Nabihah Iqbal: the London musician who got locked down in Pakistan

After losing two years’ worth of music in a break-in, DJ-producer Nabihah Iqbal went to Karachi – and got stuck there for weeks. But she reconnected with her family, the guitar – and a lot of okra

In years to come, Nabihah Iqbal will hopefully look back on the past seven weeks and think that everything happens for a reason.

The London-based musician got stranded in Pakistan’s most populous city, Karachi, on 6 March, having flown out for two weeks to visit her critically ill grandad. Just days before Iqbal left the UK, her studio was burgled, including a laptop containing two years’ worth of original music.

Everybody’s probably thinking: I need to make a banger. Just live off royalties and not have to worry about playing gigs

Related: Down the Cosmic Hole: are Berlin's 56-hour party people facing their last dance?

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by Ravi Ghosh via Electronic music | The Guardian

The Milk Take UK Tour Virtual

As a result of the nationwide lockdown, Wah Wah 45s’ very own The Milk have had to postpone and reschedule their much-anticipated UK tour until later in the year, in October (see new dates below and in the Events section). But to keep eager fans on their toes, and to make the wait a bit more bearable, The Milk have taken to the digital sphere to bring their live performances to life with a special Live From The Balcony series.

The Milk’s Rich Nunn (@nunny_the_milk) kicked off the series on his balcony on 4 April, where he dedicated the show to the people of Brighton, who were due to have @themilk play in their hometown that evening. That’s the kind of guy he is, as Dom said.

Rick continued this for all the other shows the band were supposed to be doing in April.

On April 24th, @themilk marked what would have been their final show of the tour at @subteraniavenue London. All four band members performed in unison, (but with each one in isolation of course!!!).

Thank you to The Milk for delivering such a great way to wait for your tour!

In case you missed the Instagram Live and Facebook Live performances, and if you want a little preview of what it’s like to experience The Milk in person, check out their performance of Wild Chained Man, live from Hoxton Hall below!

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Wah Wah Radio Show – April 2020

The April 2020 Wah Wah Radio Show has been uploaded! DJ Dom Servini takes us through some classics and some fresh tracks from The Milk, Inja and Leroy Horns, amongst many others. Enjoy!

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The 100 greatest UK No 1s: 100-81

For six weeks, we’ll count down the top No 1 singles since the UK chart began in 1952. Today we have a Bieber triumph, powerhouse-pop and an otherworldly 60s gem. Check back weekdays for more picks – and see if you agree

As the coronavirus lockdown continues, the Guardian’s music desk thought you might be in need of a distraction – something to send you down memory lane, or to divert the annoyance at your housemates or children on to us. We present to you a ranking of the 100 greatest UK No 1 singles since the charts began in 1952.

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by Ben Beaumont-Thomas, Alexis Petridis and Laura Snapes via Electronic music | The Guardian

Splendid Isolation 004 with Dom Servini

Listen here!

Intro

BadBadNotGood – Time Moves Slow feat. Samuel T. Herring

Zero 7 – Home

Doris – You’ll Never Come Closer

Dr. John – Locked Down

Fiona Apple – Fetch The Bolt Cutters

Psapp – Leaving in Coffins

Laetitia Sadier Source Ensemble – Undying Love For Humanity

Underwolves – Unexpected Days

Stanley Clarke – Unexpected Days

Ronald Langestraat – I’m Ready for Dancing

The Whatnauts – Help is on the Way

Arnold Jarvis – Take Some Time Out

Five Special – Why Leave Us Alone

Gibson Brothers – Ooh! What a Life (Gerd Janson & Shan Edit)

Jamiroquai – Emergency on Planet Earth (Masters at Work London Rican Remix)

Admin – Bright Moments

Marvin Gaye – Where are we Going?

The Five Stairsteps – O-o-h Child

Paul Weller – Above The Clouds

Massive Attack – Protection

Vibration Black Finger – Empty Streets

YAW – Where Would You Be

Steve Lawrence & Eydie Gorme – Black Hole Sun

Eden Ahbez & John Harris – Overcomers of the World

Andrew Hill – Illusion

Rodena Preston & Voices of Deliverance – Be a Friend

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Pole: 123 review – calming, abstract, minimal genius

(Mute)
This reissue of Stefan Betke’s first three albums shows how the electronic auteur turned a technical glitch into an innovative, intimate and warm style

The lockdown has played havoc with album release schedules, sending new records by Haim, Rufus Wainwright, Jarvis Cocker and the Pretenders back several weeks. But adversity can create opportunity – or at least the chance to nerd out over a reissue by a little-known electronic auteur: Pole, the alias of German musician Stefan Betke.

Betke knows all about taking advantage of an opportunity, joining a long artistic tradition of making great art from mistakes. Just as Leonardo da Vinci famously instructed his students to study stains and blots for inspiration, and the Japanese pottery technique of kintsugi repairs broken earthenware with precious metals, creating beauty from a flaw, Pole turned his butterfingers into a masterstroke.

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by Kitty Empire via Electronic music | The Guardian

Wah Wah Weekend Radio – April 2020

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Intro

Azwon – Paradise Island 

Tenderlonious – After The Storm 

Nawi Collective – Hear Me Lord (Live at Simon Says 2020 at The Jazz Cafe)

Juancho Vargos con Ondatropica – Noche De Amor

The Positive Force with Ade Olatunji – The Afrikan in Winter

Leroy Horns – A Simple Dub

Inja – Untitled (Live at Simon Says 2020 at The Jazz Cafe)

Afriquoi – Ndeko Solo (Voilaaa Remix)

Moseh Drummist – Ndakhuchama (Village Cuts Dub)

The Milk – Feels So Good (Scrimshire Bruk Up The Family Remix)

Nkitch & Kuna Maze – Hey, This Must Be Deep

The Wah Wah 45s Players – Juice / Midnight / Doo-Wop (That Thing)(Live at Simon Says 2020 at The Jazz Cafe)

Outro

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Kaitlyn Aurelia Smith's lockdown listening: 'Doing handstands, that’s the time for music'

The LA ambient composer shares what she’s been listening to while upside down, from Caribou to Zimbabwean polyrhythms

I live in Los Angeles with my husband in a quiet neighbourhood that looks out on the Verdugo Hills. One of our best friends lives right behind us, so we have daily balcony conversations with them; I’m very grateful for that.

When I’m doing handstands, that’s the time for taking in other people’s music. I do a hand-balancing class almost every day, and I feel comfortable holding a handstand. Right now, my best is a minute and a half. It’s a symbol to me of the impossible, my own therapy practice about trying to break through mental constructs; there are some things I feel confident in and some things where it feels as if there’s so far to go still. In the last two years, I went through a lot of health struggles and was burned out from touring. I struggled with depression, chemical imbalances, mental fog, ulcers – a whole slew of things. Through lots of different practices those all got healed, but any time I had depression, if I just got upside down it was like an instant fix.

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by Interview by Chal Ravens via Electronic music | The Guardian

Lorenzo Senni: Scatto Matto review I Ben Beaumont-Thomas's album of the week

(Warp)
The Italian producer charges the euphoria of dancefloor anticipation with punk spirit in these joyous, poignant tracks

‘Where’s the drop?” This was a complaint often howled at festivals or in YouTube comment sections during the EDM years (usually by a hench guy in a vest), when mainstream dance was all about extreme peaks and troughs. They would get annoyed if a track just simmered without delivering a thunderous pay-off, accompanied by a blast of confetti, which in turn was annoying, because for many people the simmering – the coiling tension as a track builds or is allowed to just be – is the best bit.

Related: Sign up for the Sleeve Notes email: music news, bold reviews and unexpected extras

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Croaks, squelches, waterfalls: the visionaries bringing the jungle to your headphones

We can’t experience nature in lockdown – but a new breed of field recorders have captured the sounds of the great outdoors in all their crashing, squawking glory

Last December, Lucrecia Dalt travelled to a rainforest in Colombia that is part of the Chocó, a biodiversity hotspot stretching all the way from Costa Rica to Ecuador. She was seeking that rare thing: time to do nothing but just be. However, the last thing she wanted was peace and quiet.

The organisation Más Arte Más Acción had invited the Colombian-German producer to participate in a residency called Espacio para Pensar (“space to reflect”) and Dalt took US noise musician Aaron Dilloway along. The pair swiftly immersed themselves in the jungle’s rich, complex soundscape, recording parrots, frogs, insects, crashing surf, squelching mud, and even the transition from night to day.

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by Harley Brown via Electronic music | The Guardian

Splendid Isolation 003 with Dom Servini

Listen here!

Intro

Tavares – Bad Times

Timmy Thomas – Why Can’t We Live Together? (Pressure Drop Remix)

Al Green – Tired of Being Alone

Tony Allen & Hugh Masekela – Never (Lagos Never Gonna Be the Same)

Fungai Malianga – Finsbury Park Party

The Police – When The World is Running Down

Coldcut – People Hold On feat. Lisa Stansfield

Adrian Younge and Ali Shaheed Muhammad – Jazz Is Dead

Malcolm Strachan – Time For A Change

Leon Thomas – It’s My Life I’m Fighting For

Massive Attack – Safe From Harm

Charlotte Dos Santos – Harvest Time

Bill Conti – Reflections

Isaac Hayes – Do Your Thing

Darryl Hall & John Oates – She’s Gone

The Bay Area Chapter Choir – Hold On

Tarika Blue – Dreamflower

Lee Konitz, Phil Woods, Leo Wright, Pony Poindexter – Native Land

Philip Cohran – Unity

Oscar Jerome – Sun For Someone

Wendell Harrison – Take Time Out

Stevie Wonder – Don’t You Worry ‘Bout a Thing

Louise Murray – (Let’s Just) Stay Away

Rene & Angela – I Love You More (Mr. K Edit)

Harold Melvin & The Blue Notes – Wake Up Everybody

The Main Ingredient – Think Positive

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Splendid Isolation 002 with Dom Servini

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Intro

Ike White – Changin’ Times

Lou Bond – To The Establishment

Muriel Grossmann – Rising

U.F.O. – My Foolish Dream feat. Monday Michiru

Dieter Reith – Wives & Lovers

Peggy Lee – Love Song

Bishop Nehru – Me & My Thoughts

Ty – Wait A Minute

Benita – Time For A Change

Kenny Lynch – Half A Day’s Gone And We Haven’t Earned A Penny

Aretha Franklin – Who’s Zoomin’ Who?

Corey Braverman – I Saw The Light

Brass Fever – Time Is Running Out

Portishead – Sour Times

Kaidi Tatham – These Things Will Pass

The Streets – Weak Become Heroes (Ashley Beedle Love Bug Remix)

Lotte Kærså & Græsrødderne – Prov Og Gor Ligesom Jeg ( 33JOY Edit)

Steve Cobby – Dandelion Clocks

Terry Callier – I’d Rather Be With You 

The Isley Brothers – Hello It’s Me

The Milk – Cages

Plantlife – Bottle of Hope (Save The World)

Don Carlos – Alone

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Lea Bertucci: Acoustic Shadows review I John Lewis's contemporary album of the month

(SA Recordings)
This musical piece of civil engineering was assembled from recordings made under a bridge in Cologne

New York composer Lea Bertucci made her name as an unorthodox saxophonist – some of her most compelling performances see her playing alto sax or bass clarinet, using assorted looper pedals and tape effects to create improvisations that are pitched somewhere between the hypnotic drone music of La Monte Young and the ecstatic free jazz of Evan Parker. But her most adventurous work fits into the rather nebulous category of “sound artist”.

For several years, she has been exploring the acoustics of unusual venues, including an underground lake in upstate New York, a nuclear plant in Stockholm and a former military base in Paris. Instead of describing her work as “site-specific” (which implies that a listener needs to be present for it to work) Bertucci prefers “site-responsive”, tapping into each space’s unique acoustic properties. She starts by establishing the “room tone” – the point at which the space resonates – and uses that as the harmonic basis for what she plays.

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by John Lewis via Electronic music | The Guardian

DOM SERVINI’S SPLENDID ISOLATION TEN :: APRIL 2020

1. José Mauro – Apocalipse (Quartin / Far Out LP)

2. The Streets – Weak Become Heroes (Ashley Beedle Love Bug Vocal) (679 12)

3. Hipnotic – Are You Lonely? (Street-Level 12)

4. Natural Four – What’s Happening Here (Curtom)

5. Ike White – Changin’ Times (LAX LP)

6. Horace Silver – Helping Others (Silveto LP)

7. Pressure Drop – Everything ‘ll Be Alright feat. Rob Gallagher & Constantine Weir (LUK LP)

8. The Rance Allen Group – Reason To Survive (Capitol LP)

9. Rachel Sweet – It’s So Different Here (Stiff LP)

10. Roberta Flack – Tryin’ Times (Atlantic LP)

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Yaeji: What We Drew 우리가 그려왔던 review – eclectic electronica

(XL)

Billed as a mixtape, Yaeji’s first full-length album is an uncategorisable treat that surfs the cusp of club music, sickly sweet pop and the blithe menace of Boards of Canada. Formerly a graphic artist and house DJ until she turned to music-making, 25-year-old Kathy Yaeji Lee returned to her native New York after a nomadic childhood, much of it spent in South Korea. Her output combines Korean-language lyrics with hip-hop and gossamer electronic soundtracks. This seriously contemporary amalgam evokes K-pop but has more in common with digital auteurs like Grimes.

The production here is both crisp and sinuous; ethereal indeterminacy trades off with crackling attention to detail. It comes as a shock when the vaporous whispers of In the Mirror unexpectedly segue into a drum’n’bass rattle. Texture really matters to Yaeji. Her close-up vocal delivery on glitchy micro-bangers such as When I Grow Up strives for an ASMR tingle. The Th1ng opens with a percussive loop of her mouthing “ck, ck, ck-ck”. And if the lyrical blind spots just add to this record’s inviting opaqueness (at least, to monolingual listeners), it’s very tempting to mumble along to the Korean flows on skewwhiff hip-hop tracks like Money Can’t Buy.

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by Kitty Empire via Electronic music | The Guardian

One to watch: Jockstrap

The London-based duo serve up retro-tinged experimental pop in a fantastical second EP

Bands often have names that summon up their sound, but not Jockstrap. Far from a macho, musky proposition, they write fantastically eccentric songs that are often about sex. They consist of Georgia Ellery (vocals/violin) and Taylor Skye (vocals/electronics), who met at London’s Guildhall School of Music in 2016 and formed the band a year later.

Jockstrap’s music is experimental pop cast in a retro sheen; ghosts of bygone bands such as Black Box Recorder and Broadcast can be heard in Ellery’s vocals and lyrics. These songs are more radical, wonky things altogether, however. Melodies warp and distort on naive-sounding analogue synthesisers. Rhythms and arrangements shift constantly. Glimmers of hip-hop, techno and rave also lurk in odd corners.

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by Jude Rogers via Electronic music | The Guardian

One to watch: Valentina

The former Hot Chip and Kano vocalist returns with a self-produced EP of timely, gauzy electronica

Valentina is a bit of a secret weapon in the world of indie electronica. The English-Italian artist (surname Pappalardo) has sung on Hot Chip’s return-to-form album, last year’s A Bath Full of Ecstasy, and done backup with lo-fi disco dude Kindness on tour, as well as contributing to rapper Kano’s 2019 album Hoodies All Summer. Her breakthrough moment was in 2011 on Joe Goddard’s big electro-pop summer heater, Gabriel. But instead of turning into a dance music diva, Valentina released 2013’s Wolves EP, a pack of ghostly, Kate Bush-leaning songs.

Now she’s back, with a gauzy electronic-pop sound that suggests Arthur Russell, Tirzah and Jamie xx, and feels more than fitting for the current moment. Her new EP, You Know Where My Happiness Went, is self-produced – she took on the role after breaking up with all the boyfriends who used to do it for her, apparently – and has the undone peculiarity that can only come from having to make it up as you go along. Valentina wrote it while couch-surfing, following the end of a five-year relationship, and, with no equipment, recorded her vocals directly into her laptop, which gives them a submerged quality.

In fact, much of the EP sounds as if she is coming to life after self-imposed quarantine. Like most DIY musicians, what’s next for 2020 remains up in the air, but Valentina is one step further ahead than most: she says that her EP’s title track is about “learning to be alone” and “getting to know and like yourself”, something we all could do with facing up to right now.

You Know Where My Happiness Went is out now

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by Kate Hutchinson via Electronic music | The Guardian

Methyl Ethel, Tropical Fuck Storm, Mama Kin and more: Australian music for isolated times

Each Saturday we add 15 new songs to a Spotify playlist to soundtrack your physical distancing – and help artists you love to get paid

We’ve published a bunch of articles about how the coronavirus crisis has impacted the Australian arts industry. The damage was compounded last week when 49 organisations missed out on Australia Council funding – and compounded again this week, when the federal government denied changes to jobkeeper legislation that would make the benefits more accessible to casual workers and those on short-term contracts (AKA most arts and entertainment workers).

But there are small things you can do. For instance: streaming Australian music.

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by Steph Harmon via Electronic music | The Guardian

New Order: where to start in their back catalogue

In Listener’s Digest, our writers help you explore the work of great musicians. Next up: the band who rose from the ashes of Joy Division to wed guitars and dance music

Power, Corruption & Lies (1983)

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by Dave Simpson via Electronic music | The Guardian

DJ Python: Mas Amable review - deep reggaeton lithe electronica for heart and feet

(Incienso)
Python’s deft, dancefloor-friendly explorations add deep-house chords and ambient susurrations to dembow, to heady effect

From dembow’s influence on Justin Bieber’s Purpose to the rise of international reggaeton superstars J Balvin and Bad Bunny, tresillo rhythms have been a dominant force in pop for a few years now. Dancehall and reggaeton have featured more and more across the global electronic underground circuit, too – yet even here, the music of “deep reggaeton” pioneer Brian Piñeyro stands alone. Producing and DJing as DJ Python, he combines the swinging percussion of reggaeton with deep-house chords and ambient techno textures. It’s a concoction that seems so natural and almost obvious in retrospect, though that notion owes itself to the quality of Piñeyro’s lithe compositions. With an EP, remixes and considerable touring experience in between, this new record follows his 2017 full-length debut to plunge even deeper into the sound.

Structured like a mix, Mas Amable is an album meant for listening all the way through. Piñeyro refers to it as a soup, cooked by taste rather than recipe. This analogy rings true from its beatless beginnings to the various elements intuitively stirred in or stripped out along the way, defining sections beyond the tracklist’s delineations. The record’s first beat is introduced on scratch-heavy roller Pia, then inverted into a teetering stutter on its successor. Introspective, ensnaring lead single ADMSDP features ASMR-like susurrations from guest vocalist LA Warman, rumbled only by the introduction of a bassline reminiscent of Voices from the Lake. Cohesive and seamless, Mas Amable reaches the heart of the rhythm and the soul of the drum, aspiring to a meditative quality and tranquility that almost feels sacred.

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by Tayyab Amin via Electronic music | The Guardian

Laurel Halo's lockdown listening: 'There's this element of human touch'

The electronic musician picks intimate and comforting music to get you through the coronavirus pandemic

I was joking recently that electronic musicians have been self-isolating for years, so we are practiced at this. All my gigs were cancelled, and so time takes on a different quality. There’s something about all of this music I’m listening to that speaks to us slowing down – that speaks to this vacuum of urgency. It’s peaceful, serene, disembodied music to kind of get lost in.

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by Interview by Ben Beaumont-Thomas via Electronic music | The Guardian

No shape: how tech helped musicians melt the gender binary

In new book Glitter Up the Dark: How Pop Music Broke the Binary, Sasha Geffen explores music’s new gender nonconformists - here’s an extract

In the 21st century, the proliferation of internet-equipped consumer electronics enabled a new generation of gender nonconformists to communicate across any distance. Trans kids no longer had to move to New York or San Francisco to speak with others like them; they could use Facebook, Twitter, Tumblr and YouTube to find community. Communication didn’t depend on the presence of the physical body, and even the voice was no longer necessary to speak instantaneously to another person in a different town or a different continent, which was useful if you were trans and still literally finding a voice that felt right in your throat.

Against this cultural backdrop, an increasing number of musicians have begun to make work that unstitches the gendered body from its usual schematic of meaning. In 2010, the Seattle songwriter Mike Hadreas released his debut LP under the name Perfume Genius. He wrote Learning, a raw collection written on piano, while living with his parents and in recovery from drug addiction. The album was quietly popular and Hadreas soon had to figure out how to tour his new songs. He enlisted help from Alan Wyffels, a friend who had taken Hadreas to AA meetings in the early days of his recovery. They proved an excellent musical match, and while playing Hadreas’s songs together, they also fell in love.

Related: Pop star, producer or pariah? The conflicted brilliance of Grimes

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by Sasha Geffen via Electronic music | The Guardian

Splendid Isolation 001 with Dom Servini

Listen here!

Intro

José Mauro – Apocalipse

Horace Silver – Helping Others

Yvon – Mein Künstliches Paradies

The Rance Allen Group – Reason To Survive

Harris Simon Group – Wind Chant

Cleo Sol – Why Don’t You

Lonnie Liston Smith – Visions of a New World (Phase 1)

Eugene McDaniels – Unspoken Dreams of Life

Rotary Connection – Respect

Nick Hakim – Qadir

The Rebirth – This Journey In

Heath Bros. – A Time And A Place (There’s)

Wilma Archer – Cheater feat. Sudan Archives

Brainstorm – Journey To The Light

Hipnotic – Are You Lonely?

Vaughan Mason And Crew – Bounce, Rock, Skate, Roll Pt.1 

MDCL Vs The Police – Stop Bajon / Voices In My Head (Kon Edit)

Pressure Drop – Everything ‘ll Be Alright feat. Rob Gallagher & Constantine Weir

Marc Bélanger – Vacances

Bill Withers – I Can’t Write Left Handed (live at Carnegie Hall)

Roberta Flack – Tryin’ Times

Count Basie – Kilimanjaro

Rachel Sweet – It’s So Different Here

Natural Four – What’s Happening Here

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Dom Servini – Unherd Radio Show #40 on Soho Radio

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Intro

Peter Hunningale – Rocking You Eternally

Cotonete – Layla (Alex Attias Remix)

Hector Plimmer – Joyfulness (Elkka Remix) feat. Alexa Harley

Rabii Harnoune & V.B. Kühl – Traveller (V.B. Kühl Remix)

Delfonic & Kapote – Bomba Rejam

Middle Name Dance Band – Lovers Carnival

Laurent Bardainne & Tigre D’eau Douce – Love is Everywhere

Chip Wickham – Blue to Red

Favourite People – Wading Out

The Devonns – Blood Red Blues (Protest Song)

The Milk – Feels So Good

Lay-Far – Naive

Sarathy Korwar – Birthright (Emanative Remix)

Mulatu Astatke & The Black Jesus Experience – Kulun Mankwaleshi

Kokoroko – Carry Me Home

Kaye – So Much Soul

The Mauskovic Dance Band – Space Drum Machine (Detroit Swindle Remix)

Forest Law – Keep An Eye Out

Clear Path Ensemble – Tall Shorty

Adrian Younge and Ali Shaheed Muhammad – Nao Saia Da Praca feat. Marcos Valle

Little Dragon – New Fiction

Sly5thAve – With You feat. Denitia

Isaac Aesili – Wild feat. Ladi 6

Photay – Warmth in the Coldest Acre

Howard Wales – Huxley’s Howl

Malcolm Strachan – Take Me To The Clouds

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Wah Wah Radio – March 2020

Listen Again Here!

Dele Sosimi Interview Rewind + Exclusive Play of New Track with Medlar!

Mase Vs Audio 2 – Top Billin (PJ Edit)

CK Mann and Carousel 7 – Asafo Beesoun (Daniel Haaksman Edit)

Manu Dibango – Kata Kata

Dele Sosimi Interview with Dom Servini (2015)

Rabii Harnoune & V.B. Kühl – Traveller (Instrumental)

Dele Sosimi x Medlar – Full Moon (World Exclusive)

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Minor Science: Second Language review – expectation-defying beats

(Whities)
Debut album cleverly morphs and melds its 90s palette without sliding into nostalgia, but there are occasional longueurs

The inspiration behind Minor Science’s debut album is one that’s sure to resonate with many of his fellow English-speaking electronic music artists and peers who have relocated to Berlin over the years. Second Language is the result of the producer and DJ’s fascination with language and translation, a byproduct of picking up German (and perhaps his own extensive work with words – many in the scene may first have known Minor Science as dance music journalist Angus Finlayson). He’s been communicating his ideas through sound for some eight years or so, breaking through with off-techno 12-inches for quirky, peripherally club-oriented labels the Trilogy Tapes and Whities. With writing on the backburner and DJing paying the bills, he has one of electronica’s more peculiar and curious albums to show for his transition to the studio.

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by Tayyab Amin via Electronic music | The Guardian

Yaeji: What We Drew 우리가 그려왔던 review – dance music for an existential crisis

(XL Recordings)
Straddling the blurry line between dream pop and DIY house, the Korean-American’s first full-length effort is a diaristic work of startling emotional clarity

Korean-American DJ and producer Yaeji – full name Kathy Yaeji Lee – is the queen of introverted club music. She broke through with her squelchy house track Raingurl in 2017, contrasting a bold bassline with deadpan vocals about her glasses fogging up in the club. On her new mixtape, her first release for XL Recordings, Lee digs even further into her interior landscape, with diaristic, spacious house music on which she sings about subjects like the difficulty of getting out of bed (on the glimmering lead single Waking Up Down). As we enter a nightclub-less era of isolation, she’s timed it eerily well: this is dance music to soundtrack – and soothe – an existential crisis.

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by Aimee Cliff via Electronic music | The Guardian