The previous few years have seen the band–who rose up in parallel with each the South London jazz scene and the post-punk motion of Brixton Windmill earlier than occurring to open up for acts like Tame Impala, Nilüfer Yanya and Scorching Chip–navigate new methods of working.
ALASKALASKA jubilantly provides: “We are beyond excited to be playing our first showcases in the US this March. As well as eating pie and visiting the old swimming holes, performing at SXSW is something we always hoped we’d get to do since starting ALASKALASKA, and it’ll be a privilege to finally get to play for and meet some of our fans in the states, which we’ve been waiting years for. Also, we are delighted to be sharing a new remix by our friend and Still Life collaborator, Jas Shaw, who has reworked “Long Last Pleasure”. His reinterpretation is highly effective and darkish and engrossing, constructing rhythmically on layers of a frozen vocal reverb texture. This would be the first in a brief assortment of reworks by shut mates.“
The American showcase news comes after having supported Porridge Radio on a 13-date UK tour. Still Life finds writers and producers Lucinda Duarte-Holman and Fraser Rieley embracing a more free-form electronica while exploring the privileges associated with modern domestic existence and the pressures that come with technology, social media and climate change.
The celebrated album Still Life features singles “TV Dinners”, “Still Life”, “Glass” and “Growing Up Pains (Unni’s Song)” and drew assist from KCRW, BBC 6 Music’s Lauren Laverne, Chris Hawkins and Tom Ravenscroft, BBC Radio 1’s Jack Saunders and Nels Hylton, BBC Introducing’s Jess Iszatt and extra. Produced by Jas Shaw (of Simian Cell Disco), the album is stuffed with digital sounds, drum machine and synth melodies cunningly sat beside wealthy, natural, acoustic instrumentation–a looping tug of conflict between existential dread and on a regular basis easy pleasures.
Whereas Nonetheless Life was by no means meant to be a ‘pandemic album’, it was in the end realised and enhanced by this second in time. Coincidentally, Duarte-Holman was already fascinated by our recurring nature as a society and questioning what which means for us shifting ahead whereas doing the majority of the writing, in its skeletal kind not less than, again in 2019. These themes have been then exacerbated and additional crystalised with the onset of the pandemic, a time that additionally meant ALASKALASKA have been unable to get their common supporting band in the identical room, leading to Duarte-Holman and Rieley embarking on a 24/7 countless stream of noise, soundscape, and consciousness that, prefer it or detest it, solely the twenty first century 6G world can facilitate.
The restrictions of that point allowed them to discover sounds they’d by no means fairly had the liberty to play with, ensuing within the band adventuring into extra digital soundscapes, creating a novel and infectious mattress of indie-electronica by which their deeply reflective lyrics sit. Influences shine via each in a fluid exploration of style and a young, always-focused lyricism–it’s the strategies of Björk, Fever Ray, LCD Soundsystem and Arthur Russell, and the modern melodies of Metronomy and Porches that excite them.
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