Phew is quoted as saying, “What is music? There is no correct answer,” and that sense of provocation may be what makes this album feel so liberated, focused, and endearing. It's hard to find an album that is this effective with only one instrument, let alone that instrument being the human voice. ![]() That this is her first release for Mute in nearly 30 years adds to the impression of a career culmination, but Phew doesn't rest on her laurels. Released in Japan at the end of 2017, the only instrument on this album is the voice of Phew processed by electronic effects which brings to mind Joan La Barbara’s work in extended solo vocal techniques. When she returned to her solo career in the early 2010s, Phew created some of her most striking music, and New Decade is no exception. By the end of the first side, I was certain this had to be a reissue so when I discovered it was a new release, its allure only intensified. However after a few listens one thing becomes abundantly clear Phew's music feels as if it exists solely for the sake of the sonic experience as opposed to music firmly rooted in the name of conceptual art. Today’s guest is an artist in the proper sense of the word. The easiest comparison to make would be Yoko Ono due to her trademark non-verbal vocal style of composition. ![]() When I heard Phew's Voice Hardcore a couple of weeks ago, it immediately caught my attention because it sounded like something out of this world. A record that circumvents the contemporary trends and aesthetics so much so that it’s unclear when or where the music comes from. (Mesh-Key) Every once in a while there is a record that seems to exist outside of time. Phew Phew Oops Oof By Christopher Ricks Forms of Talk by Erving Goffman University of Pennsylvania Press, 320 pp., 7.95 (paper) Unruffled, the announcer said, 'Shell be performing selections from the Bach Well-tempered Caviar.
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