Her new EP — also self-titled — opens with a track from that album, The Kinks' "I Go To Sleep," transformed from melancholy to despair. "He Hit Me" and a cover of Shocking Blue's "Love Buzz" (the choice revealing once again the connoisseurship orienting an otherwise perfectly rough-edged project) take place over similarly sonorous, reverberating beats. Chromatics' "In The City" is transformed into low-key yet driving gothic funk, while the EP is rounded out with bad-trip dub versions of two of the album tracks. There are resemblances to Beak> in the strategy of hypnotic, echoing repetition, equal parts Krautrock and dub, and the Ballardian mood, but Anika's choice of covers, and her addictively guttural and heavily-accented vocals, bring to this sensibility a personalizing quality that, paradoxically, riffs on the dehumanizing experience of emotional suffering.
Her new EP — also self-titled — opens with a track from that album, The Kinks' "I Go To Sleep," transformed from melancholy to despair. "He Hit Me" and a cover of Shocking Blue's "Love Buzz" (the choice revealing once again the connoisseurship orienting an otherwise perfectly rough-edged project) take place over similarly sonorous, reverberating beats. Chromatics' "In The City" is transformed into low-key yet driving gothic funk, while the EP is rounded out with bad-trip dub versions of two of the album tracks. There are resemblances to Beak> in the strategy of hypnotic, echoing repetition, equal parts Krautrock and dub, and the Ballardian mood, but Anika's choice of covers, and her addictively guttural and heavily-accented vocals, bring to this sensibility a personalizing quality that, paradoxically, riffs on the dehumanizing experience of emotional suffering.