I recently spoke with Berlin based artist Annika Henderson about her wonderful new album Abyss, her early years in Bristol, a little bit about Tricky, and her process.
From the press release: British-born, Berlin-based musician Annika Henderson, better known as Anika, has created her new, third album Abyss out of the frustration, anger, and confusion she feels from existing in our contemporary world. Notably heavier than her previous releases, the 10-track Abyss feels raw, urgent, and fuelled by strong emotions.
“There’s so much going on in the world, and you have to sit there and watch it through a screen that you’ve allowed into your home, like a vampire who had been preying at your door, then immediately digest it, have an opinion, and publicly comment on it,” Anika says.
“The state of the world just feels like an abyss right now.” With this new album, she wants to create a place where people can feel safe to be themselves, and to unite in their diversity. “Abyss is like a call to action,” she says. “To come and figure it out together.”
Abyss was recorded live to tape at the legendary Hansa Studios in Berlin (where the likes of Depeche Mode and David Bowie also recorded) in just a few days. Recording live and with minimal overdubs was an important decision, Anika stresses, in order to capture the raw immediacy of the album.
They have released seven LPs, fourteen EPs, a live album, and more singles than I can count. They are prolific and committed to the cause. Their most recent is called Synthesizer (Dedstrange). It is a wonderful record that also comes in a limited edition series of LPs where the album cover itself doubles as a circuit board and functional synth for curious and enterprising fans. “It’s pretty messed up and chaotic. But it feels really human,” says Oliver. “In an era of making music where so little is DIY and so much is left up to AI, never setting foot in a practice room or a home studio, making something that feels deliberately chaotic, messy, and human, is entirely the point.”
Culled from a single decaying cassette tape labeled “July 1978,” these recordings are a window into the musical life of one of our greatest living actors who holds music as dear as all the art forms he participates in. The raw and organic tone of these recordings evokes the breeze and spirit of 1970’s Venice and Malibu beach where they were recorded.
Their latest five song EP “Tomorrow Remember Yesterday” is a collection of newly recorded songs whose origins harken back decades. Says Vox, “These songs were amongst the very earliest songs we got together pre-Peel session in 1981, but were discarded at the time due to them feeling unfinished.”
Sheffield mechanic Ken Patten’s makeshift home studio became the launch pad for a group of young musicians who would shape the futuristic sound of 1980s pop. The Human League, Heaven 17, Pulp, ABC and others made their early recordings with Ken, whose DIY ethic was the perfect fit for a city facing industrial decline but teeming with ideas. Jamie tells his story vividly and beautifully. It’s a real love letter to Sheffield and the era.
On this episode of Radar I sat down with Pittsburgh native Jeff Betten (Misra Records) and musician/ entrepreneur Matt Dowling (SWOLL, bassist of Burial Waves) who recently opened up a new vinyl plant in Pittsburgh, PA. They both have interesting backgrounds in music, business, and science which are uncommon combinations. They are keeping things artist-friendly at Hellbender by pressing smaller quantities of records and engaging the community by hosting events such as live shows, listening parties, film screenings, and more at the plant.
Cynthia’s distinct image and half-spoken, sharp delivery have undeniably influenced current artists like Florence Shaw of Dry Cleaning.
She recently published a compilation of issues and her book, Nowhere New York offers a visceral view of the scene through her photographs, writing, and guest essays.
Marshall was born on May 25th, 1924 and is coming up on his 101st birthday. He is a multi-instrumentalist and the most revered and distinctive free jazz, avant-garde alto saxophone player. He also performs on flute, oboe, piccolo, and the EVI. Marshall is best known for his work with Sun Ra, having recorded and performed mostly in this context since the late 1950s, and having led The Sun Ra Arkestra since 1995.
He combines Hill Country and Bentonia style blues with sounds from India and Africa, and as such is expanding the tradition. He is an incredible musician, a deeply spiritual human, and a good friend.
Born in Louisiana and raised in Greece and North Carolina, Huxley began his career in the late 1970s, gaining recognition for his solo work as well as collaborations with various artists.
They were brought to a larger UK audience with a support slot on The Jam’s iconic 1979 “Setting Sons” tour, and were by then managed by The Jam’s Bruce Foxton and Paul Weller’s father John. Their debut album spawned several hits including “News At Ten” and” Waiting for the Weekend.” They put out a second album, Magnets in 1981, toured extensively and then broke up. In 2016, they played their first gig in 35 years and have been making records and playing again ever since. I spoke with lead singer and songwriter Dave Fenton about all these things.
