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2’ EP presented a compelling new stride for the young artist whose craft spans genres. From billboards in Times Square, to features in Pitchfork and Vogue and a placement on the FIFA Soundtrack, her ‘Last Year Was Weird, Vol. Tkay Maidza recently wrapped a stratospheric 2020 that propelled the Zimbabwe-born, Australia raised artist to new heights. 3’ is the final act of Tkay’s EP trilogy, featuring eight new songs produced by long-time collaborator Dan Farber. 2’ (The Needle Drop’s #1 EP of the Year). It’s something that’s encapsulated in the driving momentum of lead single "So Right", which matches pared back lyrics with a melodic bassline and bright synths, her words sketching out a euphoric feeling that chimes with the music.īuilding on the dancefloor-minded trajectory charted by her previous record "Adieux Au Dancefloor” (Cititrax / Minimal Wave), which drew praise from the likes of Pitchfork, The Fader and Resident Advisor, and opened up her sound to a new, wider audience, earning support from peers such as Nina Kraviz and Jessy Lanza.ĪRIA and BET nominated rapper and artist Tkay Maidza announces the highly anticipated follow-up to 2020’s ‘Last Year Was Weird, Vol. Industrial heaviness is balanced by Davidson’s spoken text - rather than spoken word, which she sees as a distinct tradition - dark, textured soundscapes are counterweighted by statements that carry a more darkly humourous edge than before, making observations on both aspects of club culture as well as more oblique critiques of the modern world. She still mines the same influences, from Italo disco, to proto-techno and industrial, but leadens them with a gut-punching weight, making for a record that’s more visceral than any she’s released before.
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The sound of "Working Class Woman” is more direct than any of her previous outings. Drawing on those experiences, as well as an array of writers, thinkers and filmmakers who’ve influenced her, Davidson’s response to such difficult moments is to explore her own reaction to them and poke fun. "Working Class Woman” is the Montreal-based producer’s fourth and most self-reflective record: it’s a document of her state of mind, of operating within the spheres of dance music and club culture. Marie Davidson’s new album turns the mirror on herself. Early innovations that would inspire a generation. These soundscapes have that interpolated optimism that we love about recent Apta records. STAFF COMMENTS Matt says: Vintage synthesizer explorations by an intrepid talent. Grandiose statement pieces from two incredibly talented minds meeting on the same astral plane with a well-appointed studio as a vessel. This is perhaps not what you might expect from the pairing of these two artists, or indeed the label, but the sheer compositional power and production of these two is simply undeniable. The latest release on ever-crucial French jazz outpost Heavenly Sweetness welcomes the work of Bardainne Jaumet, a collaboration between accomplished French saxophonist Laurent Bardainne and Versatile regular Etienne Jaumet for four musically rich excursions into cosmic disco, Library music and the golden age of European synthesiser exploration.