Author: The Predatory Wasp

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Music

Sufjan Stevens – Meditation V

Less than six months after the release of The Ascension – about which I still have mixed feeling to say the least – Sufjan has just announced a new instrumental album, Convocations. Comprised of five volumes – Meditations, Lamentations, Revelations, Celebrations and Incantations – the project is “a two-and-a-half-hour, 49-track reflection on a year of anxiety, uncertainty, isolation, and loss”, and while I’ve probably done enough reflecting over the last year or so, it’s Sufjan, so this is obviously excellent news, as even if it’s likely – on recent form – to be an uneven two-and-a-half-hours, you’re pretty much guaranteed at least a few moments of indescribable beauty. Out 06 May digitally, and 20 August via 5xLP colored vinyl boxset .

https://asthmatickitty.com

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Music

L E M F R E C K – Falling

The latest single from UK producer L E M F R E C K is markedly different from some of his earlier work. As the grime/r&b artist told Gigsoup earlier this month, “I was deep into nihilism/depression. I had no plan of releasing music after the single ‘Sinners’, and that was it for me.” We’re grateful he stuck with it, as Falling is just brilliant: rooted in melancholy, but with a hopeful yearning that suggests he’s made peace with it. Greatness beckons for this former BBC Introducing artist.

https://www.instagram.com/lemfreck

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Music

Gia Margaret – Solid Heart (Guy Sigsworth Remix)

An admission: this time last week I don’t think I’d ever heard – or at least paid enough attention to – the name Guy Sigsworth. For more astute music fans out there however – Gia Margaret included – he’s one of the more celebrated producers of the last 20 years, working with artists including Björk, Goldie, Madonna, Kate Havnevik, Alison Moyet, AURORA and so (so) many more. With a call sheet like that it’s perhaps unsurprising that his remix of Solid Heart sounds absolutely sublime, transforming the lo-fi, duskiness of the original into a slick, downtempo electronic cut complete with a little flurry of cascading synths as delicate and bewitching as you could possibly hope for.

https://giamargaret.bandcamp.com

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Music

Becky and the Birds – The Wolves (Act I and Act II)

I’m probably biased as I’m a big fan of one of these artists and not really that interested in the other, but I would say that Becky and the Birds’ cover of Bon Iver’s The Wolves (Act I and Act II) is far superior to the original. Not that we’re supposed to judge music in such a binary fashion (it’s not better just… different), but whatever: I think in this instance – given they’re both treading a similar musical path – standing each version toe to toe with one another and seeing who comes out on top is fair enough. And in my humble opinion, this is richer, more engaging, more spine-tinglingly wonderful. You know, just… well, better.

https://www.beckyandthebirds.com

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Music

Starrah – Miss This

The opening track on Starrah’s debut album The Longest Interlude, Miss This perfectly sets the scene for what followers: namely, 30 minutes or so of woozy, atmospheric r&b ripe for summer nights. Reminiscent of both 070 Shake and Tierra Whack in its finer moment, I expect I’ll be spending quite a lot of time with it over the coming months.

https://www.instagram.com/whereisstarrah

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Music

serpentwithfeet – Old & Fine

I tried and failed to enjoy serpentwithfeet’s 2018 album soil so many times. It’s clearly really good, but I could just never get into it: it felt too detached and disjointed, like it was trying to trip you up and eject you just as you felt you were finally getting locked in. Since then it’s felt like every release has been a step towards something I would love, and with his new album DEACON, that journey has been fully realised. I REALLY this album, and Old & Fine is everything I wanted but didn’t get from his earlier work: an emotionally-rich record with depth that’s also easy to enjoy and appreciate without having to work too hard. I can’t imagine he’s been tweaking his career with me in mind, but it certainly feels that way.

https://serpentwithfeet.bandcamp.com/album/deacon

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Music

Victorian Death Photos – Promise (Enki Remix)

Australian producer Enki transforms synth punk artist Victorian Death Photos’ Promise from the billowing shoegaze of the original into a glitchy, stumbling cut that harks back to the atmospheric fug of trip-hop’s 90’s heyday. It’s wonderfully creative, consistently engaging, and moves through at least three different moods, from the gentle ambient of its opening to the malfunctioning robotics of the finale.

https://www.instagram.com/victoriandeathphotos

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Music

The Antlers – Green To Gold

I love The Antler’s 2014 album Familiars a quite ridiculous amount. It’s probably in my top 5 all time, definitely top 10, so to say I was hyped for the new LP Green to Gold was somewhat of an understatement. After a few listens, I’m sure of at least one thing: the title track is one of the loveliest things they’ve ever recorded. Rolling along on hushed drums, softly twanging guitars and with Peter Silberman’s extraordinary vocal providing the backbone, it’s a lazy, sun-drenched, perfect afternoon at the beach/park/wherever distilled into song form, which, despite being more than seven minutes long, could easily hang around all fucking day and be more than welcome company.

https://antlersmusic.com

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Music

Dawn Richard – Jacuzzi

Dawn Richard continues to assert her position as one of the most arresting, distinctive R&B artists in the world with release of Jaccuzi, the second single from her upcoming second album Second Line which will land in April. 2019’s New Breed was one of my favourite albums from that year, and everything about her latest material suggests Second Line will be equally brilliant.

https://www.instagram.com/dawnrichard

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Music

Andy Stott – The Beginning

It’s Stott o’Clock! Andy Stott has just announced a new album, Never The Right Time, the Manchester producer’s first since 2016’s Too Many Voices. The Beginning is the lead single, and sounds like a bit of a departure from his trademark bleakness and oppressive atmospheres. He almost sounds optimistic; happy even. Featuring vocals from Stott’s frequent collaborator Alison Skidmore, it’s all open chords and shimmering synth lines, and ends with a minute or so of genuine serenity. Time will tell if this is the vibe we can expect from the rest of the album, but just the fact that there’s new music out there and more on the way is the best news I’ve had for ages.

https://modern-love.co.uk