In 1957, young Jimi was helping his father with his work: together they were taking out the trash from an elderly woman's house. In the trash heap, Hendrix found a ukulele with a single string, and the woman said he could keep the instrument.

One string was enough for Jimi to memorize the notes by ear. He learned them by ear, as he didn't know the notes at all.

He also invented his dominant chord 7-sharp 9, called the Hendrix chord.

"Dancing In The Flames" (https://www.youtube.com/watch?v=MLlSSJ0z7xM) is a very neat single with the already familiar synths from the 80s and the ubiquitous Max Martin. The video does not provide any context at all, because, in fact, it is an advertising campaign for the iPhone 16 Pro.

"Timeless" (https://www.youtube.com/watch?v=5EpyN_6dqyk) with Carti is a catchy trap with Mike Dean's space synths on the beat. A very ordinary video, filmed in one location somewhere in a warehouse.

"São Paulo" (https://www.youtube.com/watch?v=2kjolTLZ_Mg) with Anitta is a baile funk with a Brazilian superstar and body horror as a visual. Obviously, this single will be the most viral, considering how it was promoted on social networks before its release, Anitta's audience and the popularity of baile funk.

So far, all this does not fit into one universe, which the previous albums could boast of. And this is what I loved about Weekend: he skillfully mixed mass accessibility with some kind of concept and storytelling. Let's see what will be on the album, but so far everything is very diverse.

Most of all, the listeners loved Bjarki for his love of departing from canons, a manic approach to creation, giving monotony to a dance vibe, and meanwhile tearing it out of rhythmic saturated music.

I WANNA GO BANG

You've definitely heard one of his pretty old singles - "|wanna go bang". He went decently viral, at least to the extent that music could go viral at all then, about eight years ago.

Really meditation on this composition, yet it stays danceable at the same time:

It caught Bjarki "in the stream" and drew in every listener that reached the track.

Along with it, in that sound, a guttural accompanies it, as if a small steppe voice of a spoon stirring sugar in a ceramic mug.

This voice invokes and programs, repeating the same phrase some thirty times. «SOMETIMES I FEEL LIKE, I WANNA GO BANG»

It's incredible, how Bjarki manages to keep this almighty, fantastically zombifying mantra through years. For instance, the single "Ping Pong Ball Gag", which was released this year, sounds absolutely different, yet it is squeezed just as tight into its own .

HAPPY EATHDAY

As surprising as it may be for the author of techno music in its broadest sense, Bjarki is distinguished by RATHER techno-pessimistic views. Within several interviews, this artist called progress and development terrible and often spoke about the weather.

The state of nature, the mood and attitude of the weather, is what appeals to the DJ, Bjarki: The fact that it remains one of the rare things practically beyond the control of man. Bjarki considers it a mistake to imagine that the Earth was created for us, for humanity.

In 2019, two full-length albums were released by the artist; the first is entitled "Happy Earthday". This album surely feels the artist's love for nature, but in quite an odd way-through its total destruction and regret of what has happened. On this album, Bjarki used the most of these futuristic-sounding inserts, torn as if from books by Isaac Asimov.

Each song in the album is a contradictory statement-the pleasure of a deserted space caused by technological doomsday.

BUILDER JUST LIKE BOB

Bjarki said that he was interested in "all things concerning the nature of its laws." It was felt also in "Happy Earthday", but on the second album of the same year, it was expressed so much stronger. After the space turned out to be empty in the first album, in the full-format "Psychotic_Window" Bjarki begins to weave it anew and build his own world.

Another completely terrifying song is "Coil Opinions", where the vulgar club rhythm is underlined by screams straight from somewhere IN Japanese noise of the nineties, while basically the track is full of existential horror, absolute fear of the unknown, and an infinite number of alternatives.

ARTISTR DOES ART

A specific place in Bjarki's art is occupied by the visual component: with such rich meaningful art, it is almost impossible to abstract from it.

Your chances of falling in love with this artist will increase manyfold if you just open his page in Instagram: each post with short teasers of tracks is accompanied psychedelically by a colored visual that is completely devoid of the usual techno "acidity". Bjarki abandoned the "eyesight" of colors, replacing it with the terrifying geometry of each object.

This is such a moving electronics, in which there is a place for a new wave of house with its bright synths and explosive drops.

If you haven't listened to the first part of the mixtape, then I highly recommend it, and then fly to the second: there are cool Brits Bawo and KAM-BU on the feats, and also the talented Frenchman Poté.