Slew Releases New Mixtape ‘WHO ELSE?’

Following the success of her collaboration "God Gave Me Feet For Dancing" with Ezra Collective, soul and jazz artist Yazmin Lacey joins us to discuss her development from her debut LP to her second album, "Teal Dreams." She shares the music that has shaped her sound, the unconventional art forms that inspired this particular record, and the significance of artistic evolution. Lacey also reflects on her unique writing processes and how she immerses herself in creating new music, free from external influences. This interview portrays an artist on the rise who is discovering her voice. — — Can you describe the inspiration for this album? I created a lot of material last year, but not everything resonated with me. In January, I took some time away and learned about an artist named Danielle McKinney, who paints black women in their safe spaces. I found myself drawn to one painting featuring a woman in a teal room, which was significant to me because I was living in a teal room at the time. It resonated deeply, representing a space where I reflect on my thoughts and experiences. That became the foundation for my album. It was a departure for me since I had never drawn inspiration from a different art form before, but it inspired me to create "Teal Dreams". Have you found that your collaboration with Ezra Collective influenced this album? Not really. There was quite a gap between when I worked with Ezra Collective and when I started this album. I began working on this album in late February of this year, and we wrapped it up by early summer. There was a lot of material created during that time that ultimately didn’t make the final cut, making the two projects feel distinct. I enjoyed making the Ezra Collective track, and it might have sparked my creativity, but I feel like there was a significant time gap between the two. That track had a significant impact, especially with the Mercury Prize recognition for them. Did that add pressure for this album? It was a pleasant surprise to be part of something that received such a positive reaction. However, I think there would be pressure regardless, simply because it's my second album. With the first album, there are no expectations, but by the second, listeners have something to compare it to. Nevertheless, I always prioritize making music for myself first. It's only once I finish the tracks that I begin to consider how they might be perceived by others, so I'm not sure if that song added more pressure. Do you feel your creative process has evolved from your debut to this album? Is there a greater focus on reggae or ska? I believe there aren't any ska influences in this record. It's more aligned with reggae and lovers’ rock. While my last album hinted at reggae elements, like in "From a Lover," this experience working with new collaborators challenged me and pushed me out of my comfort zone. My creative process remains largely unchanged; I write primarily for myself and enjoy collaborative sessions in the studio. The main difference lies in collaborating with different people. — — Your sound spans a wide range of genres. How do you manage the various styles in your experimentation? Sometimes I worry about whether my sound is too scattered. I have a commitment to myself as an artist to prioritize my own enjoyment first. I find that I like to challenge myself and explore different sounds. Some songs cater to a distinct sound, allowing me to enjoy the diversity of my music. Working with various producers helps me learn more about songwriting, making experimentation feel organic. I focus on what excites me when I'm in the studio. For those who are new to your music, how would you describe your overall sound? Regardless of genre, I view my overall sound as music from the soul, for the soul. My writing typically reflects personal experiences, and I dislike being confined to specific genres. For me, it's more about expressing emotions and vulnerabilities, which I believe embodies soul music. What sonic influences shaped this album? Typically, I make it a point to avoid listening to new music while working on my own. I don’t think that approach is particularly beneficial. As mentioned, the album features multiple styles, reflecting that I don’t rely on one specific sound or album for inspiration. I prefer to enter the studio, experiment, and develop what resonates with me. Instead, I stick to familiar albums and artists I know well, avoiding new music while creating. Can you elaborate on your writing process and the themes explored in the album? The album encompasses a range of themes, arranged chronologically to reflect my experiences through different times. I structured it this way to capture my evolving feelings. I’m particularly proud of addressing various topics in this album, such as "Water," which explores how friendships change in adulthood and how to navigate those shifts. The diversity of themes is significant, from "Grace"—which serves as a self-prayer about kindness to oneself—to topics around love and personal experiences with nature, as seen in songs like "Wild Things." Writing about these aspects allowed me

The title 'ICONOCLASTS' might be somewhat inappropriate for Anna von Hausswolff’s seventh album. After ten years in her career, the Swedish avant-garde artist has created a

Slew Releases New Mixtape ‘WHO ELSE?’

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Slew Releases New Mixtape ‘WHO ELSE?’