I'm Dada

Description

By collaborating with the experimental duo Lorelle Meets the Obsolete in their studio El Derrumbe in Ensenada, Mexico, these sessions allowed the sense of community to be integrated into the album, even though its emotional essence had already been forged over several months of pre-production. Joo Joo Ashworth, a sound engineer and longtime friend, also played a central role in helping to crystallize the album's rhythmic language and subtly expanding the band's sound. Holy Wave extends its characteristic intoxicating atmosphere toward something more stripped-down and direct. There are more intertwined loops and samples than before, grooves that feel constructed, cyclical, hypnotic. Some tracks drift into the elastic space of dub; others vibrate with a cinematic gravity at a slowed-down tempo. A fresh momentum 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 were often characterized by a sense of drift, I'm DADA now feels 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 poised and unwavering amid its darker themes. What emerges is not a reinvention, but a refinement, Holy Wave sounding less like a band drifting through the atmosphere and more like one deliberately shaping it amidst the chaos.