The Predatory Wasp
Another Summer Night seems to have landed at least six months too late; I can’t really think of a title (or vibe) less suited to the general mood in the UK right now. However Kamaiyah is as bouncy as ever, and although this doesn’t really compare to her divinely brash and boisterous debut A Good Night In The Ghetto, it’s a diverting change from the rain-lashed misery we’re all currently sucking up.
Who’d have thought we needed an ambient flute album from Outkast’s Johnny Vulture, but here we are.
There’s absolutely nothing online about this except a very minimal Reddit thread, so I’m not entirely sure it even exists. Although: here I am listening to it, and writing about it, so I suppose it must. Rozi Plain’s Prize is one of the best albums of the year (official ranking coming soon!), and this follows its folksy-electronica footsteps, starting small and breaking down into increasingly weird whimsy in its final third.
Landing last week, Statues II is the culmination of a double album that began with his Statues I, released in August of this year, both of which follow his incredible collaboration with Dawn Richard on Pigments; one of the best album of 2022. Leaning hard into both ambient and jazz, OST is a fuzzy, celestial, faintly ominous delight.
The always captivating Kelly Moran releases her first new solo music in five years with Vesela. Those hoping for glitchy, hi-gloss electronics may be disappointed, but if you’re in the mood for plaintive classical pieces written as a means to “sublimate feelings of devastation instead of running from them” then you’re in luck.
“Music is such an abstract listening form, your mind needs to fill in gaps“
“Sabrina Spellman was mixing dope beats in the other realm, which she recorded onto her inherited heirloom tape machine, made with her carboot-sale drum machines and charity-shop synthesizers” So runs the legend and origin story of DJ Sabrina the Teenage DJ, the anonymous producer with a penchant for warping 90s samples into nostalgia-rich, tearjerking electronic music.
Several albums, hundreds of tracks and a 1975 collaboration later, her latest LP Destiny arrived earlier this year in all its 4 hour + running time glory. One of the most innovative and original electronic artists to emerge in the last few years, I was very pleased to welcome her to TPW for a chat…
To start off I’d like to ask something I hope you don’t take the wrong way – what on earth possessed you to release a four hour album?
Well, I wanted to beat Charmed’s length cause everyone prefers the longer albums (they’re more popular among listeners) compared to the shorter albums (they’re less popular among listeners) and I wanted to find a way to supplant Charmed as it was still very popular even after three albums released since lol! I also had a lot of songs finished and they all worked too well for me to cut them (I think I only cut two songs eventually from the album).
I absolutely rinsed Cannons’ 2022 album Fever Dream. It wasn’t the best album of the year by any means, but it was far and away my favourite, and already, less than a year later, evokes feelings of deep nostalgia, which is pretty impressive given that my life is essentially exactly the same now as it was 12 months ago. Anyway, their new album Heartbeat Highway has a lot to live up to, and on the first couple of listens Sweeter – a perfect, yearning, synthpop melter – has emerged as the clear stand-out.
Dennis Huddleston’s music has always been based around loops, and his latest album as 36, Ablyss, is the fullest expression yet of this obsession. The 21 tracks that make up the LP are not unfinished ideas, waiting to be fleshed out into fully formed tracks: they exist purely in their own terms, tools for drifting off and becoming completely detached. Or as he puts it: “Feel free to get lost in them whenever you need them.”
“These days I feel somewhat in control of what I choose to believe”
Nina Kinert released the album Romantic and the EP In Twos in 2018 and was awarded Composer of the year at the Independent Manifest gala in Sweden that same year. Her new album Religious – her first release since 2021’s Wild, Wild Geese – tells personal stories about growing up within the Pentecostal Church Community in Sweden, while simultaneously exploring her attraction to both nature and the supernatural.
Romantic was my album of the year in 2018, and still affects how I search for new music today. I’m pretty much always on the lookout for ‘the next Nina’; to discover an artist about whom I was previously unaware, but that goes on to have a huge significance in my life. So to say I was happy that she agreed to an interview is somewhat of an understatement.
Religious tells stories about you growing up in the Pentecostal Church, and also explores your attraction to spiritual mystique and the supernatural. Were these attractions you felt as a child, or did they come later?
I’ve always felt open to different possibilities, and maybe seen that as a result of my childhood within the church. As if it gave me an understanding of belief – no matter what the belief relies on. But when I was a child I thought everything needed to be categorised, divided into good or evil. That’s not how I see it now.
LXXXVIII is the ninth Actress album, and is presented as “the very first presentation of [his] voyage into ‘luxury sonics’ – the culmination of 25 years’ honing mind-shorting, soul-igniting audio infusions for dance floors, rave dens, festivals, and concert halls”. I’m not even going to attempt to top that, other than to say that this is as meditative and immersive as Darren Cunningham’s music has ever been.
The Predatory Wasp 