Phew new world3/19/2023 We need it to come up with ideas, and kids need it to play – there’s pretty much nothing a bit of imagination can’t improve. Imagination has always been our most important ingredient. Our focus is never on winning, or doing something ‘right’, we provide a playground that only really comes alive when kids bring their magic along – it’s why we make games rooted in play. We’re proud to have grown a business that prioritizes inclusivity, open-mindedness, and playing with stuff. They give us ideas, and sometimes they draw us pictures too. We design from a kid’s perspective, always testing with them first and learning from what they show us. As a result, Phew continues to push forward by crawling deep inside.It all started with a tea party app, and now we’re ten years and 45 inventions older having created spaces for aspiring sushi masters, hairdressers, medics, and have even built a completely new world, PHEW! We’ve grown from two people with a big idea to a pretty huge team with limitless ambition (in fact, we kind of need a bigger office…).Įverything we make has the same objective, to capture the power of play and to celebrate the diversity and quirky things that we love in the everyday. ![]() New Decade may be the perfect distillation of this sonic alliance Phew created, existing as it does outside of any trends or genre tags. On her most recent solo album A New World, however, featuring herself on analogue. Increasingly, its job is supplemental, joining, hiding in, or commenting on the amorphous tones she invokes from electronics. Aunt Sally split up in 1979, since when Phew has followed her own ways. Like Julianna Barwick or Meredith Monk, Phew’s voice is an instrument often disconnected from lyrics. “Days Nights” places repeated echoed calls in the background while another vocal track sing-speaks clipped phrases, one voice seemingly warning the other of some shrouded danger. It adds a rhythm track, Phew’s voice makes brief appearances, but then she adds short, abrasive jolts of fuzzed-out static that feel like splashes of cold water. “Doing Nothing” takes half of its six minutes to move beyond a keyboard drone. “Feedback Tuning”, for example, includes an ever-present bass pulse, electronic percolations, and a distant, ringing guitar chime as her voice bobs in and out of the stew. New Decade by Phew New Decade by Phewįollowing releases in collaboration with Raincoats’ Ana de Silva and another more electronics-based release, 2017’s Light Sleep, New Decade mixes the vocal-black holes of Voice Hardcore with the electronic shape-shifting of Jamming for a record that appears to stretch time. Overlapping, stretching, and folding vocal track over vocal track, this LP had common ground with the experimental work of Beatriz Ferreyra. Her voice, the instrument she’s wielded like a scythe or stroked like a kitten, seemed to be nowhere in earshot, something she made up for with the following year’s vocal-only Voice Hardcore. Like other recent releases, Jamming was recorded at Phew’s home and consisted of eerie, repetitive synth-pulses and drum machine monotony. But starting with 2016’s Jamming, a record comprising two nearly 30-minute tracks, her music began taking on more ghostly shapes as pulse gave way to drone and shadow. Past efforts found her more concerned with rhythm and song structure, collaborating with the likes folks from Jaki Liebezeit to Jim O’Rourke for projects that haven’t always dated well. While experimental vocalist/musician Phew has a recording and performing career spanning over 40 years, it’s only been since 2015 that she’s been at her most prolific, expressive, and exploratory. New Years Morning Lyrics: Blown off was my power - and murdered my peace / If thundered in darkness: and if you had faith / To move even mountains / If profits you nothing / When stony and cold.
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