Tomorrow, musical duo Daktyl & Benni Ola will release the second installment of their EP series Chaos Theory which, true to its name, can seem like an overwhelming amalgamation of aggressively singular genres before the listener ties each of its influences to their roots. Recalling contemporaries like Genesis Owusu and Injury Reserve who filter hip-hop through punk, jazz, electronic music, and other less-conventional strains of sound, it feels like a miracle every time one of these Frankensteins of genre gets birthed into the world. “How do they do it?” you might ask.
Well, to hear producer Daktyl and emcee Benni Ola talk about the songs that influenced this left-field approach to songwriting, their guess is as good as yours. Citing M.I.A., The Avalanches, JPEGMAFIA, Herbie Hancock, and a handful of other artists, the creative duo struggles to identify the je ne sais quoi (genre sais quoi?) that permits the two least compatible sounds on Earth to fit snugly together on some of the most beloved releases of the modern era.
With the second part of Daktyl & Benni Ola’s submission into that canon officially arriving tomorrow via TOKiMONSTA’s Young Art Records, we asked the pair to share a playlist of 13 tracks that fit the “Why Does This Work?” theme as they make an attempt at answering that very question. Check it out below, and pre-save part two of the EP here.
M.I.A., “Bamboo Banga”
Benni Ola: M.I.A. uses her voice as an incredible instrument on this record [Kala]. The different levels of percussion could easily feel chaotic, but it doesn’t—it just feels hypnotic.
Kanye West, “On Sight”
Benni Ola: Had a hard time choosing what Yeezus record to pick, the whole album could’ve worked. But this track is everything everywhere all at once, and it’s perfect.
The Avalanches, “Close to You”
Daktyl: I love all the different inspirations The Avalanches pull from. Some of the best samplers in music, in my opinion.
Uffie, “Alchemy”
Benni Ola: I have no idea where this record is going to go. Feels like a drunk night out I don’t remember—I just know I had a good time.
Mala, “Changes” (James Blake Harmonimix)
Daktyl: One of the first songs I heard that got me into electronic music. I definitely said “WTF is this” out loud when I first heard it. It led me down a rabbit hole of exploring the 2000s UK dubstep scene, which really inspired me a lot.
Jai Paul, “100,000”
Daktyl: Jai Paul’s mixing is what caught my ear originally. It’s all over the place, but in the best way. Truly original.
Remble, “Gordon R Freestyle”
Daktyl: Remble has such a refreshing cadence. Nothing like it. It shouldn’t go as hard as it does.
Bullion, “Blue Pedro”
Daktyl: Never heard anything like it. That sea-shanty guitar with the drums is just incredible. I don’t know why it works, but it does.
JPEGMAFIA, “Jesus Forgive Me, I am a Thot”
Benni Ola: The record feels like it’s frustration trying to explode and has moments where it gets to. The beautiful church-type chords layered over it while Peggy narrates with his percussive flow. One of my favorite records ever.
Herbie Hancock, “Watermelon Man”
Daktyl: Another case of different genres mashing together in a beautiful way. Sub-Saharan Pygmy flute meeting jazz?!
BAMBII feat. Lady Lykez, “Wicked Gyal”
Benni Ola: The blend of styles in this is insane. Dancehall meets jungle-house meets something else in total. I’ve never heard anything like it before.
Floating Points, Pharoah Sanders, & the London Symphony Orchestra, “Movement 4”
Daktyl: Beautiful, kaleidoscopic melodies. Floating Points is a big inspiration. His quote about classical music being the same as jazz really opened my musical world. Pharaoh Sanders is incredible on this whole album.
OG Maco, “U Guessed It”
Benni Ola: This record is not supposed to work. I feel like anyone who knows music knows that. The mix is everywhere, the flow is unpredictable, the chorus is wherever it wants to be—it’s literally a genius record and I couldn’t tell you why.
