Uma was born and grew up in Barcelona and classically trained in violin from the age of four. Her British mother trained in performance arts and Thai father worked in a hospice in the slums of Bangkok as a young man. As well as her musical upbringing of Joni Mitchell, Buika, Nico and Ella Fitzgerald, Uma credits travelling and growing up around several cultures as a key ingredient in her work. She currently lives in Barcelona with her partner Salpa and the pair collaborated on 2020’s “Bring Me The Mountain” double A side. Uma’s work is written and performed at Can Obert, her home-come-music-residency that has seen over twenty-five young artists pass through including Alice Bloomfield, Max Pope, Amy May Ellis and Nilüfer Yanya. The residency has become a hotbed of creativity and collaboration, producing over twenty songs in a week. Uma continues to experiment with her sound, playing with space, electronics, and styles from bossa nova right through to pop.
With Covid-19 bringing the world to a grinding halt, we were granted a rare period of reflection. During this time, Jude would pass by houses where he had grown-up, or unassuming public locations that hold personal significance as they took on an ever-shifting sentimental context. With the pandemic raging on, leaving many divisions of society without furlough, we saw the communities who populate these neighbourhoods banding together to provide mutual aid. “The message in ‘No Angels’ is about more than lockdown specifically,” Jude says of the track. ‘Community and solidarity is the most important thing, and will always be in conflict with the forces of capital and money.’ With knowing nods to sonic movements that are so deeply associated with the capital’s working class neighbourhoods, the track’s chorus hook says it all in its simplicity: “you say the money doesn’t matter too much / you say the love for your people is enough.” Savage Messiah, Laura Grace Ford’s graphic novel about London outcasts and psychogeography within the city, provided inspiration during the single’s incubation period.
‘Chaser’ sees Glows take us by the hand and lead us through the final echoes of the party, guided by GG skips’ slacker vocal. Minimal slow-build keyboard makes way for oscillating synth riffs to skip over four-on-the-floor percussion; impactful in their presence, whilst subtle enough to feel just out of reach. The first track that skips birthed under the Glows moniker, ‘Chaser’ remained hidden away until being reworked with childhood friend Felix BH after he became a fully-fledged part of the project. It’s a track which exemplifies the duo’s talents for skirting the corridor between the dancefloor and the chill room with effortless composure. “Chaser feels like the axiom on which Glows was based, the first song I made that people took seriously,” skips says of the single. ‘It’s about chasing the night, about addiction seeping through friendship, about supporting each other through all falling down.’
Slow Dance is a London based music collective, label, radio and promotions company started in 2015.
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