Images: Robert Winter
Soul-pop, New Jack Swing and contemporary hip-hop are all big influences for the new album from multi-disciplinary artst Leon Giseke, better known as Bluestaeb.
Uniquely, the album’s got a big focus on architecture and design as one of its main visual contexts, shaped as the LP was made between Paris and Berlin, and including a variety of guests including Mick Jenkins, Ric Wilson, Uno Hype, Jerome Thomas and JuJu Rogers among many others.
“I always follow a holistic approach when creating, which I feel is a necessity,” recalls Gisekeg. “Discussions with the musicians I work with, current political events and my surroundings all shape an album just as much as the music itself.
“I try to incorporate visual ideas early on, bring elements from my own musical and cultural background together with the ones of the people I’m working with. Musically this means I was producing and curating at the same time, sometimes stepping away from my role as active musician and giving space to my collaborators to fully express themselves and their perspectives.
“Through working with some of my favourite vocalists, producers and instrumentalists I feel like I curated my own dream album musically, lyrically and visually.”
Below we proudly present a first listen to two tracks from the album, with a little commentary from Bluestaeb himself.
The album GISEKE drops July 23rd via Jakarta Records – pre-order and pre-save here.
TTWL (feat. Uno Hype & Jerome Thomas)
“I absolutely love how this song came together. The production and almost curation aspect of it, the incredible talent everybody brought to the table. From having a first loop I made on my laptop to getting Uno’s verse, then doing a professional studio session with guitarist C. Johnson and working with Jerome for the chorus this was a whole journey.“
TIBBE‘s the first song I finished for the album and very representative for my sound.
It has our signature Paris session bounce to it that always happens when I’m in the studio with pianist Jonathan Aréna. I later turned the rough draft into a full song with the B-part and some extra touches on guitar by Miles Singleton and the outro trumpet by Konstantin Döben.
The song title is a dedication to my father (his last name) who was always teasing me about having boring song structures and not enough bridges and switch ups.