Known for their unique approach to alternative pop and leftfield soul Eddington Again is gearing up for their highly anticipated release Naomi9. It features a range of musical styles, including gauzy shoegaze reverb, underground club sets and cathartic dark indie. Having played alongside the likes of Dam Funk, Flume and Charli XCX, Eddington has been praised for their vocal abilities and chameleonic layering of identities making them a compelling and dynamic figure in the world of alternative music.
Symbolic numerology, the chameleonic layering of identities and voices, and a paradigm-dissolving approach to genre have shaped Eddington Again’s creativity from the start. The unique sensibility of the artist’s alternative pop and leftfield soul is now crystallised in their album debut with !K7 Records, Naomi9, which they present as the “third rendition” of themself.
Having quickly arrived in the world on the ninth day of the ninth month weighing 9lb 9oz, Eddington Again’s early life was marked by significant repetitions and serendipitous codes. However, the deep matrilineal influence of their Southern California family environment was in constant conflict with expectations of masculinity imposed on them by the outside world. A young Eddington Again soon intuited the need for an alter ego - who they named Damani - to bridge these realities. Several interconnected creative pursuits in adulthood led them organically to a recording career at the beginning of the 2010s, most notably in the acclaimed psychedelic hip-hop and R&B outfits Oddience and PRJCTS, both of which became fixtures of the Los Angeles music scene. After establishing the solo project Eddington Again in 2015, this singular identity allowed them to re-explore their beginnings, resulting in their standout self-released EPs Damani3 and Damani6. Now as they freely explore hidden knowledge, suppressed intimacy, evocative storytelling and musical shape-shifting, Eddington Again says: “the next evolution of Damani3 and Damani6 is Naomi9.”
Naomi9’s 12 tracks are split between the distinct hemispheres of Eddington Again’s musical life; six songs were written and produced in Los Angeles, and six after they relocated to Berlin. As with all of Eddington Again’s wide-raging productions Naomi9 represents another phase along their continuum(s), with additional signifiers of gauzy shoegaze reverb, smoky underground club sets, cathartic dark indie, and sun-dappled downtempo. Particularly inspired by the clash-melange sounds of Santigold’s and Azealia Banks’ iconic debut albums, Eddington Again approached Naomi9 with the intention of “offering up all that I could as a vocalist to the sounds of the album.”
Naomi9 begins with the L.A. smoke haze of “Remedies”, where a gently blunted beat and stretched-out trap snares allow space for Eddington Again’s voice to soar with aching emotional clarity and also rap from the depths of studio distortion. Beloved album singles “Petrify” and “Core 22” once again showcase their new vantage points on vintage dream pop, nouveau post punk, and sweetly skittering hyperpop balladry.
Gently broken beats and bruised feelings characterise the pensive ”Clash”, with a pleading refrain of ‘please stay… open for me.’ Thoughtful sensitivity is further revealed on the pastoral, guitar-led “0306”, and in the slinky groove and sultry harmonising of “BN”. The album begins to flash sharper edges and bare its teeth on ”Unkind”, where it stalks the rain-slicked dark streets of dystopia with deep rumbling pads and rousing chants. The fuzzed out guitars, distorted drums and shouted lyrics of “No Sun'' take it deeper still, towards the inky, electronic goth of “03:00”. Naomi9 ends with the titanic “Cake Code,” propelled by the pulse of a Reese bass synth, the heavy distortion of industrial drums, and the twin earworms of shouted lyrics and a beguiling sung chorus.
With production by Neana, Boysnoize, Talk2Strangers, Alex Otxoa and Otto Benson, Naomi9 cements Eddington as one of the most urgent, elusive and inventive figures at the leading edge of unconventional pop music.