Rising to prominence with the art-punk group Aunt Sally before her first solo release in 1981, recorded at Conny Plank’s studio in Cologne with Holger Czukay and Jaki Liebezeit, New Decade is her first for Mute since 1992’s Our Likeness. It’s music out of time, resonating to its own peculiar frequency. It’s not deliberately retro in the manner of many analogue synth revivalists, nor does Phew waste time trying to catch up with the latest trends. This is reflected in the unplaceable character of her current work. Personally speaking, I’ve stopped being able to see a future that extends from the present.” “During the ’80s, and up until the ’90s, things progressed along a line from past to present to future, but I think that’s changed, especially since the start of the 21st century. Phew explains that there’s a loose concept running through the album, relating to the perception of time.
Listen to the hypnagogic pulsing and shifting electronics of ‘Days Nights’ here, with accompanying atmospheric and disorienting video directed by Masayuki Shioda whose photography appears on the cover of the album:Īlready well accustomed to working in isolation at home, keeping her voice down in order not to annoy the neighbours, New Decade is a stark and haunted album, populated by voices that intone empty pleasantries in English and Japanese or manifest as wordless shrieks and groans, against a backdrop of fractured, dubbed-out electronics. PHEW has shared the latest taste of what to expect from her forthcoming album, New Decade, out on Mute on 22 October 2021 on limited edition clear vinyl, CD and digitally Here’s what the press release has to say… She’s since collaborated with members of DAF, Neubauten, The Raincoats and more”
Ryuichi Sakamoto produced Phew’s first solo release in 1980 and in 1981 Pass Records issued her debut LP, a classic featuring H. “Phew’s career began in the 70s fronting trailblazing Osaka punk group Aunt Sally (who released one album on Vanity Records in 1979).
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