Greatest It’s was recorded on decaying machinery and obsolete software but with an enhanced sense of electronic dynamics than previous work: still glorifying in the skewed and broken, but now with new depths and emotional response. Tracks like Sesamstrrat seem to pour radioactive fog into a R’n’B pop hit, resulting in a mutated form of unique electronic pop music, Macu Lu-Lu present a broken beat that dredges the outer limits of a mid-90s Warp experimentation and the epic Oeiras drags a wobbly beat through the melancholic wringer.
Currently residing in the culturally rich, former industrial superpower of Glasgow, Yong Yong’s excavations of the recent past point ever more pertinently to music of the future. A resolutely imperfect future built on erring, yet beautiful foundations.