Виниловая пластинка Holy Wave - I'm Dada [New Vinyl LP]

Genre: Rock

Release Year: 2026

Tracks:

1. Us 54
2. S33. U. In/Hal
3. Happy Song
4. First Dae
5. Lull
6. I'm Dada
7. Unison
8. Too One
9. To the Other
10. Dewey's Dirge

Working alongside experimental duo Lorelle Meets the Obsolete at their studio El Derrumbe in
Ensenada, Mexico, the sessions folded community into the album, though it's emotional core had
already formed over months of pre-production. Joo Joo Ashworth, mixing engineer and longtime
friend, also provided a pivotal presence helping crystallize the album's rhythmic language and
subtly expanding the band's sound. The songs began reflecting conversations about fatherhood and
partnership, breakups and estrangement, the queasy acceleration of AI, and what it means to
remain present and principled while the world lurches unpredictably forward.
This tension is not announced but absorbed into the music. Holy Wave stretches their familiar sense
of woozy atmosphere into something leaner and more direct. There are more loops and samples
woven throughout than before, grooves that feel constructed, cyclical, hypnotic. Some tracks drift
toward dub's elastic spaciousness; others pulse with cinematic downtempo gravity. There is a fresh
sense of momentum throughout the record, rhythms that pull forward, dream-saturated textures,
sheets of fuzz, and softly suspended vocals.
"dewey's dirge" unfolds patiently: hazy guitars bloom, a softened motorik pulse moving steadily
beneath. The vocals remain submerged, widening rather than exploding. It feels expansive and
reflective, a comedown hymn that trades drama for immersion. "i'm DADA," by contrast, locks into a
lean, circular groove. A tight drum figure, rubbery bassline, and clipped guitar phrase repeat until
they begin to feel animate. Lyrically, the song circles the complicated devotion of fatherhood, written
in a brief pocket of rare solitude for a parent: Always loving (Try to do what's right) / Always
learning (There's never enough time). "s33. u. in/HAL" plays like a transmission caught midair, faintly
mechanical, immersive without ever fully resolving, capturing the album's central sensation: the act of
trying to communicate clearly through static.
If earlier Holy Wave records often felt defined by their sense of drift, i'm DADA feels newly
grounded. The album doesn't abandon immersion; it disciplines it. Grooves settle, repetitions accrue
weight, and the music is composed and unshaken amongst it's heavier themes. What emerges is not
reinvention but a sharpening, with Holy Wave sounding less like