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Anika self titled album released today on Stones Throw Records Produced by BEAK> [Geoff Barrow of Portishead and friends]

Anika self titled album released today on Stones Throw Records Produced by BEAK> [Geoff Barrow of Portishead and friends]

“The sound is fresh…. the songs get your attention; they’ve got texture. It’s startling” – New York Times
Free Mp3 download: I Go To Sleep

Geoff Barrow of Portishead / Beak> produced Berlin/ Bristol/ London based artist Anika who’s self-titled debut LP is released today on Stones Throw Records.

The resulting collaboration is raw discordant beauty – a three way sonic palette featuring trippy 80’s post-punk, dub and 60’s girl pop that has seen early comparisons to Nico and The Slits.

“Anika’s voice is a warm howl, one that barely diverges from her speaking tone, melodic almost despite itself, a quality that lends fluidity to the spectrum of voices the album repurposes.” – Fader

Having just completed her first round of live gigs that included a sold out show in Paris (which caught the eyes and ears of tastemakers Colette and Agnes B) and was personally invited by The Horrors to play at their infamous Cave Club in London, (where the line was stretched around the corner for all eager to see this chanteuse live in performance), Anika is setting her sights towards the US for 2011. In the meantime you can catch a glimpse of Anika rehearsing the reggae infused “No Ones there” from the debut album here.

“It’s a bass-drenched retro trip that spits in the face of modern production, embracing the rawest, most visceral elements of timeless sound.” – Flavorwire Daily Dose

Solidly in the groundbreaking tradition of such deeply influential labels as New York’s ’80s No Wave nexus, 99 Records, the nine songs run the gamut from experimental rock (“Yang Yang”), to soulful country (“End of the World”), to folk (“Masters of War”), to pop (“I Go To Sleep”). This wide spectrum showcases Anika’s expansive range, prescient talents and uncanny ability to string together a cohesive, disparate collection of moods. Anika and Beak> bestow a mature array of reverb drenched ancient drum machine rhythms, while expertly teasing out the more haunting qualities in each incantation.

“Enter a female solo artist for you to give a shit about. ‘Dirtying sweet songs of the sixties and putting politics back into music with the help of Beak>” – LOUD AND QUIET

The music selected reflects Anika’s political stance, being both controversial and provocative as it’s Anika’s nature. As noted in a recent interview with the UK’s Stool Pigeon “We found the sweetest love songs we could find and made them sound like stalker songs, really evil. Using cover songs makes them a bit more provocative as you’re messing with people’s favorite songs and they’ll hate you!” Since the release of her album, her stint as a political journalist, has been put on hold as she focuses all her attention to writing songs and performing live.

“She sounds like a politically-charged Nico fronting the New Age Steppers or ESG” – Faris Badwan The Horrors

ANIKA was recorded live in 12 days, with her three band mates, Geoff Barrow, Billy Fuller and Matt Williams, together in one room and no overdubs. In a recent interview featuring Geoff in XLR8R’s current issue themed ‘Building an Iconic Sound’… the producer shared, “Just having three musicians and a singer in a room is a pleasure. A band like Can would just gather, record and they would sound so balanced and at the same time capture all these dynamics. I’ve become fascinated with this. I love to hear a really amazingly written song that’s off kilter, and that doesn’t hide its wrongness.”

The resulting collaboration is a political/trashy/discordant/reggae/German/old school Bristol/punk-funk sound – all sown together into a collection of classic, bristling songs infused with other-worldliness. Indeed, it’s an experience in uneasy yet easy listening.

elected Press quotes

“Anika’s debut record is unhinged to the point of requiring prompt sectioning. It is frequently terrifying, plainly unsettling and isn’t the best thing to listen to alone in the dark. It is also quite, quite brilliant.”
– DROWNED IN SOUND

“She’s like a seriously pissed-off Nico shoehorning her way into a great, lost Ghostface Killah classic.”
– NME

“Yang Yang’ is one of those rare tracks that is just undeterrably fucking cool.”
– RCRD LBL

“Anika’s new album injects some forward thinking elements into the post-punk template. No grey Factory re-treads here, instead the singer pays homage to the true spirit of the era.”
– CLASH MUSIC
“Coming across like a less ethereal Glasser, a reverb ghosted chanteuse informed by the post-punk outer limits and fun-for-fun’s sake, anika’s debut record is one of those growers which soon envelope you and won’t let you go.”
– ROUGH TRADE

“kraut-dub and euro-trashy, like some eight foot viking-type broad testing the waters of hip hop. It’s politically transparent, but not in some annoying M.I.A. sorta way. Simply put, it’s fuggin’ awesome.”
– Impose Magazine

“Sounds a lot like Nico circa 1969 fronting the Slits circa 1979. This is some mighty satisfying, dour, politically oriented dub.”
– The Stranger

“Anika’s approach is very much in line with the no-wave/punk-funk movement that was tailor made for disco edits and dub plates… think: Nico caught in a K-hole” – Self-Titled

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