First Floor #88 – Smurphy Calls It Quits
a.k.a. The Mexican artist discusses her health issues and how they impacted her decision to walk away from music.
Hello there. I’m Shawn Reynaldo, and welcome to First Floor, a weekly electronic music digest that includes news, interviews, my favorite new tracks and some of my thoughts on the issues affecting the larger scene / industry that surrounds the music. This is the free edition of the newsletter; access to all First Floor content (including the complete archive) requires a paid subscription. If you haven’t done so already, please consider signing up for a subscription (paid or unpaid) by clicking the button below. Alternately, you can also make a one-time donation here.
A QUICK SCHEDULING NOTE
Next week, there won’t be a new edition of First Floor, but the newsletter will return on Tuesday, July 13. Also, with summer now in full swing, I may take off some additional weeks here and there during July and August, but any breaks from the usual weekly publishing schedule will always be announced ahead of time.
ON MY MIND
Artists quit music all the time, and for all sorts of reasons. Some people get older and lose interest. Others run out of money and get a “real” job instead. Sometimes life simply gets in the way, and other priorities (e.g. family, friends, relationship, career) take precedence. Whatever the reason though, the act of leaving music behind is one aspect of being an artist that’s rarely discussed. Sure, there are celebrated legends who publicly declare their decision to hang it up—which usually triggers an outpouring of gushing praise and fond farewells—but for most artists, both the ones whose fame has faded and those who never found much success in the first place, quitting tends to be a quiet, personal decision that’s shared with only a handful of friends and loved ones.
It’s odd. In the music world—and the creative / entertainment industries in general—failure is so much more common than success, and yet there’s still a sort of stigma around it. We live in a time when artists are often expected to share their lives—including their personal lives—on social media, and yet leaving music behind is still perceived as something shameful, or at the very least as something that people ought to keep to themselves.
That’s why I was surprised to see a release called RIP Smurphy Forever land in my inbox last week. A collection of tunes by Mexican producer and former N.A.A.F.I. affiliate Smurphy (a.k.a. Jesica Ileana García), it came with an announcement that she’d chosen to end the Smurphy project altogether, a decision that was closely tied to both ongoing struggles with her health and her newfound passion for painting, ceramics and other manual arts. (For what it’s worth, she plans to continue pursuing that work under the name Ileana García Magoda.)
García’s situation may not be typical—only a limited number of artists face physical health challenges that seriously affect their ability to make music and perform—but her decision to abandon music in such a public fashion was intriguing all the same. Here was an artist who had garnered a certain level of international recognition—at least within underground electronic music circles—and whose work had arguably reached new creative heights in the past year, thanks to a series of dancehall-oriented releases on the Duppy Gun label, and she was getting out of the game, of her own volition.
Wanting to know more, I asked García if she’d be up for an interview, and we had a long call over the weekend. Our conversation covered a lot of ground, although we not surprisingly focused on the past few years of her career and how it had been impacted by her struggles with her health. (Disclaimer: I’m obviously not a doctor, so I took García at her word when it came to her condition and how it had manifest over the years.) There was more than just health talk though, as we also spoke about her decision-making process and her gradual realization that she simply didn’t want to be Smurphy anymore. That’s something that even the healthiest of artists can probably relate to, and García was commendably open and honest about how she got to that point.
The full interview—which has been edited for length and clarity—can be found here.
(PLEASE NOTE: the link to the interview will be open to all for the next 48 hours, but after that, it will be available to paid subscribers only.)
ANOTHER THING I WROTE
Perila has just released her official debut album, How Much Time It Is Between You and Me?, and I had the opportunity to review it for Pitchfork. The Russian-born, Berlin-based artist is someone whose name has appeared many times here in the newsletter, but it was cool (and challenging) to put her unique strain of ambient music—and its notably spooky undercurrent—under the microscope.
REAL QUICK
A round-up of of the last week’s most interesting electronic music news, plus links to mixes, articles and other things I think are worth sharing.
As much as I’m dreading what will almost surely be an avalanche of “clubbing is back” articles in the months ahead, this Emily Witt essay, which appeared in the New Yorker last week, is a compelling read. Although it’s extremely NYC-centric and heavily biased towards the city’s more recent clubbing history, the piece does a pretty excellent job chronicling the loss of partying during the pandemic, the thrill of its return during the past few weeks and how the scene has (and hasn’t) changed in the meantime.
Speaking of the return of clubbing, last Friday the UK government published the findings for Phase I of its Events Research Programme (ERP), which consisted of nine pilot events across the country, including a two-night indoor “rave” organized by Circus in Liverpool. According to report, only 28 positive COVID cases could be traced back to these pilot events, and while that sounds great, the figure should be taken with a giant grain of salt, as only 15% of attendees returned both a pre- and post-event PCR test, which made thorough tracking of virus transmission all but impossible. It’s unclear if any of this will impact the government’s plans—Phase II of the ERP has already been completed, and Phase III will begin soon—but the government has already pushed reopening back to July 19 at the earliest.
In response to that delay, a group called Save Our Scene UK organized an eight-hour march in London on Sunday, rallying thousands of people (and a questionable lineup of DJs, including several artists who continued to gig during the pandemic) to protest the government’s lockdown extension. As reported by Resident Advisor, the response within the electronic music world has been mixed, to say the least.
Yesterday the International Music Summit (a.k.a. IMS Ibiza) published its annual business report, which surveys the economic state of the electronic music industry. Not surprisingly, the numbers were way down, as IMS claims the industry’s value dropped 54% to $3.4 billion, its lowest level since before 2012. Many more figures are included in the report, and although its focus is undeniably commercial / mainstream, it does provide some useful baselines for where things are at economically in the larger industry. It’s also free, and can be requested here. (Submitting your email is required.)
The music world lost several important artists last week, including legendary avant-garde composer and trumpet player Jon Hassell, who famously coined the term Fourth World to describe his combinations of various global sounds with modern electronic production. According to a statement from his family, he died of natural causes. Peter Zinovieff, the British synth pioneer and composer who founded the Electronic Music Studios (EMS) synth company in 1969, also passed away, as did The Gift of Gab, the Bay Area rapper who was one half of Blackalicious and a key member of the Quannum collective. As reported in Pitchfork, he was only 50 years old.
The Tone Glow newsletter, which is frequently a source of interesting long-form interviews with independent / experimental musicians new and old, had itself a big week, publishing conversations with Terre Thaemlitz (a.k.a. DJ Sprinkles), who spoke with Joshua Minsoo Kim, and Seefeel, who talked to Emily Wirthlin.
LuckyMe released Eli Keszler’s new Icons album last week, and marked the occasion by publishing a conversation between the NYC percussionist and famed British documentarian Adam Curtis.
Italian festival Terraforma won’t be happening this year, but its organizers have decided to launch a biannual new print publication, Terraforma Journal, which is dedicated to exploring “the intersection of sound, art, ecology and contemporary culture at large.” The first issue—which is available for presale now—is set to drop next month and will feature such artists as Flora Yin-Wong, Terre Thaemlitz and the Nyege Nyege collective.
Do you create or work with music? Is sending and receiving audio files a part of your regular routine? If so, online platform Byta is hoping that you’ll take part in their new industry-wide survey on “The State of Music Sharing,” which they’ve put together with the help of music technology researcher Dr. John Sullivan. Participants will be entered in a drawing for prizes, and the results will be presented in an in-depth report later this year. (Full disclosure: I’ve done some editorial work for Byta—which is related to the topics explored in this survey—that will be published later this year.)
JUST ANNOUNCED
A round-up of noteworthy new and upcoming releases that were announced during the past week.
Following several collaborative efforts, some stray EPs and a couple of releases from his Tunes of Negation alias, Shackleton will soon be releasing a new solo full-length, his first under that name in nine years. Departing Like Rivers, which the Berlin-based Brit describes as “quite foggy and scuzzy,” is due to arrive on September 21 via his own Woe to the Septic Heart! label, and its expansive opening track, “Something Tells Me / Pour out Like Water,” is available now.
During the pandemic, Martyn launched an artist mentoring program, and the nascent community it’s spawned has prompted the 3024 label founder to share some of the talent (and tunes) he’s come across. This summer, he’ll be releasing a three-part, 28-track compilation called It Was There, which consists exclusively of music made by artists—both new and established—who’ve taken part in the program. The first volume is slated to arrive on July 16, and several of its tracks are already available here.
Prolific experimental composer Sarah Davachi has unveiled a new album, Antiphonals, on which she seeks to combine her studio and live performance techniques. Billed as a sort of sister LP to 2018’s Let Night Come on Bells End the Day, the record will be released on September 10 through the LA-based Canadian’s own Late Music label. In the meantime, she’s shared one of its tracks, “Rushes Recede,” for which she’s also commissioned a new video.
Dubstep legend Mala announced that he will be reissuing his back catalog digitally for the first time. The project, which includes his past releases on labels such as DMZ, Big Apple and Tempa, will see the music resurface via Mala’s own I&I imprint, and it officially got started last week with a new release of “Anti War Dub,” one of the UK artist’s most seminal tunes.
This is admittedly coming a bit late, but earlier this month, UK producer Lone quietly released a new single, “Coming into Being and Passing Away,” via the Greco-Roman label. A departure from the technicolor rave sounds he’s been making in recent years, the lush ambient track is described as “a piece of music about past lives and rebirths, a bridge to an ocean of consciousness - the light at the end of the tunnel.”
MY WIFE HAS BETTER TASTE THAN I DO
My wife Dania is a wonderful person, but she has little regard for my taste in electronic music. Head of the Paralaxe Editions label, she often describes the music I like with words like “cheesy,” “simple,” “predictable,” “boring” and, worst of all (in her mind), “happy.” In contrast, I think she has a fantastic ear, and I’m constantly amazed by the obscure gems she unearths, both from record bins and the dark corners of the internet. Given that, I’ve asked Dania to share some of her finds with the First Floor audience. Each week, she highlights something that she’s currently digging, and adds some of her thoughts as to why it’s worth our attention.
Froid Dub “First Floor” (Delodio)
It hard not to move to this one, and I can’t argue with the song title either. Trippy and narcotic, it layers fried female vocals over dubby echoes, and sounds like the sort of track that Lena Willikens would open a set with. Taken from a new release called An Iceberg Cruising the Jamaican Coastline, it’s out now on Delodio, a Paris label whose Instagram states, “one foot on the dance floor, one in a trash can.” I’m waiting for a repress of this one, as it’s already sold out.
Follow Dania on Twitter, or check out her monthly radio show on dublab.es.
NEW THIS WEEK: THE BIG THREE
The following are some of my favorite tracks from three releases that came out during the past week or so. (Click on the track titles to hear each song individually.) An extended list of new music recommendations is available to paid subscribers only.
Daniel Avery “A Life That Is Your Own” (Phantasy Sound / Mute)
Daniel Avery “Endless Hours” (Phantasy Sound / Mute)
Daniel Avery’s music has never exactly been modest, but the UK producer has definitely gone big on new album Together in Static. Consisting of music he composed for a series of recent shows at London’s Hackney Church, the LP has a cinematic feel that looms particularly large on “A Life That Is Your Own,” which sounds like an updated take on the moody synth-pop that used to populate the soundtracks of John Hughes films. (There’s a bit of Depeche Mode in there too.) Thankfully Avery doesn’t grab the mic and start crooning, but he doesn’t need to—the song is more than capable of tugging at your emotions without any lyrics.
A similar sense of grandeur colors “Endless Hours,” which runs its skyscraper synths atop an industrial-grade breakbeat, and while the song owes more of a debt to the dancefloor, it too takes some big emotional swings. (Think of it as a gloomier version of what acts like Bicep and Overmono are doing.) Avery has called Together in Static his own “personal beacon of light,” and in the wake of the past 15 months, he doesn’t appear interested in half measures. Tossing subtlety out the window is rarely a good idea, but in this instance, it seems to have been the right call.
One Bok “Capricorn” (AP Life)
One Bok “Nine Saturn” (AP Life)
After more than a decade at the helm of Night Slugs, Bok Bok recently launched a new label, AP Life—which has so far been excellent—and now he’s debuted a new alias as well: One Bok. Despite the name’s cheeky undertones, the music on his new Zodiac Beats Volume 1 & 2 is no joke, and continues the young imprint’s trajectory down a path heavily influenced by classic grime and modern drill. Bok Bok himself has referred to the release as a beat tape, and it’s easy to imagine MCs hopping aboard his blunted, bass-heavy rhythms, but songs like “Capricorn” and “Nine Saturn” really do shine brightly on their own. The former dips into R&B territory, layering a breathy female vocal over its speaker-rattling bass drops, while the latter employs stuttering drum patterns, dimly lit neon melodies and a charming, gremlin-like vocal tag. (Terror Danjah would be proud.) Confident and brimming with late-night cool, these tracks headline a strong opening salvo from this London producer’s new venture, and though he’s never been particularly prolific as Bok Bok, let’s hope that One Bok provides additional volumes of Zodiac Beats sooner rather than later.
Throwing Snow “Equitem Nocte” (Houndstooth)
Throwing Snow “Traveller” (Houndstooth)
Throwing Snow isn’t exactly a slept-on artist, but he’s someone whose talents are often overlooked. The UK producer’s new Dragons LP hasn’t received a ton of attention during the months leading up to its release—in fairness, there’s a lot going on in the world right now—but from a pure production standpoint, it sounds incredible, communicating a sense of scale and power while relying on relatively straightforward (and uncomplicated) compositions. “Equitem Nocte” is one of the album’s more muscular offerings, a souped-up garage tune with that’s been fortified with thick, gooey bass and similarly brawny synths. “Traveller” takes a more linear and melodic path, but it still sounds big, and brings to mind the big-room stylings of artists like Four Tet. Perhaps that’s an obvious comparison, but with his post-dubstep pedigree and penchant for top-shelf sound design, Throwing Snow is someone who deserves to be on that level. Dragons will work in your living room, but it was clearly made for giant soundsystems.
Once again, additional track recommendations are available to paid subscribers. This week’s selections include new music from artists like Kevin Richard Martin, Perila, Ulla, Afrikan Sciences, Shed, Legowelt, Tarta Relena, Evade Robots and more, along with tracks from labels like Lapsus, 100% Silk, Psychic Liberation, Bytes, Over / Shadow and Nous’klaer.
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That brings us to the end of this week’s newsletter. Thank you so much for reading First Floor, and I do hope you enjoyed the tunes.
Back in two weeks,
Shawn
Shawn Reynaldo is a freelance writer, editor, presenter and project manager. Find him on LinkedIn or drop him an email to get in touch about projects, collaborations or potential work opportunities.