RA.1039 K Wata

The genre-fluid multihyphenate on motherhood, songwriting with FKA Twigs and her new album, Heavenly Body: If I'm the Bottle You're the Message. American singer-songwriter Alexandra Drewchin (AKA Eartheater) is hard to pin down by design. In her music, acoustic instruments like harp and guitar collide with heavy digital manipulation, processed beats and classical technique. Her three-octave vocal range has carried her from operatic folk singing to literally shattering wine glasses on stage. Most recently, she co-wrote and sang on the title track of FKA Twigs' Grammy-winning Eusexua, and has since joined Twigs on tour in support of the album. In this week's RA Exchange, Drewchin talks about her songwriting practice and her new LP, Heavenly Body: If I'm the Bottle You're the Message. The album arrives at a pivotal moment for the artist: she's recently become a mother and bought back the Pennsylvania farm her family lost when she was fifteen—a place she vowed, even then, that she would one day reclaim. She reflects on that homecoming, and on how pregnancy, birth and motherhood shaped the record. She also discusses what she learned about songwriting from collaborating with Twigs, and her early mentorship under the late R&B legend Roberta Flack. Heavenly Body: If I'm the Bottle You're the Message is out now on Eartheater's label, Chemical X. Listen to the episode in full.

77 minutes of wickedly twitchy grooves from the belly of the New York underground. "Music is meant to be shared. Music is meant to be shared. Music is meant to be shared." This phrase is written again and again in the About section for the mix series and label pi pi pi. For deep creep, the force behind the popular platform, it serves as a radical promise: music is, and must always be, collective and communal. On RA.1047, deep creep digs appropriately deep into her bag with a mix of minimal, tech house and dub, as well as flashes of techno and even a little flirt with electroclash. Pulses of sub weight, dubby melodies, introspective synths and quirky minimal funk make for a mix both dark yet euphoric, claustrophobic yet spacious. Dive in. Read the Q&A at ra.co/podcast/1066

The Dutch producer on flow state, communal music-making and his new album, Music for Existing. Martijn Deijkers, AKA Martyn, has spent close to three decades resisting labels. He grew up in a small Dutch village as a vinyl obsessive, buying his first 7-inch from a store that doubled as a sweet shop, before travelling to London in the mid-'90s to chase jungle and drum & bass. He later became one of the first artists from outside the UK to shape the capital's dubstep scene, fusing it with the Detroit techno and hip-hop of his youth. Since then, he has held a residency at Panorama Bar, started a successful label, 3024, and hosted a long-running monthly jazz show on NTS, Darkest Light. In this Exchange with RA's Performance Content Lead, Tom Gledhill, Deijkers talks about dubplate culture in '90s London, the mentoring programme that's shaped his approach to creativity and his new album, Music for Existing, a collection of jazz-inflected electronics that explores the powerful, communal act of making music together. The LP is out now on 3024. Listen to the episode in full.

90 minutes of scintillating house and techno, primed for the heart of summer. There's something delightfully paradoxical about Jennifer Loveless. Her productions skew hedonistic yet minimal; her DJing feels both spacey and oceanic. Hell, even her artist bio underlines her taste for opposites: "Jennifer Loveless is contrary to her name, all heart." This yin and yang runs through RA.1046. Built around swung percussion, the 97-minute mix wanders across genre and time with an aquatic sensibility. She mixes her own tunes with early '00s tech house to craft a seaside mise en scène where new-school heroes like Pancratio and Ladymonix share fruity cocktails with certified legends (K-HAND, Jay Tripwire). Strap in for deep cuts that sound simultaneously galactic and like they floated up from the ocean floor. Read the Q&A at ra.co/podcast/1064

The UK pirate radio crew and cult TV stars discuss their rebirth and forthcoming EP, Grindah's Decided We're Doing Music Again. Many UK natives will be familiar with the show People Just Do Nothing, a mid-2010s comedy about pirate radio crew Kurupt FM, who ride the UK garage wave, broadcasting from the outer boroughs of London. Kurupt FM's core members—MC Grindah, DJ Beats, DJ Steves and DJ Decoy—went quiet for more than a decade after the last episode aired in 2014. After a stretch of solo ventures—books, stand-up, Grindah's domestic upheaval following his split with long-time partner Miche, as depicted in People Just Do Nothing—the crew has reconvened for a new EP, Grindah's Decided We're Doing Music Again. In this RA Exchange, Grindah, Beats and Steves meet for a rare interview to talk about their rebirth and what's happened in the years that have elapsed since the world last heard from them. They also reflect on Grindah's early run-in with Skepta, their case for the ongoing power of pirate radio in the age of AI and the current UKG revival. They engage in a familiar argument about who owns the lineage of the genre, and for Kurupt FM, the answer isn't complicated: if you weren't there the first time around, you just don't get it. Their new EP will be out on August 21st. Listen to the episode in full.