New music – HAAi feat. Jon Hopkins, Obi Franky, ILĀ and TRANS VOICES – Satellite (Mute)

from the press release, edited by Ben Hogwood

London-based, Australian-born producer, songwriter and DJ, HAAi (aka Teneil Throssell) has announced details of her highly-anticipated new studio album – HUMANiSE – out on 10 October 2025 via Mute on limited edition clear double gatefold vinyl and limited edition CD in eco card packaging.

You can watch the video for Satellite featuring Jon Hopkins, lead vocals by Obi Franky, plus ILĀ and TRANS VOICES, a crescendo of celestial glitch-pop that references early Kompakt records, 90s rave and 2-step, below. The accompanying visualiser is by Dobermann Ltd, who Teneil has been working closely with on the artwork.

Teneil goes on to say, “Satellite encapsulates everything HUMANiSE stands for: the importance of your people and the unique humaneness we offer one another in a rapidly changing world. I feel so lucky to have shared this track with Jon and Obi, ILĀ and TRANS VOICES.

This album is for my trans and queer family and our allies, to say thank you for lighting up every space you’re in. I will always be in your army.”

Talking about the track, Obi Franky explains, “Inspired by my father’s passing, I decided to write a message that I believe we share for each other. And this can apply to various situations for so many people including those that live far away from each other. Sometimes being reminded someone’s energy is there is enough to keep you going. We are all satellites and have the power to create a sense of unity, the power to receive and give what ultimately a human wants – love.’

HUMANiSE stands as an immense evolution from the debut, Baby, We’re Ascending, and arrives at a prolific time for the artist. Her BBC Radio 6 Music A-listed track, ‘Can’t Stand To Lose’ was reworked by HAAi and Tom VR and soundtracked a groundbreaking visual which premiered on the Outernet’s digital exhibition space for Women’s History Month. That was followed soon after by a collaboration with KAM-BU, Shapeshift, and recent (and forthcoming) DJ appearances that include Coachella, Movement, Glastonbury and helming her community-focussed night in London, UNiSON.

In all of her work, Teneil has always sought to conquer new frontiers in electronic music, and on the new album, she’s drilling deeper into the grid. HUMANiSE reckons with what it is to be human in an increasingly digital world, as AI threatens to eclipse everything and our screens separate us from each other. The result is an ambitious and thrilling epic: embodying a sonic step up, exploring the sweet spot between machine-led dystopia and emotion-filled utopia.

“Throughout the album, I kept thinking about a machine with a human heart,” she says. Where previously she’s been hidden by a laptop, or obscured behind the decks, more recently she was, “inspired to return to my songwriting roots and use my voice more in my own music.” “Throughout the album, I kept thinking about a machine with a human heart,” she says. Vocals are front and centre, stunningly delicate and giving a newfound dimension to her kinetic productions. “It took a long time to get there, it’s such a vulnerable thing to do,” she continues, “but for this album, it was important for me to allow this ‘human heart’ to be front and centre.”

The human heart has another focus on the album: unity and community. HAAi explains, “Even though HUMANiSE is about how the world is starting to change beyond our control, it’s important to keep a sense of togetherness and hope.” These ideas of community and a sense of belonging is of utmost importance, and she has returned to work with friends including Jon Hopkins, Alexis Taylor from Hot Chip, singer Obi Franky and rapper KAM-BU, artist Kaiden Ford, as well as poet James Massiah, who guests on All That Falls Apart, and two choirs: TRANS VOICES with choir leader ILĀ and a gospel choir led by Wendi Rose. But this is no clique, the community she surrounds herself with is inclusive, with ample space for the listener on a journey where you are suspended in dreamlike euphoria, drawing the most human part of you to the surface – the part where nothing matters more than family, friends, and togetherness.

HUMANiSE is out on 10 October 2025 via Mute on limited edition clear double gatefold vinyl and limited edition CD in eco card packaging. You can pre-order here

Published post no.2,548 – Thursday 29 May 2025

On Record – Web Web: Plexus Plexus (Compost Records)

by Ben Hogwood

What’s the story?

The prolific Munich group Web Web here notch up their sixth album in seven years, described on their Bandcamp pages as “more psychedelic, sometimes more krauty than before”.

This time the group comprise Roberto Di Gioia (Rhodes, Fender Precision Bass, Moog, Mellotron, percussion), Christian von Kaphengst (Fender Precision Bass, Rhodes), Peter Gall (drums, percussion, Fender Rhodes) and Tony Lakatos (tenor saxophone, flute), with the core members often switching between instruments.

Web Web were joined by a guest for the recording, guitarist JJ Whitefield, while Michael Reinboth, the Compost founder, is executive producer.

What’s the music like?

The psychedelic elements are quickly evident in the lovely, grainy sound of Apotheosis, where Whitefield’s distorted guitar asserts its presence. The contrast with The Madness of Ajax is a marked one, as Lakatos’ flute comes to the fore.

The organ-led Mysia travels through time, with murky distortion, while there is a wonderful version of Moondog’s Bird’s Lament, a spontaneous suggestion from Reinboth that features a rather beautiful sax solo from Lakatos.

There is indeed a healthy infusion of space jazz and Krautrock, found especially on tracks like Nyx, where a heady keyboard line is spun out over reverberant drum track and appealing weirdness in the middle ground.

Does it all work?

It does indeed, for the players pack a lot into a short space of time. None of the tracks outstay their welcome, the result being focused playing that creates really appealing moods and melodies.

Is it recommended?

It is. Plexus Plexus feels like a time capsule, recorded recently but beaming some of the best bits of the 1970s in through its sessions.

For fans of… Jazzanova, Mr. Scruff, Tosca, Boozoo Bajou, Four Hero

Listen / Buy

Published post no.2,546 – Tuesday 27 May 2025

Let’s Dance – Alexander Flood: Artifactual Rhythm (Atjazz Record Company)

by Ben Hogwood

What’s the story?

Following the singles Life Is A Rhythm and Can’t Get Enough, Alexander Flood delivers a new album to build on their promise. The idea behind Artifactual Rhythm is that it should “present a re-interpretation of club and DJ music through the lens of a live band with a jazz edge”, bringing a more human element to proceedings.

It was recorded live in Naarm / Melbourne, with a band including Erica Tucceri (flute), Finn Rees (keyboards) and Dylan Paul (bass), as well as guest vocals from Cazeaux O.S.L.O, Kara Manasala and New York’s Vivian Sessoms.

What’s the music like?

Summery! This is a set of consistently good songs, on a really winsome, summery house vibe with piano high in the mix. Flood definitely knows what works, and hits the spot on many occasions – with a good bounce to the beat and a plethora of sunshine vocals.

The breezy improvisations are led by flute and dreamy keyboard, with the live feel paying dividends on the likes of Artifact, where a bit of jazz (but not too much!) lifts the spirits beautifully.

Life Is A Rhythm is a classy deeper number, with a strong guest spot from Cazeaux O.S.L.O. Vivian Sessoms is terrific on Can’t Get Enough, but topping the lot is Vibraçâo, a samba fest strewn with broken beats and packed with feelgood vibes.

Does it all work?

It does – no pretence, this is an album that delivers on its promises!

Is it recommended?

Most definitely – an album for holiday season that should be high on the packing list!

For fans of… Masters At Work, Joey Negro, Shapeshifters, Incognito

Listen / Buy

Published post no.2,542 – Friday 23 May 2025

Switched On – Loscil: Lake Fire (Kranky)

by Ben Hogwood

What’s the story?

Loscil’s music has always spoken vividly of its surroundings, bringing the wide-open panoramas of Vancouver and British Columbia to vivid life on even the smallest sound system. Here, Scott Morgan’s alias brings sonic despatches from the front line with a striking account and observation of the recent wildfires in the region.

What’s the music like?

As dark and thick as the clouds of smoke that were hanging over British Columbia when this album was made. Ash Clouds is the most explicit expression of the darkness that developed, with a deep chord that barely moves, hanging over the ground.

That isn’t to say that Lake Fire is depressing, mind, as there are shards of bright colour that draw the attention in spite of the thick, uneasy ambience behind. This is evident in the closing of Spark, where dark chords, low in the spectrum, are at odds with brighter chimes at the top, suggesting light peeking through the clouds.

There are some incredibly deep textures on Arrhythmia. Bell Flame flickers, with sonorities similar to a pipe organ in the treble but again with thick, almost oppressive drones beneath. Candling has an improvisatory feel, melodies rising out of the mists like peaks of a flame before subsiding again. Most moving of all is the closing title track, barely audible at first as it steals in on a breath of wind but soon growing in power, the dense cloud sweeping all before it – before retreating and fizzling out as soon as it began.

Does it all work?

It does – and in the process offers an affecting counterpart to the clarity of albums like Sea Island.

Is it recommended?

It is. If you take in the album with its accompanying images and video content, Lake Fire is an intensely moving experience, a tale of man-made and enabled destruction that is truly heart-rending. And yet within the depths of this music there is still some elemental hope, and that shines through in Loscil’s remarkable music.

For fans of… Tim Hecker, Stars of the Lid, Machinefabriek, Fennesz

Listen / Buy

Published post no.2,540 – Wednesday 21 May 2025

Switched On – AVAWAVES: Heartbeat (One Little Independent)

by Ben Hogwood

What’s the story?

This is the third album from the duo of Anna Phoebe and Aisling Brouwer, who have recently bolstered their reputation in soundtrack scores for Savage Waters and The Buccaneers.

They describe their first album since 2021 as “peeling back all the layers we cloak ourselves in until there is nothing left but the source, and discovering the strength that resides there. We wanted this album to feel raw, honest, and intuitive. There are themes of resilience, determination, grit, and an optimism in forever chasing the dawn after dark. It’s the bursting of bubbles and realising how much lighter everything feels without them.”

The single-word track titles are clues to the directness of expression the pair use, and on occasion the pair are complemented by vocalist Imogen Williams.

What’s the music like?

There is a freshness to AVAWAVES that is immediately felt on headphones, which indicates their wish to peel back the layers is an immediate success. The listener is led into wide open spaces, set down and allowed to enjoy the fresh musical air, free of any pretence or expectation.

The title track is purely and deeply felt, Phoebe’s violin played without vibrato and supported by calming piano – and it sets the tone for a purity running throughout the album. Mood secures a range of colours through its imaginative scoring. The violin uses pizzicato, double stopping and subtle inflections to the phrasing, while the doleful piano line is complemented by fuzzy electronics and a solid, quick moving beat. It is, as the pair say, the soundtrack to an imaginary film of the listener’s choosing.

Escape and Raindrop have strong Celtic flavours, the former given a winsome violin line and the latter soft vocals and a free spirit. Crush is synth-based and quite trancey, while Rumour brings the piano forward, its textures mottled and weather-beaten. Sleep Tight is a consoling song, the only one on the album, and is beautifully sung.

Does it all work?

It does. The music builds up in layers but never gets too much – or too cheesy. When used, the beats are especially good, as in the evocative Nightdrive.

Is it recommended?

It is. Heartbeat is an appropriate title for the album, as AVAWAVES make music from the heart, notable for the purity of its expression. Emotional and evocative, it is a rather wonderful listen.

For fans of… Erland Cooper, Ólafur Arnalds, Hauschka, Max Richter

Listen / Buy

Published post no.2,535 – Saturday 17 May 2025