Jazz Emu // Digital Spool
EPK

"This really spoke to me." Greg James, BBC Radio 1

THE ALBUM

Digital Spool, Jazz Emu’s fourth record - written, recorded and produced entirely in his bedroom over the course of the last year - infuses his signature watertight grooves and slap-in-the-face synth bravado with a new flavour of self-dissecting melancholy. About the album, Jazz Emu says: “My main aim for this record was to take people by surprise - lyrically, musically, spiritually. If one of my songs can make someone in a coffee shop violently spit out their triple-pump-caramel almond mochaccino and go ‘What the hell am I listening to?’, my work here is done.” 


Digital Spool explores an Artiste at a creative crossroads. Should Jazz stay in the lane he has built for himself? Maintain the flamboyant chaos of his digital presence? Or does he have it in him to push deeper, through the Contortions of A Distracted Mind, to something less ephemeral.  Rolling from syrupy electrofunk grooves to the warmth of fireside reflection, Digital Spool is an album for those who sometimes feel like they are two different people, and don’t know which to wear on their sleeve.

THE ARTISTE

Jazz Emu is an unpretentious pseudo-comedomusicologist from London, who writes glistening up-tempo pop for the emotionally stunted. Since the release of his debut album [sic] in 2020, he has scored a string of viral hits on Youtube and TikTok, and his music has racked up millions of streams, been featured on the official Spotify ‘Fresh Finds’ playlist and played on BBC Radio 1 Breakfast with Greg James. He has absolutely no delusions regarding the potent artistic value of his Body of Work.

 

At the age of six, Jazz Emu fell in love with a second hand saxophone and proudly took it to a trial lesson. Within a minute the teacher had decided that Jazz’s hands were unusually small, and his shiny brass hopes were crushed with a plastic beginner’s clarinet. Several years of funk-repressed classical training followed, with the groove bubbling pianissimo under the surface. When he finally heard the syncopated hi-hats in Bill Withers’ Use Me, there was no going back. Jazz pulled out the dusty old sax and got to work. He would stay up late at night recording shining synths and near-silent screaming sax solos (no noise after 10pm) on his mum’s BOSS BR900-CD recorder. The results were too powerful to show the general public.

 

Ten years later, armed with an Akai EWI-4000S, a right hand calloused by synth-glisses and a handsome selection of suits, Jazz has set out to change the world. Combining the lyrically pleonastic and musically dank, this project is an auditory experiment in high-art meets low-art. Imagine performing a Shakespearean sonnet over The Sims loading-music. Or reading Homer’s Iliad off of a toilet roll. Imagining it? Good. You’re roughly three eighths of the way to grasping the sonic mythos of Jazz Emu.

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"Too brilliant." Glass Magazine

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