![]() “You can hear it particularly in the drumming. “Music is a language, and the music a person makes is dictated to a certain degree by their mother tongue,” she explained in a 2003 interview for The Wire. On both albums, Liebezeit’s percussion unlocked the potential of Phew’s vocals across their language barrier. Though Our Likeness is Phew’s third album, it is the spiritual sequel to her debut. ![]() She returned as a more assured artist with 1987’s View, a poppy, synth-driven affair with relatively restrained, melodic vocal lines. Meanwhile, her legend grew as the vocalist who recorded with Sakamoto and Can and then disappeared. She spent five years reconciling what she observed in Germany with her own simple, go-ahead approach. Encountering Plank’s immaculate studio and his meticulous recording techniques challenged her punk rock ethos. The first Cologne recordings were pivotal for her-she has admitted that she likely would not have continued making music without meeting Plank-but they triggered a period of aimlessness. The years between Phew’s self-titled debut and Our Likeness, which is now being reissued by Mute, were turbulent but productive. Now in her early 30s, Phew reprised her role as vocalist in Plank’s studio. Haas masterminded the sessions for Phew’s eclectic 1992 record, Our Likeness, inviting Liebezeit back to record with a new generation of the German underground in Alexander Hacke of Einstürzende Neubauten and Thomas Stern of Crime and the City Solution. Though he didn’t introduce himself at the time, he contacted Phew almost a decade later in Tokyo to suggest they record together. The spectator during those sessions was Chrislo Haas of German new wave bands D.A.F.
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