Suzi Analogue Asserts Her Presence With Siren-like New Single, “Visible”

Suzi Analogue and Rahel. Photo courtesy of the artists

Back in February, THUMP interviewed Suzi Analogue, the Brooklyn-based DJ, producer, and Never Normal label boss born Maya Simone Shipman. Named for two female African American iconsMaya Angelou and Nina SimoneShipman has long taken her cultural identity to heart, from recording herself reciting feminist manifestos on cassette tapes to vocalizing the representation issues she faces as a woman of color in the music industry.

“I have an invisibility complex,” she said. “Time and time again, you see lists and you’re not on there. You read stories from musicians you’ve worked with, and somehow you’re conveniently left out. It’s not about getting credit; it’s about someone recognizing that you actually exist in that creative context.”

Now, Suzi Analogue is making her presence known with her new track “Visible,” which features New York vocalist Rahel. It starts out as a woozy, R&B-tinged beat, until the attention-commanding sound of sirens swells to the forefront, while Rahel brings the message loud and clear: “Trying to make me feel invisible, but I am not invisible / trying to make me feel forgotten, though you’re thinking of me often, I know…

In an email, Shipman tells THUMP that the collaboration with Rahel spawned this past summer as part of a series of songs that reflect “strength.” Speaking on the invisibility complex she mentioned in her February interview, she explains, “We are really embracing the complex with this track, and flipping the message with our own sound for the future. We are also connecting our backgrounds that have modern roots in NYC but international beginningsall of that is in the sound.”

“At this point in our lives we have work to make, and it’s important that we make music with intent,” adds Rahel. “We’re just too smart and well-versed to do otherwise.”

Listen to “Visible” below; it’s out today on Never Normal Records.

Suzi Analogue Asserts Her Presence With Siren-like New Single, “Visible”

Suzi Analogue and Rahel. Photo courtesy of the artists

Back in February, THUMP interviewed Suzi Analogue, the Brooklyn-based DJ, producer, and Never Normal label boss born Maya Simone Shipman. Named for two female African American iconsMaya Angelou and Nina SimoneShipman has long taken her cultural identity to heart, from recording herself reciting feminist manifestos on cassette tapes to vocalizing the representation issues she faces as a woman of color in the music industry.

“I have an invisibility complex,” she said. “Time and time again, you see lists and you’re not on there. You read stories from musicians you’ve worked with, and somehow you’re conveniently left out. It’s not about getting credit; it’s about someone recognizing that you actually exist in that creative context.”

Now, Suzi Analogue is making her presence known with her new track “Visible,” which features New York vocalist Rahel. It starts out as a woozy, R&B-tinged beat, until the attention-commanding sound of sirens swells to the forefront, while Rahel brings the message loud and clear: “Trying to make me feel invisible, but I am not invisible / trying to make me feel forgotten, though you’re thinking of me often, I know…

In an email, Shipman tells THUMP that the collaboration with Rahel spawned this past summer as part of a series of songs that reflect “strength.” Speaking on the invisibility complex she mentioned in her February interview, she explains, “We are really embracing the complex with this track, and flipping the message with our own sound for the future. We are also connecting our backgrounds that have modern roots in NYC but international beginningsall of that is in the sound.”

“At this point in our lives we have work to make, and it’s important that we make music with intent,” adds Rahel. “We’re just too smart and well-versed to do otherwise.”

Listen to “Visible” below; it’s out today on Never Normal Records.

The 25 Best Albums Of 2016 So Far

The history of dance music has primarily been told through singles. One great trackwhen properly nestled in the right DJ set, so the logic goeshas the power not only to set the dancefloor alight, but to shift the sound and energy of a scene writ large. You’re never going to spin a full-length album at peak hours, but the format has furthered some of the dancefloor’s great paradigm shifts, allowing producers to explore the furthest corners of their sound. Moments of euphoria are spread further out, but they’re just as present, and always worth the wait. We’ve already told you the year’s best tracks, now strap in for the long-haul below and check out the 25 best albums of 2016 so far.

Amnesia Scanner – AS

Amnesia Scanner has never felt real, at least in the sense of corporeal human beings with fleshy fingers programming the mutant beatwork and ASCII melodies that make up their music. But earlier this year, they made their debut in the physical world with AS, issued in varying forms of paper and plastic. The short EP contains some of their most hookily structured material to date, as if the shadowy figures behind the curtain realized that restructuring their jabbering vocals and drum judders into more recognizably humanoid outlinespop and club structures, mainlywould make their work more legible to mere mortals. As it turns out, appending sinew to steel does not a human make, but AS‘ real draw is in the ugly bits, where meat and tech collide in a beautiful cyborgian failure.Colin Joyce

ANOHNI – Hopelessness

Sonically ambitious, ecologically minded, and emotionally fragile all at once, ANOHNI’s HOPELESSNESS is one of the most multifaceted records 2016 has seen yet. The New York-based artist, formerly of the band Antony and the Johnsons, has crafted a protest album that plays out like an assault on society’s grandest ills: climate change, government surveillance, drone strikes, and genocideand it’s particularly interested in the places where all of the above intersect.

But the record’s genius lies partly in the sneakiness with which it plants these messages in the ear. Bolstered by production by Hudson Mohawke and Oneohtrix Point Never, HOPELESSNESS uses the physicality of dance music to bruising effect, making ANOHNI’s political provocations both more palatable and more punishing. Speaking to THUMP earlier this year, ANOHNI said that the way she “express.” That’s a generous thing of the 26-year-old artist to say, but it’s unlikely there are many people who aren’t left in the dust by his debut for J-Cush’s Lit City Trax. Remixing everything from hip-hop hits to an NFL theme song and a Cousin Terio Vine, the mixtape is an exercise in profound artistic tenacity: just when you think he can’t fit another idea into a track, he fits in eight.Alexander Iadarola

Uli K – Elusivo

Long the most laconic and sensitive member of Long London’s Bala Club crew, singer/songwriter Uli K steps out of the shadow of younger brother Kamixlo (who’s released on PAN sublabel Codes) and pal Endgame (recently signed to Hyperdub) and into blinding, heartrending vulnerability. Uli told The FADER at the time of the EPs release that it that it was part of a process of coming to terms with heartbreak and gender identity by presenting all the misery and confusion wholly unvarnished, or as they put it “snitching on myselfreading my diary out loud.”

That pain reverberates throughout. Even over the fractured beats care of Berlin shredder Mechatok and frequent Yung Lean collaborator Whitearmor (Lean also turns up for a brief verse, on that “Drifting”), Uli sings of blood and money, voluntary loneliness, and romantic dissolution. The catharsis these stories offer feels generous, a hand stretched outhowever tremulousfor whenever you feel similarly broken.Colin Joyce

Various Artists – Pampa Records Vol. 1

There’s a dizzying array of sounds and styles represented on the first label compilation from DJ Koze’s Pampa Records, from Jamie xx’s rave retro-gazing to Matthew Herbert’s butcher-shop techno trickery. But the unifying concept is the unmitigated joy that a dancefloor can bring. UAE-born producer Abood Nasrawi makes that explicit on his contribution “Bump with You,” sampling a small child’s giggly suggestion that singing “embarrassing,” but dancing is “ok.” The track then lurches into glassy-eyed, unrestrained beatwork, permission for liftoff having been granted from the mouths of babes. Pampa’s stable of signees and friends often adopt worn club forms, but their productions underscore why people return to things like house and techno over and over again: club music’s currency is ecstasy.Colin Joyce

Powered by WPeMatico