![]() ![]() When she returned, she formed the punk group Aunt Sally with guitarist Bikke, keyboardist Mayu, bassist Kataoka, and drummer Takashi Maruyama, but the band split up soon after releasing their 1979 self-titled debut album, which was released in a limited edition of 400 copies. By the time of 2021's mesmerizing New Decade, Phew was finally receiving the international acclaim she deserved.īorn Hiromi Moritani in Osaka, Phew got her start in the 1970s, when she became so fascinated with punk music that she flew to London in 1977 to see the Sex Pistols. Following 2010's playful covers album Five Finger Discount, she focused on experimental soundscapes woven around her distinctive vocals, as on uncompromising releases such as 2015's A New World and 2017's Light Sleep. When she returned to her solo career in the early 2010s, Phew created some of her most striking music. Following 1995's sultry Himitsu No Knife, collaborations dominated her music, and her work with the Japanese experimental supergroup Novo Tono, the punk band Most, and various projects with Otomo Yoshihide kept her busy well into the 2000s. For her 1980 solo debut single, she teamed with Ryuichi Sakamoto and worked with members of Can on 1981's Phew and 1992's Our Likeness, both of which proved her formidable vocals and experimental sensibilities could match her collaborators' legacy of challenging their audience. After leaving the pioneering Japanese punk band Aunt Sally, she worked with a who's-who of other innovative artists from around the globe to express the different sides of her artistry. It’s music out of time, resonating to its own peculiar frequency.Phew Text in englischer Sprache verfügbarĪ boundary breaking artist with a lengthy career, Phew has explored rock, electronic and avant-garde sounds on her own terms since the 1970s. 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. “With the situation at the moment, I’ve got it lucky. “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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