We have lift-off

Australian DJ, HAAi, real name Teneil Throssell, showcases a blend of house, techno and ambient sounds in her latest project Baby, We’re Ascending. The sample of a cassette being played in the opening track “Channels,” indicates that there is soon to be a highlight of nostalgic electronic sounds. As “Channels” morphs and contorts itself into a multitude of unnatural sounds all ramping up into something lighter than expected, there is awareness of building something new and unique around the underground house scene of the ’90s and 2000s.

Throssell focuses on this integration of new and old throughout Baby We’re Ascending while forming a fully-connected project that only rarely strays too far. The energy within the track list rarely lets up, and when it does, it’s to build awareness of what is presented musically. “Pigeon Barron” sets the rave and techno basis for the rest of the tracklist while demonstrating quality beat cuts and production within the full-length project. With its satisfying industrial drums and synths, its layered sounds create a lifted experience that grasps your ears the longer the track plays. “Bodies of Water” layers multiple distorted lyrical tones with a central harmony. Combining, they all blend into a singular sound that doesn’t stumble and bump into each other, but rather balances the chaos out.

“Human Sound” creates one of the more memorable features, highlighting the spoken poetry performance of Kai-Isaiah Jamal. The track allows for the poetry to stand alone in its intro and ramps up after its performance to complement its impact. The other memorable performance is from the lead vocalist of Hot Chip, Alexis Taylor. The two pair nicely on “Biggest Mood Ever,” forming a soft dream-pop melody that is reminiscent of a hot summer in the ’80s. The breezy piano within “Biggest Mood Ever” encourages tied-up hair to be let down and flow in the wind, truly creating a relaxing dream-like trance.

Later on in the album, “AM” samples radio broadcasts and tuning radio station sounds, interlaced with such an abrasive Mach ten-speed techno beat that feels like an entire spring break party in one minute. “AM” is a great transition piece into a softer low fi tone in “FM.”

While Baby We’re Ascending has energy in every song, it feels contained and paced awkwardly at times, making some songs less exciting than others. Where “AM” and “Purple Jelly Disc” are warzones of techno explosions and beat cuts, “Orca” and “Baby, We’re Ascending” are trying to build an experience over time. “Baby We’re Ascending,” particularly, is building the feeling of being lifted into space. Its harmonic vocals and monumental build-up feels epic, but its ending doesn’t feel justified. “Orca” creates oceanic electronic sounds that work around its topical idea of something aquatic, developing a techno beat that feels alien and angelic. Its sound isn’t the problem, rather it’s too out of place compared to the other songs on Baby We’re Ascending.  There is a strange disconnect within the last three songs. “Baby We’re Ascending” feels more like a closing track than “Tardigrade,” and the slower pace makes their run time feel elongated.

There is a serious energy within Baby We’re Ascending that is only further highlighted by its smooth transitions from track to track, and expert highlighting of cuts that make drops feel worthwhile.  The tension builds within the tracks, all leading up to a high point which never falls too flat. The hour-long project’s largest flaw is its incorporation of atmosphere and vocal incorporation. Both while intriguing on their own, sometimes divert attention away from the bombastic dance chaos.