I'm Dada

Description

En collaborating with the experimental duo Lorelle Meets the Obsolete in their studio El Derrumbe in Ensenada, Mexico, these sessions allowed for the integration of a sense of community into the album, even though its emotional essence had already been forged over several months of preproduction. Joo Joo Ashworth, sound engineer and longtime friend, also played a central role in helping to crystallize the rhythmic language of the album and subtly expand the band's sound. Holy Wave extends its characteristic intoxicating atmosphere into something more refined and direct. There are more loops and intertwined samples than before, grooves that feel constructed, cyclical, hypnotic. Some tracks drift into the elastic space of dub; others resonate with a cinematic gravity at a slowed tempo. A freshness permeates the album, with driving rhythms, dream-soaked textures, layers of fuzz, and softly suspended vocals. "dewey's dirge" unfolds patiently: hazy guitars bloom, while a softened motorik pulse moves steadily in the background. The vocals remain submerged, expanding rather than exploding. While previous Holy Wave albums often featured a sense of drifting, I'm DADA now seems anchored in the present. The album does not abandon immersion; it channels it. The grooves assert themselves, the repetitions gain power, and the music remains grounded and unwavering amid its darker themes. What emerges is not a reinvention, but a refinement, with Holy Wave resembling less a band drifting in the atmosphere than a band deliberately shaping it amid the chaos.