Parra for Cuva has no problem in mixing it all up – vocals might come in the form of Ordel’s catchy English lyrics, sung by the Australian Kyson or by South African singer Bongewize Mabandla singing in his mother-tongue isiXhosa in Kamara. While the former track uses gentle guitar melodies by British neo-soul guitarist Beau Diako to inspire wander, the latter uses electronic grooves – provided by German analog synthesizer guru Moglii – to do just the same. Genre-wise there’s also a big compound in Juno that spans downtempo to house with pit stops in hip-hop and pop rhythmics, it’s part of Parra for Cuva’s style to surprise listeners, “I always want to have something weird that you wouldn’t expect in my music,” explains the musician. Manila Palm which starts off as the album’s more accessible and straightforward track, suddenly reveals itself through an unpredictable chorus of heavy bassline and a James Brown-style drum
set. Somehow having this many influences and styles in the album doesn’t make Juno one bit incoherent – the tracks fit in and flow into one another perfectly. It’s music that’s in constant movement, seeping slowly and carrying you along with it. Despite being based in the city of techno, Parra for Cuva’s music stands in sharp contrast to Berlin’s distinguished hard electronica. Nicolas is making music much more akin to contemporaries such as Christian Loffler and Max Cooper, who are unafraid of infusing their electronic productions with warm, oftentimes melancholic, analog sounds, “As a musician, I see myself as more mature. My sound is calmer, wiser I think,” reflects Nicolas.