Ahead of her live show in Pune, India with Maushi x Daily डे, 19th October, we caught up with interdisciplinary artist, activist and producer, Kiss Nuka, who released her latest EP, Witches Brew, back in July. We touch on: Arundhati Roy, organising chaos, Quantum healing, cobalt mining in DRC, and the catharsis of bodies in movement.
The Witches Brew project is a four-track journey that layers poetry, techno, drum and bass, electro-pop and much more, to expose the healing powers of dance, ancestry, magic, protest and womanhood. Kiss Nuka places as much importance on her lyrics as she does on the soundscapes of each track, imbuing her compositions with meaning through the recurring and transformative symbol of the raven. Her potent lyricism permeates the synth’s call-and-response patterns, unveiling the ways she communes with nature, advocates for change and invites listeners to find catharsis through dance.
Her latest track titled, Women of Resistance - Congo, blends the urgency of protest chants with techno beats to address and rebel against the ways in which tech conglomerates are mercilessly exploiting the natural world, brutalising Congolese women and displacing communities from their homes. The streaming proceeds will be donated to Focus Congo.
Congratulations on releasing your lastest EP Witches Brew! It was such an enjoyable and surprising listening experience. Could you tell us a little about how this project came to be? Was there a particular place (literal or metaphorical) which conjured its ideation?
Thank you, I appreciate that! This EP came out of thin air, magically, really. I met Jamz [Supernova] walking through Fabric on a London trip last summer, and I recognised her as a force of nature straight away. It was a brief moment, but we connected. I shared the music I was releasing with her and she asked if I would be interested in working with Future Bounce. I loved that the sound of the label wasn't confined to a genre, syncing up perfectly with how I want my artistry to be.
That year I was really coming into my own with this project (Kiss Nuka), feeling power in my femininity, and finding that I had fewer fucks to give. I could see this reflected in other feminine entities I was meeting, both in front of and behind the scenes of electronic dance music. I imagined them casting spells to make the dance floor spin, fighting the odds that are stacked against them, and that's how the first demo was born. It was the title track and set the tone for the whole EP.
That year I was really coming into my own with this project (Kiss Nuka), feeling power in my femininity, and finding that I had fewer fucks to give. I could see this reflected in other feminine entities I was meeting, both in front of and behind the scenes of electronic dance music. I imagined them casting spells to make the dance floor spin, fighting the odds that are stacked against them, and that's how the first demo was born. It was the title track and set the tone for the whole EP.
When you think of witchcraft, what words, colours, songs, physical sensations come to mind?
I feel very much at home in the metaphysical world. I have studied Quantum healing, and worked with crystals extensively, thanks to my mother who has practiced alternative healing for over 30 years. When I think of witchcraft, I think of the divine feminine, of powerful women who have persisted, dared to be different, breaking barriers and glass ceilings for the rest of us. I see blood, red, deep and vibrant, pulsating with life force. I think of dancing flames, the thick smoke of burning sage and wet, rich soil under bare feet. I imagine the roots of the oldest trees buried deep in the earth, communicating through their electrical networks. I see the eyes of the animals, full of wisdom and spiritual power. I hear the sounds of the forests, the oceans, the mountains, music to my ears. I think of my grandmother, sitting in her chair, combing her Rapunzel-like hair, her wisdom, her fierce individuality, the strength of her voice when she sang. And how much of her is reflected in my mother, and I hope, in me.
Since this EP and your work in general can be read as an ode to women’s many facets — artistry, chaos, wisdom, spirituality, anger — we were wondering if you could share who you’re inspired by and who you’re listening to at the moment?
I am in awe of women like Arundhati Roy, Dr Vandana Shiva, and Dr Jane Goodall. I have deep respect for the women from around the planet who are fighting for their land, their freedoms, their autonomy, whether it is against corporate greed, against patriarchy, or the cruel laws that govern them. In my culture we often talk about women in relation to the goddesses nurturing, healing, and loving. But we are warned if we anger them we must face their wrath, for they will go to great lengths to protect their own. This is what inspires me as a human being, and gives direction to my art.
Let’s talk about the intricate and layered soundscapes within the world of this project. The opening track, Dance Of The Ravens is a ravey anthem which blends techno, drum & bass and elements of electro-pop — perhaps melodically not what you’d associate with the elegiac quality of ravens. Why was this particular bird and its darker significations so central to the piece and the EP in general, since there is a return to the symbol in the final track?
I have always been fascinated by the wild, and nature plays a big part in the music I make. I built Serpentine EP and Rat Rani EP around the snake, its connection to the earth, the shedding of skin and rebirth. Raat Rani (Queen of the Night) is the name of the Indian jasmine that only blooms at night, compelling me to recognise the darkness so I could find the light.
The story of the ravens in this project is more central to my life. While I was working on this EP, two ravens started hanging out on my terrace. They would show up every evening, unafraid, super curious, and very playful. I knew that they connected the physical world with the spiritual, and I was over the moon to have them visiting. These creatures are highly intelligent, representing wisdom, which I was searching for, and transformation, which I was experiencing. So I took one of the tracks and reprogrammed it completely, exaggerating the sawtooth of the synth to mimic the raspiness of their voice, building call and response to simulate their mischief. The last track that I produced was the Aftermath, which was the calm after the storm, still keeping a level of tension, but giving more space for movement of not just in the sound, but also in the mind.
The story of the ravens in this project is more central to my life. While I was working on this EP, two ravens started hanging out on my terrace. They would show up every evening, unafraid, super curious, and very playful. I knew that they connected the physical world with the spiritual, and I was over the moon to have them visiting. These creatures are highly intelligent, representing wisdom, which I was searching for, and transformation, which I was experiencing. So I took one of the tracks and reprogrammed it completely, exaggerating the sawtooth of the synth to mimic the raspiness of their voice, building call and response to simulate their mischief. The last track that I produced was the Aftermath, which was the calm after the storm, still keeping a level of tension, but giving more space for movement of not just in the sound, but also in the mind.
As a musician, producer, activist, director — we are curious about the ways you approach the layered construction and production of each track. Does lyricism come before or after melodic composition? Perhaps your approach is not always the same or linear?
My mind is always in motion, a synthesis of convictions and contradictions that propel me to act, to ask questions, to continue to learn and as a result, evolve. Many times, what I want to say with a piece takes precedence over how I want it to sound. When an idea lands, even the tiniest spark of it can light up my brain. In the past this fire would blind me and I would let it consume me, going after it obsessively, tossing everything else to the side, my health, my relationships, other projects. Over time I have learned to control it, and now I practice approaching my inspirations and ideas pragmatically. Whichever comes first, I take a step back to examine it, something I have learned from my manager and partner in crime Henna. I still have moments where I let my emotions take over and run wild with it, and I enjoy the rush that it brings. Knowing who I am becoming and what I stand for helps me organise the chaos.
The titles of the four tracks are so bold and imagistic — Dance Of The Ravens; Witches Brew; Night of the Blood Moon, and Dance Of The Ravens (Aftermath). Poet Fanny Howe once said she was sceptical about titling her poems because it felt like a strange way to contain the loneliness or vulnerability within the work. What is your take?
I'm a storyteller. I am looking for a way to connect with you, to transfer my emotions to you. I want to build a world for you to be absorbed in, so you can feel what I am feeling. We are bombarded with information, and it's a thin line between sharing too much and too little. So communication takes on major importance, and naming the songs is one aspect of that.
In terms of sonic and narrative arcs, did you always know these four tracks needed to coexist and be ordered and curated in this way?
I do like to give myself guidelines, so that I don't float too far away from my original thought. However, I always leave space to be surprised, and the freedom to pivot. This is a dynamic structure for limitless flow. I try to be more visceral in the early stages of the production, and then as it starts to take on a clearer shape I can begin to imagine everything around it. I love reverse engineering! With this EP, there was an undeniable flow, considering that my very first demo was called Witches Brew, and the fact that all 4 of the demos I made got picked for the EP. There is a lot of thought put into the order of the tracks, I spend days and nights on this. The names are very instinctive. They just arrive! Like hey, this is who I am! I've learned not to question that kind of clarity!
Let’s talk about motion and its relationship with music (sound waves, vibration, scale, pitch shifts, dance). Dancing to music is somewhat of a ritual in our collective imagination (the club, the rave), but also a cathartic and spiritual trance (a spell). In Witches Brew (the titular song), you boldly declare or demand from your listener “lets get kinetic”. Are bodies in movement the ultimate goal? What do you wish to inspire in your audience and listeners?
When I was a child I learned that change is the only constant. I understood this as a contradiction at first, and found it fascinating! Years later I am able to look back and see how this has become my reality, this process of my evolution that comes through movement or change, that has led me through different paths before I arrived here, and will probably take me to other places. Nuka stands for nature's universal kinetic ascension, because we are in constant motion, spiralling up through this brilliant cosmos that I can't even wrap my head around. So, what I want to inspire is evolution. To ask questions, learn more, change, move, and grow.
Dance is the medium. Our hearts pumping with the bass, our bodies vibrating in unison on the dance floor, the feeling of tribe. Letting go. Becoming one. This kind of elevation heals us, and only when we are healed can we heal others, the planet, nature and its beautiful beings. This is my ultimate goal.
Dance is the medium. Our hearts pumping with the bass, our bodies vibrating in unison on the dance floor, the feeling of tribe. Letting go. Becoming one. This kind of elevation heals us, and only when we are healed can we heal others, the planet, nature and its beautiful beings. This is my ultimate goal.
Do you see this EP as a continuation of your past explorations or as a whole, new, separate entity?
Oh everything is connected. Everything. This goes beyond music and art. This is life on this planet. Flora, fauna, fungi. We are all one, interconnected.
It is well-known that it’s sometimes hard for artists to hold on to their agency when working with labels. Particularly for projects and artists (like yourself), who blur the boundaries of category and genre. Could you talk about your experiences in the past and also working with Future Bounce?
The way I see it Future Bounce, being an extension of Jamz Supernova, embodies her code. This is so pure that I have just melted into it. Working with this bunch of witches has been beautiful, and it reflects in the sound, and in the way we are communicating to the world. There has been a lot of trust on both ends, something I don't treat lightly when it comes to my art. Previously I worked with Matt Black to release a single on his Ninja Tunes imprint Ahead of Our Time. Matt is an activist, an innovator, and a powerful voice against the system. I see him as a teacher, and the connection I have with him is special, one that inspires trust. Honestly, I've been spoiled! I enjoy releasing independently, but I am happy to learn and grow with others, and I hope I can always find this trust.
Have you got any upcoming new projects on the horizon?
I came across a video on Instagram of Congolese women chanting, singing, and protesting in the street against the terrible conditions they are living through. This led me to find out how the DRC (Democratic Republic of Congo) is being mauled for its resources of cobalt and coltan that are necessary for building the tech devices we use today, how the people have been enslaved and the women, brutalised. I wanted to amplify their voices and share their stories so we could be aware, more mindful with our phones and computers, repairing and refurbishing instead of replacing our devices. The proceeds that come from the sale or streams of this track will go towards the fundraiser run by Focus Congo. This track is called Women of Resistance - Congo, and I hope to make this the first of many in this series.
