Minimal, Melancholic, Necessary: Inside Dr.Nojoke’s Inpi Mari

Dr.Nojoke unveils Inpi Mari on CLIKNO: four meticulously crafted minimal techno pieces that meditate on a paradise slipping beneath the waves. It’s the third instalment in his island cycle—after Kakawawa and Oiroa (Klangscheiben)—and perhaps the most poignant. Where those records mapped the terrain, Inpi Mari lives in the tension between desire and responsibility: the seductive pull of hedonism and consumer culture, and the urgent need to act.

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The concept is painfully current. Plastic is everywhere—on beaches, in our seas, and in microscopic form throughout the food chain. Dr.Nojoke translates that reality into sound design that feels—deliberately—“too perfect”: clicky, factory-clean percussion; glossy, frictionless textures; basslines that move like conveyor belts. The grooves are undeniably alluring, but a faint melancholy shadows each bar, as if the very polish of the mix hints at something artificial and fragile.

Across the EP, minimalist frameworks bloom into complex rhythmic ecosystems. Tiny percussive details pop like bubble wrap; hi-hats chatter in granular swarms; dubby subs pulse under hovering synth motes. Patterns interlock and separate with a watchmaker’s precision, evoking floating “gyres” of sound—beautiful from a distance, disturbing up close. It’s dance music with a double edge: kinetic enough to work in late-night sets, yet intricate enough to reward focused, headphone listening.

Inpi Mari is also a narrative of contrasts. Pleasure vs. consequence. Shine vs. residue. Each track lures you with elegant, micro-detailed motion, then quietly points to the cost of that elegance. Dr. Nojoke doesn’t preach; he composes the dilemma. The result is a record that feels both chic and mournful—sleek like brand-new plastic, weighted by the knowledge of where that plastic goes.