It’s music out of time, resonating to its own peculiar frequency. It’s not deliberately retro in the manner of many analogue synth revivalists, nor does Phew waste time trying to catch up with the latest trends. This is reflected in the unplaceable character of her current work. Personally speaking, I’ve stopped being able to see a future that extends from the present.” “During the ’80s, and up until the ’90s, things progressed along a line from past to present to future, but I think that’s changed, especially since the start of the 21st century. Phew explains that there’s a loose concept running through the album, relating to the perception of time. ![]() Already well accustomed to working in isolation at home, keeping her voice down in order not to annoy the neighbours, New Decade is a stark and haunted album, populated by voices that intone empty pleasantries in English and Japanese or manifest as wordless shrieks and groans, against a backdrop of fractured, dubbed-out electronics. This has been a guiding principle for Phew in recent years, as she has amassed a body of solo work that melds her signature vocals with febrile, droning synthesisers and drum machines. ![]() Being able to openly express how you’re feeling, in spite of all that, is a sort of privilege you have as a musician or artist, and I felt like I shouldn’t abuse it.” Last year, in particular, just being alive was kind of a lucky state of affairs. Meg Jay The Defining Decadehas sold more than 500,000 copies in all formats and has been translated into more than a dozen languages. “With the situation at the moment, I’ve got it lucky. you can go ahead and party extra hearty two years in a row at the beginning of the next decade: to welcome the thirties on January 1, 2030, and to celebrate the start of. ![]() “I wanted to exclude sentimentality,” she says of New Decade. “Rising to prominence with the art-punk group Aunt Sally before her first solo release in 1981, recorded at Conny Plank’s studio in Cologne with Holger Czukay and Jaki Liebezeit, Phew isn’t about to go soft on us. Iconic Japanese experimentalist Phew returns to Mute for first time in 30 years with a haunted and strung out set of barely-there vox and submerged synths
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