DJ Mag's Top Albums of 2023

By the time December 2022 swung around, there was very little doubt that YBNL newcomer Asake had been the most propulsive voice in Afropop in a year that had seen the genre turn decisively on its head. Asake’s run from earlier in the year, after the breakout of his Olamide-assisted “Omo Ope” led to the release of his enchanting debut album *Mr. Money With the Vibe*, established crowded vocals, futuristic percussive elements, and iridescent amapiano-Fuji fusions as the new framework of Afropop while minting hits like “Sungba,” Terminator,” “Peace Be Unto You,” and “Organise.” Keen to keep his momentum going and further the narrative of his blistering come-up, Asake’s sophomore album, *Work of Art*, coming less than a year after his debut, presents an artist operating at a nearly peerless level. With production still majorly helmed by Magicsticks, the template remains largely the same, but the scale of ambition is stratospheric as Asake aims to present his music as high art. Switching between effervescent live arrangements, jaunty hip-hop-adjacent beats, and classic African samples, the air on *Work of Art* is celebratory and zestful, with the singer’s compelling blend of Yoruba panegyrics and urban slang adding color to songs like “Sunshine” and “Basquiat.” In a throwback to his *Ololade Asake* EP, label boss Olamide makes the only guest appearance here, contributing a standout verse on “Amapiano.” Still, mostly alone, Asake continues to take inspiration from his journey, spreading himself far and wide to channel bleary-eyed optimism on “Lonely at the Top” and hope on “I Believe.” Across these 14 songs, Asake invites us into his new reality and tells his story in vivid Technicolor.

Anyone who’s liked Avalon Emerson’s club music should find the sparkling indie pop of *& the Charm* appealing. The beats are light, the feel is dreamy, and her writing and vocal performance capture the conversational directness that makes great indie pop so casually disarming (“Tell me I got more time/When all my friends are having daughters/Beautiful just like them, of course,” she sings on “Sandrail Silhouette”). But the album’s deeper strength is her ability to explore airy moods through music planted firmly on the ground, whether it’s the midtempo disco of “Astrology Poisoning” or the jazzy swirl of “A Dam Will Always Divide.” Sweet, oxygenating, and genuine.

“I set myself certain parameters,” Joshua Mainnie, aka Barry Can’t Swim, tells Apple Music about his approach to creating his debut album. “I don’t like albums which are too long so it had to be around 10 tracks. And every track needed to flow and blend nicely with the one before. But I had an idea of what I wanted it to sound like before I began and it actually ended up being something completely different.” Building a reputation for creating deeply emotive dance music which pulls at the heartstrings as much as it moves the feet, the Edinburgh-born, London-based producer might have set out with self-imposed limits but his debut pushes further at the boundaries of his sound. Taking influence from everything from Pink Floyd’s *The Dark Side of the Moon* to Dev Hynes’ drum sounds, *When Will We Land?* moves effortlessly from the cinematic title track to the Sébastien Tellier-esque balladry of “Woman” via the joyous piano house of “Sunsleeper.” “Releasing a debut album is the pinnacle of things so far for me,” says Mainnie. “You only ever get to do it once so you really have to put yourself into it. There’s loads of voice recordings of my family and friends in there and I hope it works as the perfect snapshot of me as an artist right now.” Here, he takes us through that portrait, track by track. **“When Will We Land?”** “This started with me wanting to write a tune in an odd time signature. I was inspired by Pink Floyd’s *The Dark Side of the Moon* on the album and there’s a lot of odd time signatures on that. Most dance music is in 4/4 but this track’s in 7/4. There’s also little nods to space and interstellar stuff on the samples in there.” **“Deadbeat Gospel” (feat. somedeadbeat)** “This has quite a mad story. I was playing a show in Dublin and a friend from uni, who I hadn’t seen for a few years, came along. After the show, we were sitting by the canal having a wee drink and he just started reciting this poem about our time going clubbing during uni. I was like, ‘Wait, stop!’ I got my phone out and recorded it straightaway thinking it would be brilliant to use as a sample. I chopped it up and put it over this beat which is a bit more upbeat than the opening track. I was inspired quite a lot by the Arab Strap track ‘The First Big Weekend’ and I think both songs are about how your early clubbing experiences can be quite religious.” **“Sonder”** “‘Sonder’ is on my *More Content* EP from 2022 and it’s probably my favorite tune I’ve made so I really wanted it on the album. It’s a really emotive track and one people seem to get quite emotionally attached to. I didn’t want to fill the record with loads of music that had already been released but I felt this really needed to be on there.” **“How It Feels”** “This track was originally intended to be a short interlude but when I played it to the record company, they felt it was one of the strongest tracks and asked me to flesh it out. It came together effortlessly. I started it and it was finished in two hours, and there’s a certain magic when a track comes together that easily and just clicks.” **“Sunsleeper”** “‘Sunsleeper’ is the first single from the album and I feel like it’s the one people want to hear when they come and see me play. It gets a massive reaction. I went into it with the intention of making a big, bouncy, piano house tune—and that’s exactly what I ended up with.” **“Woman”** “I started this track with a vocal sample but it became difficult to clear. So I got in touch with Låpsley and she recorded this amazing vocal which sounds 10 times better than the original sample. It’s quite downtempo and chilled and I’d been listening to a lot of late-’90s electronic music. I think an album needs these more chilled, reflective moments to break things up.” **“I Won’t Let You Down” (feat. Falle Nioke & Blackboxx)** “This is another track where I wanted to incorporate elements of my friends into it. I sampled a good friend of mine called Blackboxx, who I studied music with at uni. He had this tune with a really beautiful opening section and I sampled it and put some breakbeat in there and ’90s-style drums. I’d been listening to things like Moby and The Brian Jonestown Massacre. Then Blackboxx pulled the sample so we could feature him on the track instead. I’d been sent some a cappellas from an artist called Falle Nioke who’s from \[Republic of\] Guinea in Africa but lives in Margate \[on England’s Southeast coast\] now. I chopped one of them up and it just worked beautifully over the beat.” **“Always Get Through to You”** “Originally, this track was going to feature a sample of ‘Nobody Knows’ by Pastor T.L. Barrett \[& The Youth for Christ Choir\]. I’d been sitting on the sample for four years and by complete coincidence, on the day I sent the track to Ninja Tune, Loyle Carner released his track ‘Nobody Knows (Ladas Road),’ which features the exact same sample! Obviously, I couldn’t use it after that or everyone’s going to think I’m just copying him so I recorded something similar with a choir and reworked the whole track. Originally, I was going to use a rapper on the track but once I’d recorded with the choir, we ended up with this amazing lead vocal instead.” **“Tell Me What You Need” (feat. just lil)** “This tune started during a session with Biig Piig. I came in to write some music for her and we wrote this tune together. By the time it came to think about releasing it, she’d already done a lot of collaborations so it didn’t quite work out, but I reached out to \[UK artist\] just lil, who did a brilliant job of rerecording the vocals. Stylistically, the track’s quite influenced by Dev Hynes. I’d been listening a lot to ‘Everything is Embarrassing,’ the track he did with Sky Ferreira. He does an amazing job of sampling these old drum loops from the ’80s, but then layering them with effects and textures, so they have this amazing modern sound that harks back to music from an earlier era.” **“Dance of the Crab”** “This track samples a song called ‘A Gira’ by a Brazilian group called Trio Ternura. I’ve been a fan for ages and played it in my sets loads. Originally, I just wanted to sample it and make a track to play in my DJ sets but it turned out really well. My manager \[tracked\] down the writer’s granddaughter on Facebook and we managed to get in touch with him to clear it through that. It’s amazing because they’re all guys in their eighties in a tiny village in Brazil somewhere, but now they know their song has this other life. I was listening to a lot of amapiano at the time too, which fed into the track stylistically.” **“Define Dancing”** “This is the first track I wrote for the album and indicates what I originally intended the album to be. In the end, it generally went in a different direction but I wanted it to be a bit psychedelic but also have this really emotive, floaty darkness underpinning everything. *The Dark Side of the Moon* and *In Colour* by Jamie xx were key touchpoints for this track. I put this as the final track as it feels like a really rewarding, emotive moment and ends the journey really nicely if you’ve come all the way to the end.”

“You can feel a lot of motion and energy,” Caroline Polachek tells Apple Music of her second solo studio album. “And chaos. I definitely leaned into that chaos.” Written and recorded during a pandemic and in stolen moments while Polachek toured with Dua Lipa in 2022, *Desire, I Want to Turn Into You* is Polachek’s self-described “maximalist” album, and it weaponizes everything in her kaleidoscopic arsenal. “I set out with an interest in making a more uptempo record,” she says. “Songs like ‘Bunny Is a Rider,’ ‘Welcome to My Island,’ and ‘Smoke’ came onto the plate first and felt more hot-blooded and urgent than anything I’d done before. But of course, life happened, the pandemic happened, I evolved as a person, and I can’t really deny that a lunar, wistful side of my writing can never be kept out of the house. So it ended up being quite a wide constellation of songs.” Polachek cites artists including Massive Attack, SOPHIE, Donna Lewis, Enya, Madonna, The Beach Boys, Timbaland, Suzanne Vega, Ennio Morricone, and Matia Bazar as inspirations, but this broad church only really hints at *Desire…*’s palette. Across its 12 songs we get trip-hop, bagpipes, Spanish guitars, psychedelic folk, ’60s reverb, spoken word, breakbeats, a children’s choir, and actual Dido—all anchored by Polachek’s unteachable way around a hook and disregard for low-hanging pop hits. This is imperial-era Caroline Polachek. “The album’s medium is feeling,” she says. “It’s about character and movement and dynamics, while dealing with catharsis and vitality. It refuses literal interpretation on purpose.” Read on for Polachek’s track-by-track guide. **“Welcome to My Island”** “‘Welcome to My Island’ was the first song written on this album. And it definitely sets the tone. The opening, which is this minute-long non-lyrical wail, came out of a feeling of a frustration with the tidiness of lyrics and wanting to just express something kind of more primal and urgent. The song is also very funny. We snap right down from that Tarzan moment down to this bitchy, bratty spoken verse that really becomes the main personality of this song. It’s really about ego at its core—about being trapped in your own head and forcing everyone else in there with you, rather than capitulating or compromising. In that sense, it\'s both commanding and totally pathetic. The bridge addresses my father \[James Polachek died in 2020 from COVID-19\], who never really approved of my music. He wanted me to be making stuff that was more political, intellectual, and radical. But also, at the same time, he wasn’t good at living his own life. The song establishes that there is a recognition of my own stupidity and flaws on this album, that it’s funny and also that we\'re not holding back at all—we’re going in at a hundred percent.” **“Pretty in Possible”** “If ‘Welcome to My Island’ is the insane overture, ‘Pretty in Possible’ finds me at street level, just daydreaming. I wanted to do something with as little structure as possible where you just enter a song vocally and just flow and there\'s no discernible verses or choruses. It’s actually a surprisingly difficult memo to stick to because it\'s so easy to get into these little patterns and want to bring them back. I managed to refuse the repetition of stuff—except for, of course, the opening vocals, which are a nod to Suzanne Vega, definitely. It’s my favorite song on the album, mostly because I got to be so free inside of it. It’s a very simple song, outside a beautiful string section inspired by Massive Attack’s ‘Unfinished Sympathy.’ Those dark, dense strings give this song a sadness and depth that come out of nowhere. These orchestral swells at the end of songs became a compositional motif on the album.” **“Bunny Is a Rider”** “A spicy little summer song about being unavailable, which includes my favorite bassline of the album—this quite minimal funk bassline. Structurally on this one, I really wanted it to flow without people having a sense of the traditional dynamics between verses and choruses. Timbaland was a massive influence on that song—especially around how the beat essentially doesn\'t change the whole song. You just enter it and flow. ‘Bunny Is a Rider’ was a set of words that just flowed out without me thinking too much about it. And the next thing I know, we made ‘Bunny Is a Rider’ thongs. I love getting occasional Instagram tags of people in their ‘Bunny Is a Rider’ thongs. An endless source of happiness for me.” **“Sunset”** “This was a song I began writing with Sega Bodega in 2020. It sounded completely nothing like the others. It had a folk feel, it was gypsy Spanish, Italian, Greek feel to it. It completely made me look at the album differently—and start to see a visual world for them that was a bit more folk, but living very much in the swirl of city life, having this connection to a secret, underground level of antiquity and the universalities of art. It was written right around a month or two after Ennio Morricone passed away, so I\'d been thinking a lot about this epic tone of his work, and about how sunsets are the biggest film clichés in spaghetti westerns. We were laughing about how it felt really flamenco and Spanish—not knowing that a few months later, I was going to find myself kicked out of the UK because I\'d overstayed my visa without realizing it, and so I moved my sessions with Sega to Barcelona. It felt like the song had been a bit of a premonition that that chapter-writing was going to happen. We ended up getting this incredible Spanish guitarist, Marc Lopez, to play the part.” **“Crude Drawing of an Angel”** “‘Crude Drawing of an Angel’ was born, in some ways, out of me thinking about jokingly having invented the word ‘scorny’—which is scary and horny at the same time. I have a playlist of scorny music that I\'m still working on and I realized that it was a tone that I\'d never actually explored. I was also reading John Berger\'s book on drawing \[2005’s *Berger on Drawing*\] and thinking about trace-leaving as a form of drawing, and as an extremely beautiful way of looking at sensuality. This song is set in a hotel room in which the word ‘drawing’ takes on six different meanings. It imagines watching someone wake up, not realizing they\'re being observed, whilst drawing them, knowing that\'s probably the last time you\'re going to see them.” **“I Believe”** “‘I Believe’ is a real dedication to a tone. I was in Italy midway through the pandemic and heard this song called ‘Ti Sento’ by Matia Bazar at a house party that blew my mind. It was the way she was singing that blew me away—that she was pushing her voice absolutely to the limit, and underneath were these incredible key changes where every chorus would completely catch you off guard. But she would kind of propel herself right through the center of it. And it got me thinking about the archetype of the diva vocally—about how really it\'s very womanly that it’s a woman\'s voice and not a girl\'s voice. That there’s a sense of authority and a sense of passion and also an acknowledgment of either your power to heal or your power to destroy. At the same time, I was processing the loss of my friend SOPHIE and was thinking about her actually as a form of diva archetype; a lot of our shared taste in music, especially ’80s music, kind of lined up with a lot of those attitudes. So I wanted to dedicate these lyrics to her.” **“Fly to You” (feat. Grimes and Dido)** “A very simple song at its core. It\'s about this sense of resolution that can come with finally seeing someone after being separated from them for a while. And when a lot of misunderstanding and distrust can seep in with that distance, the kind of miraculous feeling of clearing that murk to find that sort of miraculous resolution and clarity. And so in this song, Grimes, Dido, and I kind of find our different version of that. But more so than anything literal, this song is really about beauty, I think, about all of us just leaning into this kind of euphoric, forward-flowing movement in our singing and flying over these crystalline tiny drum and bass breaks that are accompanied by these big Ibiza guitar solos and kind of Nintendo flutes, and finding this place where very detailed electronic music and very pure singing can meet in the middle. And I think it\'s something that, it\'s a kind of feeling that all of us have done different versions of in our music and now we get to together.” **“Blood and Butter”** “This was written as a bit of a challenge between me and Danny L Harle where we tried to contain an entire song to two chords, which of course we do fail at, but only just. It’s a pastoral, it\'s a psychedelic folk song. It imagines itself set in England in the summer, in June. It\'s also a love letter to a lot of the music I listened to growing up—these very trance-like, mantra-like songs, like Donna Lewis’ ‘I Love You Always Forever,’ a lot of Madonna’s *Ray of Light* album, Savage Garden—that really pulsing, tantric electronic music that has a quite sweet and folksy edge to it. The solo is played by a hugely talented and brilliant bagpipe player named Brighde Chaimbeul, whose album *The Reeling* I\'d found in 2022 and became quite obsessed with.” **“Hopedrunk Everasking”** “I couldn\'t really decide if this song needed to be about death or about being deeply, deeply in love. I then had this revelation around the idea of tunneling, this idea of retreating into the tunnel, which I think I feel sometimes when I\'m very deeply in love. The feeling of wanting to retreat from the rest of the world and block the whole rest of the world out just to be around someone and go into this place that only they and I know. And then simultaneously in my very few relationships with losing someone, I did feel some this sense of retreat, of someone going into their own body and away from the world. And the song feels so deeply primal to me. The melody and chords of it were written with Danny L Harle, ironically during the Dua Lipa tour—when I had never been in more of a pop atmosphere in my entire life.” **“Butterfly Net”** “‘Butterfly Net’ is maybe the most narrative storyteller moment on the whole album. And also, palette-wise, deviates from the more hybrid electronic palette that we\'ve been in to go fully into this 1960s drum reverb band atmosphere. I\'m playing an organ solo. I was listening to a lot of ’60s Italian music, and the way they use reverbs as a holder of the voice and space and very minimal arrangements to such incredible effect. It\'s set in three parts, which was somewhat inspired by this triptych of songs called ‘Chansons de Bilitis’ by Claude Debussy that I had learned to sing with my opera teacher. I really liked that structure of the finding someone falling in love, the deepening of it, and then the tragedy at the end. It uses the metaphor of the butterfly net to speak about the inability to keep memories, to keep love, to keep the feeling of someone\'s presence. The children\'s choir \[London\'s Trinity Choir\] we hear on ‘Billions’ comes in again—they get their beautiful feature at the end where their voices actually become the stand-in for the light of the world being onto me.” **“Smoke”** “It was, most importantly, the first song for the album written with a breakbeat, which inspired me to carry on down that path. It’s about catharsis. The opening line is about pretending that something isn\'t catastrophic when it obviously is. It\'s about denial. It\'s about pretending that the situation or your feelings for someone aren\'t tectonic, but of course they are. And then, of course, in the chorus, everything pours right out. But tonally it feels like I\'m at home base with ‘Smoke.’ It has links to songs like \[2019’s\] ‘Pang,’ which, for me, have this windswept feeling of being quite out of control, but are also very soulful and carried by the music. We\'re getting a much more nocturnal, clattery, chaotic picture.” **“Billions”** “‘Billions’ is last for all the same reasons that \'Welcome to My Island’ is first. It dissolves into total selflessness, whereas the album opens with total selfishness. The Beach Boys’ ‘Surf’s Up’ is one of my favorite songs of all time. I cannot listen to it without sobbing. But the nonlinear, spiritual, tumbling, open quality of that song was something that I wanted to bring into the song. But \'Billions\' is really about pure sensuality, about all agenda falling away and just the gorgeous sensuality of existing in this world that\'s so full of abundance, and so full of contradictions, humor, and eroticism. It’s a cheeky sailboat trip through all these feelings. You know that feeling of when you\'re driving a car to the beach, that first moment when you turn the corner and see the ocean spreading out in front of you? That\'s what I wanted the ending of this album to feel like: The song goes very quiet all of a sudden, and then you see the water and the children\'s choir comes in.”

Nigerian superstar Davido has turned the pursuit of exhilaration into high art throughout his career. Much of the singer’s decade-plus reign at the top of Afropop has been spent in the construction of rapturous moments when the barrier between music, audience, and performer explodes into white-hot moments of manic ecstasy. Every album release has felt like a furtherance of that quest. He announced his arrival on the scene with 2012’s *Omo Baba Olowo*, a swashbuckling cache of songs that presented him as an iconoclastic figure with a dream of reshaping the genre’s defined order. On his sophomore LP, *A Good Time*, Davido reflected on his rising global profile vis-à-vis Afropop’s western push, while album number three, *A Better Time*, stood out as a beacon of light from the lonesome, uncertain moodscape of 2020’s COVID-19 disruptions. As with all success stories, these moments of elation and escape have come with prickly instances of sorrow and pain. *Timeless*, Davido’s highly anticipated fourth album, follows a period of such intensely personal losses and an extended retreat from the public eye after the tragic passing of his son in 2022. Across *Timeless*’s 17 tracks, Davido responds with an elder’s acceptance, prioritizing soothing self-preservation over blinding euphoria and returning with songs that are as measured as they are assured of his success over whatever forces might arise against him. The opening song, “OVER DEM,” takes a reference from the biblical story of David and Goliath to make a point about his inevitable rise, hinting at an introspective turn from Afropop’s premier party-starter. Other songs like “GODFATHER,” “AWAY,” and “LCND” offer a glimpse into the singer’s id as he dissects pain, seeks healing, and comes to terms with his titanic profile. However, *Timeless* is not only about drawing strength to go on; there are more of the romantic slappers that Davido has made a stock-in-trade (“NO COMPETITION” and “FOR THE ROAD”) as well a bouncy hip-hop-influenced collab with grime don Skepta (“U \[JUJU\]”) before things round up with the fiery “Champion Sound.” Overall, *Timeless* is an instructive look into the life of a phenom who has dealt with the darkest of times and come out raring to go again.

For James Blake, making his sixth album felt like going home. Since emerging as a post-dubstep trailblazer in 2010, the electronic producer from the outskirts of London has explored a realm of different sounds including minimalist pop, trap beats, stark ballads, sparse chamber music, digitalized experimentation, and more, all while becoming a go-to collaborator for a wave of game-changing artists (Kendrick Lamar, Frank Ocean, Beyoncé, and Dave among them). On *Playing Robots Into Heaven*, though, he reconnects with the club sounds that fueled his early work—and a side of himself he felt compelled to tap back into. “It felt like, ‘Oh, I’m going to do the thing that I do really easily,’” Blake tells Apple Music. “Writing songs is definitely something I love doing, but it doesn’t come naturally to me. It’s really rewarding and challenging, but not my most natural thing. I think probably my most natural thing is collaging shit together.” That’s the approach Blake employs on *Playing Robots Into Heaven*, a captivating record where twisted loops and warped samples intertwine with the melancholic warmth of Blake’s trademark piano chords, hypnotic hooks, and heavily treated vocals. Following a loose narrative arc of a night out raving—taking in the euphoric thrills, spills, ups, downs, and return to reality—it’s a heady trip. Creating it, Blake realized that putting yourself through the wringer to make a record doesn’t have to be the mark of a serious artist. “What I learned was that the feeling of ‘Is this too easy?’ is actually a good feeling,” he says. “It means you’re onto something, it means you are doing something right.” Blake is in his element on *Playing Robots Into Heaven*—and here, he guides us through it, track by track. **“Asking to Break”** “I made this with \[Mount Kimbie’s\] Dom Maker. He started it off with a loop of me playing piano and singing, which is the first thing you hear. The refrain and the song came from that. It happened pretty naturally, pretty quickly. I’m not sure what word it is that the chord sequence evokes, but it evokes something. It doesn’t really happen on the rest of the songs. It’s unique to the album. I like this song as an opener just because it’s not exactly rave-y, but it’s sort of giving you a little nudge in that direction.” **“Loading”** “The whole album is the arc of a rave, basically, or the arc of maybe some kind of drug experience that includes a high and a comedown. ‘Asking to Break’ sets that up and then ‘Loading’ starts to bring you up into more of that place, \[with\] a little bit more euphoria. That’s why I liked it as a second tune. It’s not crazy hyped, but it’s suggesting it and you get that big release at the end. Again, I collaborated with Dom on this one. He made the loop that you hear at the beginning and then we bounce off each other really well.” **“Tell Me”** “‘Tell Me’ started on the tour bus. Me and Rob \[McAndrews, co-producer and Blake’s live guitarist\] were messing about with modular stuff and we ended up with a thing we really liked. There’s actually a video of us playing an early version of it, just bobbing our heads on the tour bus. We’ve got nothing else to do, we’re just eating peanut butter and drinking shit coffee and making stuff on this thing. I knew this had that transcendent wave vibe about it and it felt like a perfect one for the record.” **“Fall Back”** “I had a little modular jam I was working on. Yaw Evans is a producer from South London and I discovered him because he was remixing old grime a cappellas but using old hardware, and it was kind of unusual. I messaged him like, ‘Hey, I love what you do and it’s inspiring to me because I’m doing something a bit similar. Do you want to send me any ideas because I’d love to incorporate what you do into a song?’ Two of them ended up being on the record. One was the drums on ‘Fall Back,’ which I then manipulated a bit to bring it into that world. It’s got echoes of Burial but also maybe more traditional garage stuff. The way he programmed was different and maybe better than something I could do so I was just like, ‘Well, let’s use that.’ It could have been a case of like, ‘Oh, these drums are cool, I’ll do something like them,’ but I don’t really do that. I like to get it from the source.” **“He’s Been Wonderful”** “I actually remember playing an early version of this on Radio 1 about seven years ago. I ended up playing it out a lot at my 1-800 Dinosaur \[club nights\] back in the day but also the CMYK nights that I’ve been putting on—I’d be playing it every set. This song doesn’t feature my voice. I think the thing that some people might find odd about this record is that there are a couple of tracks where I’m not singing and it’s a sample of someone else. But there was a bonus on *Overgrown* that had Big Boi samples on it, ‘Every Day I Ran,’ so I’ve done it before.” **“Big Hammer”** “When I put this out as the first single, I was like, ‘This is the only way to make it clear that this record’s going to be different.’ Some of the other songs might have just been seen as slightly different James Blake tracks but this one was like, ‘OK, people aren’t really going to know what’s going to happen next,’ and that’s what I wanted. I sampled \[Hackney’s proto-jungle adventurers\] The Ragga Twins, who were a huge voice for me growing up. They’d either be at the things I was going to, or they’d be in the tracks of the DJs I was listening to. They were a big influence and when I sampled them, the tune just felt like, ‘Now I’ve got it, now it’s done.’ They brought the energy that the tune had without actually even being there.” **“I Want You to Know”** “This again is something that started with Yaw Evans’ drums. I was in a studio in Los Angeles and I was playing chords over it, just seeing what I could find. I ended up writing a little bit over it and then there was a moment where the only melody I could hear over this song was the Pharrell line from the end of Snoop Dogg’s ‘Beautiful.’ I was listening to it in the control room and once I’d sung it out loud, I was like, ‘Oh no, there is no better melody than that, that’s the only thing.’ It was like, ‘All right, let’s hope they clear it.’” **“Night Sky”** “This is now the arc downwards. We’re starting to really wind down. It’s a pretty odd piece of music. I really love the strange Gregorian-sounding shit at the end where you don’t really know what it is, whether it’s a voice or whatever, but it sounds haunting. I made it with Rob again. We started it together at my house with modular stuff. Those weird voices at the beginning, that’s all me put through some technology. I thought it created the perfect ladder down back to Earth.” **“Fire the Editor”** “The editor in this case is yourself and your self-censorship, and when you’re not truly saying what it is you want to say, or you are saying a version of it but not the whole thing. It’s a tough place to be. It’s a rallying cry to a freedom of thought and personal freedom. There’s a lyric in this song I really love: ‘If I see him again, we’ll be having words.’ There’s something a little bit confrontational about it, but the idea is that it’s setting you free at this moment in the album.” **“If You Can Hear Me”** “This is a letting go sort of song, too—a letting go of the constant pursuit of something, the pursuit of success or the pursuit of music, or the pursuit of whatever it is in your own life. It was actually written at the time of the movie *Ad Astra*, because I was writing something for it which ended up not being used. It was written to the scene where he finally communicates with his father who’s out in space and who might never come back. I think that in some way it’s a nice metaphor for how we go on our own path compared to our parents or maybe our father, in this case. We are trying to go as far as we can in a certain direction without getting lost and hopefully not repeating the same mistakes they did, but also learning from what they got right.” **“Playing Robots Into Heaven”** “The title *Playing Robots Into Heaven* came from an Instagram post where I’d made this jam on a modular synth. For some reason the phrase ‘The organist that plays robots into heaven’ is what came to mind because that’s just what it sounded like for me. This is the track that I posted on my Instagram during the pandemic and it’s on the album in full without any modification, exactly the piece that started the album off. Again, it’s bringing you all the way down back to Earth.”

Karyendasoul’s *We Live 4 Our Music* deftly marries elements of Afrohouse, tech and electronic music into a sonic tapestry crafting companions to moments of healing and soundtracking romantic club nights while rhythmically capturing the idyllic landscapes of his native Eastern Cape. Across 10 enthralling tracks the prolific producer and DJ enlists a range of vocalists to animate his eclectic soundscapes, with appearances by Simmy, Sai Hle, Miči, Jordan Arts and Grammy Award-winning Zakes Bantwini complimenting the romance-embracing “Umthandazo” alongside Ami Faku and dancefloor-geared “Juba” with Sykes while “Jacaranda”—in tandem with Msaki—serves as a poetic letter to a lover and the artists’ shared hometown eNqgamakhwe. Here, Karyendasoul (Bonga Ntozini) talks us through the themes, inspirations and sonics of his multilayered debut album. **The Title & Artwork** “The name of my record label is *We Live 4 Our Music*. I’ve been wanting to launch the label for a while now so this is a way of announcing that moving onwards this is where Karyendasoul’s music is going to be coming from. That’s the idea I had for the artwork, which we went inside a lake to shoot. I thought about the sky being clear and going into the water to cleanse myself and accept this new beginning. I’m starting a new journey and I was intentional with the sounds… intentional with the collaborations.” **The Sounds** “My thing was trying to show the listeners how diverse I am as a producer. I’m not just an Afrohouse or techno producer that can only make these dance sounds. I was trying to expose my musicality by combining a lot of different genres on one song but also in the whole project. A whole lot of different sounds come together to define who Karyendasoul is, so there’s a bit of soul, dance and club melodies. We’re trying to popularise this Afrohouse sound and find a way to bring the people of Africa closer with soulfulness, sing-alongs and making the songs relatable. I wanted to challenge myself and work with songwriters who do different genres but who I felt would be fitting for this sound.” **The Collaborations** “All the collaborations are my favourites ‘cause I worked with everyone I’m a fan of. I did “Waves Of Mercy” with Miči who’s Zimbabwe-born but based between London and Amsterdam. I think she’s such an amazing writer and vocalist, just like Sykes who I met in \[KwaZulu-Natal\]. With Jordan Arts we collaborated during lockdown after I bumped into one of his songs online and sent him a DM—this was even before I started working on the album. Zakes and I are always in sync in the studio, and I felt that with Simmy too. She’s a very soulful vocalist and I wanted to touch on that soulfulness but take her straight to Tomorrowland. “There was something that kept coming up after I released my last EP \[2021’s *Imizamo*\]: most of the vocals were in Zulu, so people thought I was from Durban. Same thing happened when I was in Jozi and people thought I was from Limpopo, because all the good house sounds were coming from Polokwane producers! So I also wanted to go with who I feel are the biggest songwriters from the Eastern Cape, Ami Faku and Msaki, to embrace isiXhosa in my sound.” **The Process** “I grew up in an era where albums were 10 or 12 songs at most. People at home would play the album from track 1 to 10 and the songs never made sense if you skipped because of how they were mixed. It used to be like a whole journey on one CD, and that’s what I wanted to create with how these songs are compiled. The crazy part is I don’t listen to a lot of dance music before I create. I’ll listen to electronica and R&B just to be in a creative space. Most of the time I start with drums but there’s some songs like ‘Jacaranda’ where I started with the chord progression and it built up to everything else. The drums lead me to where I’m gonna go, whether it\'s mellow or more of a club vibe. In terms of my approach, the vocals and the soulful \[elements\] are from my choral background and the days in the Eastern Cape.” **The Essence Of Home** “Church is something that’s a big part of my identity as a producer without me even realising it. There’s always singing at every gathering and we use music to escape in the village ‘cause there’s not so much happening. Back at home there was always a big crowd of people singing together and it’s a \[choral\] vibe. You’ll see that there’s a lot of that in my songs now, where it’s one person singing but there’s a lot of vocals stacked together. That takes you to a different dimension I can’t even explain. These songs were recorded in Durban and Joburg but I was travelling a lot, so the beats were made there and between my travels to Europe and Asia. The sound is well received over there but it doesn’t make sense to travel and feel like home is for holidays, so having the drums, something soulful and something electronic in the sound is intentional. As Africans the drum rhythm is something we have in our souls, but I grew up listening to electronic music and that’s part of my identity, so combining these things is what defines me.” **The Spiritual** “I started as a DJ and just found myself making music—going into production isn’t something I planned. I even thought the production software I was using was for DJing until a friend told me it\'s for *making* music! I think music itself is very spiritual, and whenever I wanted to be in my zone I’d go to it. It’s never intentional that I want a song to go a certain direction but it happens and I think that’s the spiritual part of it… the heavens know what they’re doing! I feel like a preacher that\'s been sent to preach a certain gospel. The church is a gathering and when you get to the dancefloor, it’s also a gathering where we’re preaching music.”

The nearly six-year period Kelela Mizanekristos took between 2017’s *Take Me Apart* and 2023’s *Raven* wasn’t just a break; it was a reckoning. Like a lot of Black Americans, she’d watched the protests following George Floyd’s murder with outrage and cautious curiosity as to whether the winds of social change might actually shift. She read, she watched, she researched; she digested the pressures of creative perfectionism and tireless productivity not as correlatives of an artistic mind but of capitalism and white supremacy, whose consecration of the risk-free bottom line suddenly felt like the arbitrary and invasive force it is. And suddenly, she realized she wasn’t alone. “Internally, I’ve always wished the world would change around me,” Kelela tells Apple Music. “I felt during the uprising and the \[protests of the early 2020s\] that there’s been an *external* shift. We all have more permission to say, ‘I don’t like that.’” Executive-produced by longtime collaborator Asmara (Asma Maroof of Nguzunguzu), 2023’s *Raven* is both an extension of her earlier work and an expansion of it. The hybrids of progressive dance and ’90s-style R&B that made *Take Me Apart* and *Cut 4 Me* compelling are still there (“Contact,” “Missed Call,” both co-produced by LSDXOXO and Bambii), as is her gift for making the ethereal feel embodied and deeply physical (“Enough for Love”). And for all her respect for the modalities of Black American pop music, you can hear the musical curiosity and experiential outliers—as someone who grew up singing jazz standards and played in a punk band—that led her to stretch the paradigms of it, too. But the album’s heart lies in songs like “Holier” and “Raven,” whose narratives of redemption and self-sufficiency jump the track from personal reflections to metaphors for the struggle with patriarchy and racism more broadly. “I’ve been pretty comfortable to talk about the nitty-gritty of relationships,” she says. “But this album contains a few songs that are overtly political, that feel more literally like *no, you will not*.” Oppression comes in many forms, but they all work the same way; *Raven* imagines a flight out.

Two of hip-hop’s most prolific contemporary artists, laidback rapper Larry June and production vet The Alchemist, seem to have plotted *The Great Escape* for some time. If prior co-credited appearances on projects by mutuals Curren$y and Jay Worthy signaled their clear studio chemistry, 2022’s *Spaceships on the Blade* standout “Breakfast in Monaco” left little to no doubt that the two absolutely needed to drop a proper album together. Following the anticipatory loosie teases of “60 Days” and “89 Earthquake,” this 15-track effort exceeds expectations by formally bringing June’s entrepreneurial ethos of health and wealth into ALC’s unparalleled sonic world-building. Visions of luxury cars, presidential suites, and, of course, fresh-squeezed orange juice run through June lyrics over the grind dates “Porsches in Spanish” and “Turkish Cotton.” The pair’s no-expense-spared journey takes them to Detroit, where Boldy James spits confidently through a perpetual snarl on “Art Talk” and Big Sean speaks on the long game with unapologetic frankness on “Palisades, CA.” Elsewhere, East Coast renaissance man Action Bronson drops a dizzyingly reference-heavy verse on the jazz-infused “Solid Plan,” while Wiz Khalifa elucidates his core values on the psychedelic soul-powered “What Happened to the World?”

“When it came to my debut album, I wanted to give more musicality to the songs—to make B-sides as well as bangers,” LP Giobbi (aka Leah Chisholm) tells Apple Music. “It’s a record dedicated to my parents, who showed me the power of music to spread love and joy.” On *Light Places*, the Oregon-born, LA-based DJ/producer weaves her influences with a remarkable dexterity and depth, mixing the liberating vibes of the Grateful Dead—you’ll often see her performing in tie-dye—with dazzling piano and house thump. After studying jazz at UC Berkeley, Giobbi released her debut single in 2018 and has since become renowned for her shows, which combine DJing with the emotive melodies of her live instrumentation. Supporting the likes of duo Sofi Tukker, Fatboy Slim, and Pete Tong, Giobbi has become a staple on the world’s largest dance floors while also pushing for greater gender parity with her mentoring organization Femme House. Here, she talks through how the songs on her first LP came to be. **“Intro: Mother”** “When I’m warming up on the piano, I always play ‘Peace Piece’ by Bill Evans as it’s such a beautiful composition and only two chords. I was in the studio playing around one day and recorded this warm-up, which immediately felt like the perfect intro for the album. It puts the piano front and center, and sets the tone for the album being songs that aren’t all written for the dance floor.” **“If Love Is a Skill” (feat. Sofi Tukker)** “It’s only right that Sofi Tukker open and close the record with their two features as they are the people who first believed in me and released my earliest music. I opened for them on their debut US headline tour and pretty much learned to DJ by playing in front of their crowds night after night. We were in the studio, working on something that wasn’t quite coming together, and so I played them the instrumental for ‘If Love Is a Skill,’ and Sophie was so inspired, she grabbed my iPhone and sang this vocal straight into the mic. It was flowing out of her, and that became the track.” **“Can’t Let You Go” (feat. Little Jet)** “I’m a jam-band kid, so I love working with groups and people outside of the dance space. Little Jet is this great psych-rock band from LA who I wanted to collaborate with, and I ended up sending them this instrumental, the first tune I’d written that wasn’t 120 BPM or above. We went back and forth working on this track, and it was a real joy creating something new.” **“All I Need (Interlude)”** “I had just finished a tour in Mexico, and I celebrated with my tour manager by taking a boat out and having a little party. The next day, he got a voice note from his grandma Shirley congratulating him, and it was just the sweetest thing I’d ever heard. I knew I had to get it on the record and build a whole song around it.” **“All I Need”** “The main song is me just trying to do justice to the mood and feeling of Shirley’s voice. I also added in a vocal sample that I fell in love with from my publishing group’s audio library. I wrote around those two influences, and the title just came simply from the words that the sample repeats.” **“Another Life” (feat. Caroline Byrne)** “I discovered Caroline through Femme House when I was asked to mentor her. At the end of our session, she asked if she could share some demos, and they were incredible. I knew we had to work together, and she ended up sending me this vocal idea, which formed the basis for ‘Another Life.’ It was the hardest song on the record to finish because it could have gone in so many different directions—it could be a huge pop song, but I settled on the middle ground. I hope it gets a good remix!” **“Georgia”** “I dreamt that I was jamming with Jimi Hendrix, and he was ripping a guitar solo over these tom fills. I knew I had to pursue the idea when I woke up, so I recorded a drummer in LA and then paired a great bassline with it, as no one else can play like Jimi. The title comes from the chorus of Justin Bieber’s ‘Peaches’ because I was listening to it on the way to the studio.” **“Follow the Loop” (feat. Le Chev)** “I was asked to work on a Grateful Dead remix project and even played some of their after-parties on tour, which was an insane experience. The remix was a great way to fit guitars into dance music, and for this track, I started with one note from a Grateful Dead guitar line and repitched it and replaced it until this loop happened, which I just couldn’t stop playing and following through the song.” **“Feels Just Like it” (feat. Caroline Byrne)** “The strings for this track came from a remix I submitted for an artist that didn’t end up being used. I knew they would work so well with a singer, so I reached out to Caroline again and, amazingly, within an hour she’d come up with the vocal that you hear on the track. Her lyrics of ‘This isn’t love, but it feels just like it’ really touched me, and it all came together really quickly after that.” **“Body Breathe” (feat. Monogem)** “‘Body Breathe’ was one of the earliest tracks I wrote, since it started in a pre-pandemic session. I was warming up with ‘Peace Piece’ again when Monogem walked into the studio and recognized it straight away. She started humming along and just came up with this vocal alongside—we ended up shifting the chords, and it became ‘Body Breathe.’” **“All in a Dream” (feat. DJ Tennis & Joseph Ashworth)** “This track set the tone for the entire record. I was DJing a festival just after the pandemic, and there were very few people in the crowd, since the headliner had already finished, so I decided to test out my new ideas on the sound system, including the instrumental for ‘All in a Dream.’ It turns out DJ Tennis was listening, and he reached out to say that he loved what I played. We ended up getting into the studio the next day and recorded a live drummer on the track, as well as running everything through vintage synths—it was really collaborative and opened up my writing massively.” **“All My Life” (feat. Sofi Tukker)** “Sofi Tukker are my most trusted allies, and when I was playing them the potential tracklist for the album, they told me they had the perfect vocal for this instrumental. It is such a catchy a cappella, and I’ve been closing all my DJ sets with this track now as it’s a really nice way to send people home with some peace, joy, and positivity.” **“Outro: Not Fade Away”** “The Grateful Dead ends their shows by singing ‘Not Fade Away’ back and forth between them and the audience—it’s such an emotional thing to witness, and I began to close my shows with a ripped version of that sing-along too. It felt like the perfect way to close the album, so I asked my close friends and family to send me voice recordings of the lines to put together like a chorus for this outro.”

Producer, DJ, pianist and activist LP Giobbi announces ‘Light Places’ - her long-awaited and highly anticipated full-length debut album, due out May 12th 2023 on Ninja Tune imprint Counter Records where LP, one of electronic music’s fastest-rising stars, sits comfortably alongside the likes of ODESZA, Bonobo, Bicep and TSHA. With the announcement, LP Giobbi shares a new single “Can’t Let You Go” featuring indie pop duo Little Jet on vocals. Speaking more on the new single, LP Giobbi says “I thought about my love for Polo & Pan and how fun it would be to make a song to be consumed during a pool time hang with friends. I sent the track to Little Jet – my favorite new band who is making music reminiscent of that amazing washed out / Beach House era but dare I say even more electronically savvy. They wrote the vocals ‘can’t let you go’ and also added some cool Juno synths.” Dedicated to her parents, 'Light Places’ sees the classically trained artist celebrate their free spirited approach to life and how it moulded her as a person. “This album is called "Light Places" which is the LP of these Scarlet Begonias Grateful Dead lyrics, "Once in a while You get shown the LIGHT In the strangest of PLACES If you look at it right”, Leah explains. “These are some of my dad’s favourite Dead lyrics and almost a philosophy for the way he lives and taught my brother and me to live. I am a seeker of light places both in the physical and the divine. I believe in letting yourself get lost and finding out it’s exactly where you were supposed to be. I hope this album helps you tap into your joy and light”. ‘Light Places’ was created in large part among the clouds, in aeroplanes high above the weights of reality and other incoming distractions where LP could easily lay down ideas and melodies before materialising them in a studio. The album recording process was a journey in itself for LP, which challenged her in new ways, expanding her artistic abilities beyond the confines of standalone singles. It allowed her to explore and experiment outside the realms of the dance floor - linking back to her improvised jazz and jam band foundations, where it all began. Featuring multiple tracks with impressive names like SOFI TUKKER, Little Jet, Caroline Byrne, Monogem, DJ Tennis & Joseph Ashworth throughout the album, ‘Light Places’ sees LP celebrate the joys of collaboration, improvisation and creating music through friendship - paying homage to the people and music that shaped her as an artist. A true expression of organic freedom, ‘Light Places’ encompasses who LP Giobbi is as an artist and what she values above all - family, creative exploration, gender equality within the music industry and of course, acclaimed 60’s jam band The Grateful Dead. A self confessed ‘deadhead’, Leah’s love for The Grateful Dead stems from childhood through her parents' appreciation for jam band culture and has influenced her life since. “I am grateful and proud to be raised by two magnificent Dead Heads who have danced their way through life seeking joy, sharing love and cherishing moments” she adds. In January 2023, the multi-hyphenate released a remix album of The Grateful Dead’s lead singer Jerry Garcia’s seminal 1972 solo debut, ‘Garcia’ - a project she’s incredibly proud to be a part of.

In early 2021, Tom and Ed Russell were working on a mix for the iconic London club fabric. They knew they wanted a particular tune included, but simply couldn’t find the track anywhere or remember its name. Faced with a deadline and an endless dig through disc logs, the pair changed their approach: They would themselves write the song they could hear. The track became June 2021 single “So U Kno”—an insidious, addictive banger that’s a cornerstone of the Russells’ debut album as Overmono. It’s an anecdote that reveals a great deal about the brothers’ practical mindset and prodigious abilities. Veterans of the UK dance scene (Tom, the elder Russell, released techno as Truss, while Ed put out drum ’n’ bass as Tessela), the Welsh-raised producers combine for something special here. *Good Lies* is an extraordinary electronic record: a genre-defying set glistening with purpose, poise, and dance-floor delirium. “The main anchor for the album isn’t genre-based, it’s an emotional place,” Ed tells Apple Music. “It’s a particular emotional sense that we try and achieve with a lot of our music—depending on what mood you’re in on that day, you could interpret that state in a few different ways.” Tom is able to pinpoint the origins to that “emotional ambiguity.” “I think our formative experiences of partying in the Welsh countryside had a massive impact on us,” he says. “When you have the sun going down and the sun coming up, and those emotions of somewhere between euphoria, slight sadness that the night’s coming an end but a real sense of optimism that you’re going into a new day. These sorts of weird crossover points are what we try and find in how we put our music together.” Read on for the brothers’ track-by-track guide. **“Feelings Plain”** Ed Russell: “It was originally going to close the album. We wanted to see if we could make a sort of plainsong piece of music—13th-century church music, where someone would be singing one note over and over and then someone else joins in, and everyone’s singing these cyclical things. But when it all comes together, they start cycling differently and you get this big wash of voices. But we wanted to try and do a sort of R&B take on plainsong—it was one of the songs that had a more conceptual start to it.” Tom Russell: “It was the furthest we’d gotten in terms of direct new avenues that we might explore. It’s a bold statement of intent to start.” **“Arla Fearn”** ER: “When did you first write this bassline, Tom?” TR: “About 1976. No, I think it was about 15 years ago.” ER: “I would tell Tom it’s the best thing he’d ever written. It’s got so much mood and character and just sounds so satisfying to me.” TR: “I know Ed meant it as a compliment but I kept on taking it as a bit of a diss really. But I finally gave in.” ER: “We spent ages processing the drums and then Tom sampled the Geovarn vocal and came up with the insane outro. The track is at 135 BPM, and by the end it’s at 170 BPM, but you never really notice it’s changed—it just flips the vocal into a different spot. We really wanted the album to be a place where tracks would often morph into something completely different. That it’s bubbling over with ideas.” **“Good Lies”** ER: “We went through a phase of trying not to sample every Smerz song because they just had so many good hooks. They’re incredible at writing these top lines that sound straight off early-2000s garage records, but not in a pastiche way. We had the vocal from \[2018 Smerz track\] “No harm” and spent a lot of time chopping it into the phrasing we wanted and creating a hook out of this little section that had jumped out at us. The demo for the instrumental then came together in a day, but there was an 18-month, almost two-year period from writing the demo to coming back and starting to really chip away at it.” **“Good Lies (Outro)”** TR: “When we were writing the ‘Good Lies’ instrumental, we thought we’d see if we could flip it and turn the vibe on its head into something moodier. It’s always going back to that ambiguity with us. There’s something of that in the *Good Lies* title. What constitutes a good lie?” **“Walk Thru Water” (feat. St. Panther)** TR: “Ed was at my studio in February \[2022\], and we were battening down the hatches for Storm Eunice.” ER: “It was this quite nice feeling of, ‘All right, there’s a storm coming, we’ve got loads of snacks and a few drinks, the place to ourselves, and we can’t go anywhere.’ Tom had written these really beautiful chords and I’d kept saying I wanted to do something with them. We got really stoned while the rain was coming down, listening to these chords, and we came across the St. Panther vocal.” TR: “I then started doing the beat on the Pulsar—which is a drum machine that’s quite difficult to tame but on certain things it just works beautifully.” **“Cold Blooded”** TR: “This started out as something quite different. It dawned on us that we’d written this massive IDM tune.” ER: “It was a bit too nice, wasn’t it?” TR: “It was this late-’90s breakdance thing—not really the vibe we should be going for.” ER: “I had this Kindora sample that I’d wanted to use for ages, and then Tom sent me this slowed-down version of ‘Cold Blooded’ with the new drums and I realized it’d be fucking killer. It then became a month of last-minute adjustments, which we sometimes get ourselves into a bit of a hole with. Tweaking everything until the last.” **“Skulled”** ER: “We had the Kelly Erez sample put away into our sample folder. And then we built a drum machine—a copy of a ’70s drum machine called the Syncussion, made by Pearl, the drum kit manufacturer. It \[the Syncussion\] was meant to sound like a normal drum kit, and it sounds so far away from real drums it’s insane. We spent a couple of weeks trying to make our version sound like we’d soldered it not quite right. It has this weird, sort of dry, alien, ’80s vibe to it. Like with all our stuff, it’s processed so heavily.” TR: “Ed has come up with this mad compression chain, which you can basically put any sort of drums into and you get this massive wall of noise.” ER: “I said earlier the best thing Tom has written was the bassline on ‘Arla Fearn,’ but I’ve changed my mind now: It’s the piano outro to ‘Skulled.’ We both loved the idea of the song ending like a classic ballad—a Céline Dion tune.” **“Sugarushhh”** TR: “We liked the idea of trying to shoehorn in a screaming 303 to the album somewhere.” ER: “Tom’s good at doing these quite irregular things that you don’t immediately notice. This, if you actually count it out, is in some weird time signature and it’s cycling every nine bars. It was also really important that we had this abrasive, aggressive 303 line being offset completely with a really beautiful vocal.” **“Calon”** ER: “Tom played me the first iteration of this in the back of a van on the way to a festival in Minehead. We’ve sampled Joe Trufant a few times before and we liked the idea of there being a few familiar voices on the album.” TR: “We then hired a studio in Ibiza and Ed had the idea of making the beat much slower. It became this big, slowed-down house tune—it dropped to something like 110 BPM.” ER: “We were in a US club sound-checking and played through some tunes from the album. Hearing it on the club system we were like, ‘Fuck me!’ It’s this sneaky banger.” **“Is U”** ER: “We’ve both been massive Tirzah fans since the start, and one day the ‘All I want is you’ line from ‘Gladly’ just jumped out of the speaker at us. We then spent ages trying to make the beat on this mono machine we have, which has all these really shit ’80s drum samples. We just mangled them until we had the beat, and then chopped up the vocal to get what we felt was a really strong and more confrontational delivery. Tom then put these lush chords in the breakdown and it opens the track up, like the sun coming out from behind a cloud.” TR: “It’s amazing when a track starts to take on a life of its own. Playing this out and seeing the reaction gives me goosebumps every time.” **“Vermonly”** ER: “A lot of our tracks will be written on just one piece of gear and we see what you can do with it. I had bought Tom a synth for his birthday, but when I gave it to him he said he wasn’t going to be in the studio for a few days, so I asked if I could take the synth I had just given him. I sent him a really rough 16-bar loop with the main melodic ideas, and he did the rest, really.” TR: “Tracks like this are really important to us. They might get lost on an EP. It’s not always about writing dance-floor bangers.” **“So U Kno”** ER: “We were doing this mix for fabric and we both knew we wanted a very particular tune in the mix but couldn’t find it. So we basically just thought, ‘Fuck it, it’ll be quicker to write something ourselves.’ I had a chopped-up vocal and a rough beat going, played it to Tom, who went straight over to a Jupiter-6 synth and immediately played the bassline before doing the same with the chords.” **“Calling Out”** TR: “Ed had suggested to try and sample something by slowthai and I managed to find this little \[section\] I really liked from quite an obscure track called ‘Dead Leaves.’ I loved the line ‘I’m like the sun, I rise up and then gone.’ Then we combined it with a CASISDEAD and d’Eon sample and it really started to make sense. I have a tendency to overcomplicate things, but Ed is often able to say, ‘We don’t need that,’ or ‘Change a snare from there to there.’ A tiny idea or decision can make such a huge difference.” ER: “I remember when Tom sent me the chords for the end and I felt like it reminded me of old Radiohead—the perfect way to close the album.”

Previews: soundcloud.com/samgoku/sam-goku-the-things-we-see-when-we-look-closer-permvac-255-1 'The Things We See When We Look Closer' is Sam Goku's second full-length album, releasing nearly two years after his debut album 'East Dimensional Riddims'. On eleven tracks he is refining his unique approach in productions, probably described best as a deeply nature-rooted and aethereal sound from twinkling ambience over bright, bouncy kickdrums to shuffling breaks. Robin is hunting for the bigger picture by taking a closer look. Finding new life in the different microcosms and gaining new perspectives on things by switching the angle and developing a meditative and psychedelic swirl.

On his Mercury Prize-winning debut album, 2017’s *Process*, Sampha Sisay often cut an isolated figure. As the Londoner’s songs contended with loss—particularly the passing of his parents—and anxieties about his health and relationships, a sense of insularity and detachment haunted his poignant, experimental electro-soul. Arriving six years later, this follow-up presents a man reestablishing and strengthening connections. Lifted by warm synths and strings, songs are energized by the busy rhythms of jungle, broken beat, and West African Wassoulou music. Images of flight dominate as Sampha zooms out from everyday preoccupations to take a bird’s-eye view of the world and his place in it as a father, a friend, a brother, a son. “I feel sometimes making an album is like a manifesto for how I should be living, or that all the answers are in what I’m saying,” he tells Apple Music. “I don’t necessarily *live* by what I’m saying but there’s times where I recognize that I need to reconnect to family and friends—times where I can really lose connection by being too busy with my own things.” So where *Process* ended with Sampha ruefully noting, “I should visit my brother/But I haven’t been there in months/I’ve lost connection, signal/To how we were” on “What Shouldn’t I Be?” *Lahai* concludes in the fireside glow of “Rose Tint,” a song celebrating the salve of good company: “I’m needy, don’t you know?/But the fam beside me/Is what I needed most.” Before then, *Lahai* examines Sampha’s sense of self and his relationships through his interests in science, time, therapy, spirituality, and philosophy. “I became more confident with being OK with what I’m interested in, and not feeling like I have to be an expert,” he says. “So even if it comes off as pretentious at times, I was more comfortable with putting things out there. That’s an important process: Even in the political sphere, a lot of people don’t speak about things because they’re worried about how people will react or that they’re not expert enough to talk on certain things. I’m into my science, my sci-fi, my philosophy. Even if I’m not an expert, I could still share my feelings and thoughts and let that become a source of dialogue that will hopefully improve my understanding of those things.” Started in 2019 and gradually brought together as Sampha negotiated the restrictions of the pandemic and the demands and joys of fatherhood, the songs, he says, present “a photograph of my mental, spiritual, physical state.” Read on for his track-by-track guide. **“Stereo Colour Cloud (Shaman’s Dream)”** “I wanted to make something that felt like animation and so the instrumentation is quite colorful. What started it off was me experimenting with new kinds of production. I was using a mechanical, MIDI-controlled acoustic piano and playing over it. Same thing with the drums—I built a robotic acoustic drummer to build these jungle breaks. So, it’s all these acoustic instruments that I programmed via MIDI, and also playing over them with humans, with myself.” **“Spirit 2.0”** “It’s a song I started in my bedroom, a song I wrote walking through parks in solitude, a song I wrote at a time I felt I needed to hear for myself. It took probably a year from start to finish for that song to come together. I had the chords and the modular synths going for a while and then eventually I wrote a melody. Then I had an idea for the drums and I recorded the drums. It was also influenced by West African folk music, Wassoulou music. I guess that isn’t maybe quite obvious to everyone, but I’ve made quite a thing of talking about it—it’s influenced the way I write rhythmically.” **“Dancing Circles”** “This also came from this kind of acoustic/MIDI jamming. I wrote this pulsing, slightly clash-y metronomic piano and wrote over and jammed over it. I put the song together with a producer called Pablo Díaz-Reixa \[Spanish artist/producer El Guincho\], who helped arrange the song. I sort of freestyled some lyrics and came up with the dancing refrain, and then had this idea of someone having a conversation with someone they hadn’t seen in a long time, and just remembering how good it is, how good it felt to dance with them.” **“Suspended”** “I feel like a lot of what I’ve written goes between this dreamlike state and me drawing on real-life scenarios. This is a song about someone who’s reminiscing again, but also feeling like they’re kind of going in and out of different time periods. I guess it was inspired by thinking about all the people, and all the women especially, in my life that I’ve been lifted up by, even though I frame it as if I’m speaking about one person. The feeling behind it is me recognizing how supported I’ve been by people, even if it’s not been always an easy or straightforward journey.” **“Satellite Business”** “This feels like the midpoint of the record. I guess in this record I was interrogating spirituality and recognizing I hadn’t really codified, or been able to put my finger on, any sort of metaphysical experience, per se—me somewhat trying to connect to life via a different view. The song is about me recognizing my own finitude and thinking about the people I’ve lost and recognizing, through becoming a father myself, that not all is done and I’m part of a journey and I can see my parents or even my brothers, my daughter. \[It’s\] about connection—to the past and to the future and to the present. Any existential crisis I was having about myself has now been offloaded to me thinking about how long I’m going to be around to see and protect and help guide someone else.” **“Jonathan L. Seagull”** “I speak a lot about flying \[on the album\] and I actually mention \[Richard Bach’s novella\] *Jonathan Livingston Seagull* in ‘Spirit 2.0.’ For me, the question was sometimes thinking about limits, the search for perfection. I don’t agree with everything in *Jonathan Livingston Seagull* as a book, it was more a bit of a memory to me \[Sampha’s brother read the story to him when he was a child\], the feeling of memory as opposed to the actual details of the book. I guess throughout the record, I talk about relationships in my own slightly zoomed-out way. I had this question in my mind, ‘Oh, how high can you actually go?’ Just thinking about limits and thinking sometimes that can be comforting and sometimes it can be scary.” **“Inclination Compass (Tenderness)”** “Birds, like butterflies, use the Earth’s magnetic field to migrate, to be able to navigate themselves to where they need to get to \[this internal compass is known as an inclination compass\]. I feel that there’s times where love can be simpler than I let it be. As you grow up, sometimes you might get into an argument with someone and you’re really stubborn, you might just need to hug it out and then everything is fine—say something nice or let something go. Anger’s a complicated emotion, and there’s lots of different thoughts and theories about how you should deal with it. For me personally, this is leaning into the fact that sometimes it’s OK to switch to a bit more of an understanding or empathetic stance—and I can sometimes tend to not do that.” **“Only”** “It’s probably the song that sticks out the most in the record in terms of the sonic aesthetic. It’s probably less impressionistic than the rest of the record. I think because of that it felt like it was something to share \[as the second single\]. Thematically as well, it just felt relevant to me in terms of trying to follow the beat of my own drum or finding a place where you’re confident in yourself—recognizing that other people are important but that I can also help myself. It’s a bit of a juxtaposition because there’s times where it feels like it’s only you who can really change yourself, but at the same time, you’re not alone.” **“Time Piece”** “Time is just an interesting concept because there’s so many different theories. And does it even exist? \[The lyrics translate as ‘Time does not exist/A time machine.’\] But we’re really tied to it, it’s such an important facet of our lives, how we measure things. It was just an interesting tie into the next song.” **“Can’t Go Back”** “I feel like there’s a lot of times I just step over my clothes instead of pick them up. I’m so preoccupied with thinking about something else or thinking about the future, there’s times where I could have actually just been a bit more present at certain moments or just, ‘It’s OK to just do simple things, doing the dishes.’ The amount \[of\] my life \[in\] which I’m just so preoccupied in my mind…Not to say that there isn’t space for that, there’s space for all of it, but this is just a reminder that there’s times where I could just take a moment out, five to 10 minutes to do something. And it can feel so difficult to spend such short periods of time without a device or without thinking about what you’re going to do tomorrow. This is just a reminder of that kind of practice.” **“Evidence”** “I think there’s times where it just feels like I have ‘sliding door’ moments or glimpses or feelings. This is hinting \[at\] that. Again, the feeling of maybe not having that metaphysical connection, but then feeling some sort of connection to the physical world, whatever that might be.” **“Wave Therapy”** “I recorded a bit of extra strings for ‘Spirit 2.0,’ which I wanted to use as an interlude after that, but then I ended up reversing the strings that \[Canadian composer and violinist\] Owen Pallett helped arrange. I called it ‘Wave Therapy’ because, for some of the record, I went out to Miami for a week to work with El Guincho and before each session, I’d go to the beach and listen to what we had done the day before and that was therapeutic.” **“What if You Hypnotise Me?” (feat. Léa Sen)** “I was having a conversation with someone about therapy and then they were like, ‘Oh, I don’t even do talking therapy, I just get hypnotized, I haven’t got time for that.’ I thought that was an interesting perspective, so I wrote a song about hypnotizing, just to get over some of these things that I’m preoccupied with. I guess it’s about being in that place, recognizing I need something. Therapy can be part of that. As I say, nothing has a 100 percent success rate. You need a bit of everything.” **“Rose Tint”** “Sometimes I get preoccupied with my own hurt, my own emotions, and sometimes connecting to love is so complicated, yet so simple. It’s easy to call someone up really and truly, but there’s all these psychological barriers that you put up and this kind of headspace you feel like you don’t have. Family and friends or just people—I feel like there’s just connection to people. You can be more supported than you think at times, because there’s times where it feels like a problem shared can feel like a problem doubled, so you can kind of keep things in. But I do think it can be the other way round.”

With A Hammer is the debut studio album by New York singer-songwriter Yaeji. “With A Hammer” was composed across a two-year period in New York, Seoul, and London, begun shortly after the release of “What We Drew” and during the lockdowns of the Coronavirus pandemic. It is a diaristic ode to self-exploration; the feeling of confronting one’s own emotions, and the transformation that is possible when we’re brave enough to do so. In this case, Yaeji examines her relationship to anger. It is a departure from her previous work, blending elements of trip-hop and rock with her familiar house-influenced style, and dealing with darker, more self-reflective lyrical themes, both in English and Korean. Yaeji also utilizes live instrumentation for the first time on this album—weaving in a patchwork ensemble of live musicians, and incorporating her own guitar playing. “With A Hammer” features electronic producers and close collaborators K Wata and Enayet, and guest vocals from London’s Loraine James and Baltimore’s Nourished by Time.

Young Fathers occupy a unique place in British music. The Mercury Prize-winning trio are as adept at envelope-pushing sonic experimentalism and opaque lyrical impressionism as they are at soulful pop hooks and festival-primed choruses—frequently, in the space of the same song. Coming off the back of an extended hiatus following 2018’s acclaimed *Cocoa Sugar*, the Edinburgh threesome entered their basement studio with no grand plan for their fourth studio album other than to reconnect to the creative process, and each other. Little was explicitly discussed. Instead, Alloysious Massaquoi, Kayus Bankole, and Graham “G” Hastings—all friends since their school days—intuitively reacted to a lyric, a piece of music, or a beat that one of them had conceived to create multifaceted pieces of work that, for all their complexities and contradictions, hit home with soul-lifting, often spiritual, directness. Through the joyous clatter of opener “Rice,” the electro-glam battle cry “I Saw,” the epic “Tell Somebody,” and the shape-shifting sonic explosion of closer “Be Your Lady,” Young Fathers express every peak and trough of the human condition within often-dense tapestries of sounds and words. “Each song serves an integral purpose to create something that feels cohesive,” says Bankole. “You can find joy in silence, you can find happiness in pain. You can find all these intricate feelings and diverse feelings that reflect reality in the best possible way within these songs.” Across 10 dazzling tracks, *Heavy Heavy* has all that and more, making it the band’s most fully realized and affecting work to date. Let Massaquoi and Bankole guide you through it, track by track. **“Rice”** Alloysious Massaquoi: “What we’re great at doing is attaching ourselves to what the feeling of the track is and then building from that, so the lyrics start to come from that point of view. \[On ‘Rice’\] that feeling of it being joyous was what we were connecting to. It was the feeling of fresh morning air. You’re on a journey, you’re moving towards something, it feels like you’re coming home to find it again. For me, it was finding that feeling of, ‘OK, I love music again,’ because during COVID it felt redundant to me. What mattered to me was looking after my family.” **“I Saw”** AM: “We’d been talking about Brexit, colonialism, about forgetting the contributions of other countries and nations so that was in the air. And when we attached ourselves to the feeling of the song, it had that call-to-arms feeling to it, it’s like a march.” Kayus Bankole: “It touches on Brexit, but it also touches on how effective turning a blind eye can be, that idea that there’s nothing really you can do. It’s a call to arms, but there’s also this massive question mark. I get super-buzzed by leaving question marks so you can engage in some form of conversation afterwards.” **“Drum”** AM: “It’s got that sort of gospel spiritual aspect to it. There’s an intensity in that. It’s almost like a sermon is happening.” KB: “The intensity of it is like a possession. A good, spiritual thing. For me, speaking in my native tongue \[Yoruba\] is like channeling a part of me that the Western world can’t express. I sometimes feel like the English language fails me, and in the Western world not a lot of people speak my language or understand what I’m saying, so it’s connecting to my true self and expressing myself in a true way.” **“Tell Somebody”** AM: “It was so big, so epic that we just needed to be direct. The lyrics had to be relatable. It’s about having that balance. You have to really boil it down and think, ‘What is it I’m trying to say here?’ You have 20 lines and you cut it down to just five and that’s what makes it powerful. I think it might mean something different to everyone in the group, but I know what it means to me, through my experiences, and that’s what I was channeling. The more you lean into yourself, the more relatable it is.” **“Geronimo”** AM: “It’s talking about relationships: ‘Being a son, brother, uncle, father figure/I gotta survive and provide/My mama said, “You’ll never ever please your woman/But you’ll have a good time trying.”’ It’s relatable again, but then you have this nihilistic cynicism from Graham: ‘Nobody goes anywhere really/Dressed up just to go in the dirt.’ It’s a bit nihilistic, but given the reality of the world and how things are, I think you need the balance of those things. Jump on, jump off. It’s like: *decide*. You’re either hot or you’re cold. Don’t be lukewarm. You either go for it or you don’t. Then encapsulating all that within Geronimo, this Native American hero.” **“Shoot Me Down”** AM: “‘Shoot Me Down’ is definitely steeped in humanity. You’ve got everything in there. You’ve got the insecurities, the cynicism, you’ve got the joy, the pain, the indifference. You’ve got all those things churning around in this cauldron. There’s a level of regret in there as well. Again, when you lean into yourself, it becomes more relatable to everybody else.” **“Ululation”** KB: “It’s the first time we’ve ever used anyone else on a track. A really close friend of mine, who I call a sister, called me while we were making ‘Uluation’: ‘I need a place to stay, I’m having a difficult time with my husband, I’m really angry at him…’ I said if you need a place to chill just come down to the studio and listen to us while we work but you mustn’t say a word because we’re working. We’re working on the track and she started humming in the background. Alloy picked up on it and was like, ‘Give her a mic!’ She’s singing about gratitude. In the midst of feeling very angry, feeling like shit and that life’s not fair, she still had that emotion that she can practice gratitude. I think that’s a beautiful contrast of emotions.” **“Sink Or Swim”** AM: “It says a similar thing to what we’re saying on ‘Geronimo’ but with more panache. The music has that feeling of a carousel, you’re jumping on and jumping off. If you watch Steve McQueen’s Small Axe \[film anthology\], in *Lovers Rock*, when they’re in the house party before the fire starts—this fits perfectly to that. It’s that intensity, the sweat and the smoke, but with these direct lines thrown in: ‘Oh baby, won’t you let me in?’ and ‘Don’t always have to be so deep.’ Sometimes you need a bit of directness, you need to call a spade a spade.” **“Holy Moly”** AM: “It’s a contrast between light and dark. You’re forcing two things that don’t make sense together. You have a pop song and some weird beat, and you’re forcing them to have this conversation, to do something, and then ‘Holy Moly’ comes out of that. It’s two different worlds coming together and what cements it is the lyrics.” **“Be Your Lady”** KB: “It’s the perfect loop back to the first track so you could stay in the loop of the album for decades, centuries, and millenniums and just bask in these intricate parts. ‘Be Your Lady’ is a nice wave goodbye, but it’s also radical as fuck. That last line ‘Can I take 10 pounds’ worth of loving out of the bank please?’ I’m repeating it and I’m switching the accents of it as well because I switch accents in conversation. I sometimes speak like someone who’s from Washington, D.C. \[where Bankole has previously lived\], or someone who’s lived in the Southside of Edinburgh, and I sometimes speak like someone who’s from Lagos in Nigeria.” AM: “I wasn’t convinced about that track initially. I was like, ‘What the fuck is this?’” KB: “That’s good, though. That’s the feeling that you want. That’s why I feel it’s radical. It’s something that only we can do, it comes together and it feels right.”

WIN ACCESS TO A SOUNDCHECK AND TICKETS TO A UK HEADLINE SHOW OF YOUR CHOOSING BY PRE-ORDERING* ANY ALBUM FORMAT OF 'HEAVY HEAVY' BY 6PM GMT ON TUESDAY 31ST JANUARY. PREVIOUS ORDERS WILL BE COUNTED AS ENTRIES. OPEN TO UK PURCHASES ONLY. FAQ young-fathers.com/comp/faq Young Fathers - Alloysious Massaquoi, Kayus Bankole and G. Hastings - announce details of their brand new album Heavy Heavy. Set for release on February 3rd 2023 via Ninja Tune, it’s the group’s fourth album and their first since 2018’s album Cocoa Sugar. The 10-track project signals a renewed back-to-basics approach, just the three of them in their basement studio, some equipment and microphones: everything always plugged in, everything always in reach. Alongside the announcement ‘Heavy Heavy’, Young Fathers will make their much anticipated return to stages across the UK and Europe beginning February 2023 - known for their electrifying performances, their shows are a blur of ritualistic frenzy, marking them as one of the most must-see acts operating today. The tour will include shows at the Roundhouse in London, Elysee Montmartre in Paris, Paradiso in Amsterdam, O2 Academy in Leeds and Glasgow, Olympia in Dublin, Astra in Berlin, Albert Hall in Manchester, Trix in Antwerp, Mojo Club in Hamburg and more (full dates below) To mark news of the album and the tour, Young Fathers today release a brand new single, “I Saw”. It’s the second track to be released from the album (following standalone single “Geronimo” in July) and brims with everything fans have come to love from a group known for their multi-genre versatility - kinetic rhythms, controlled chaos and unbridled soul. Accompanied by a video created by 23 year old Austrian-Nigerian artist and filmmaker David Uzochukwu, the track demonstrates the ambitious ideas that lay at the heart of this highly-anticipated record. Speaking about the title, the band write that Heavy Heavy could be a mood, or it could describe the smoothed granite of bass that supports the sound… or it could be a nod to the natural progression of boys to grown men and the inevitable toll of living, a joyous burden, relationships, family, the natural momentum of a group that has been around long enough to witness massive changes. “You let the demons out and deal with it,” reckons Kayus of the album. “Make sense of it after.” For Young Fathers, there’s no dress code required. Dancing, not moshing. Hips jerking, feet slipping, brain firing in Catherine Wheel sparks of joy and empathy. Underground but never dark. Still young, after some years, even as the heavy, heavy weight of the world seems to grow day by day.