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Nadja is a duo of multi-instrumentalist Aidan Baker and bassist Leah Buckareff—active since 2005—and making music which has been described as ambient doom, dreamsludge, or metalgaze, a signature sound which combines the atmospheric textures of shoegaze and ambient/electronic music with the heaviness, density, and volume of metal, noise, and industrial.
Nadja has released numerous albums on many different underground labels—Alien8 Recordings, Daymare Records, Robotic Empire, Hydrahead Records, Gizeh Records, and Important Records, to name a few—including their own imprint, Broken Spine Productions. The duo has toured extensively around the world—including performances at such festivals as SXSW, FIMAV, Roadburn, Donaufest, Le Guess Who, Incubate, and Unsound—and sharing stages with the likes of Earth, OM, Khanate, Tim Hecker, Ben Frost, and Godflesh. Originally from Toronto, Canada, the duo now resides in Berlin, Germany.
For their new album, Luminous Rot, released in 2021 by Southern Lord Records, the duo retain their signature overblown/ambient sound, and explore shorter and more tightly structured songs reflecting their interests in post-punk, cold-wave, shoegaze, and industrial.
Thematically, the album is inspired by reading such writers as Stanislaw Lem and Cixin Lui — in particular, theories on astro-physics, multi-dimensionality, and spacial geometry in “The Three Body Problem” — as well as Margaret Wertheim’s “A Field Guide To Hyperbolic Space”.
Luminous Rot marks the first album mixed by someone else, who in this case was David Pajo. The band comment, “as big fans of Slint, we thought he might fore-front the more angular, post-punk elements of our music – the mix is quite different from our previous albums. But, as usual, we had James Plotkin (Khanate, OLD, etc) master the album as we trust his ears and aesthetic, as he’s mastered numerous records of ours.

You don’t so much throw on a Nadja album as dunk your head in one; the smoggy haze of fuzz and scuzz that permeates the Berlin-based doom-gaze duo’s albums is so relentless and all-consuming that, after a while, it starts to feel as comforting and commonplace as oxygen…Nadja‘s capacity for heaviness has never been in doubt, but Dagdrøm lets you really feel the weight of it all. And it’s a heft measured not just by volume, but by how long it takes to dissipate, each shock of distortion lingering like the tingles in a sleeping foot being shaken awake.
“When Radiance Of Shadows appeared…, its stupendous existence was in opposition and total defiance of a floundering Doom Metal scene…spectacular and majestic and essential…vast fall-of-empires soundscapes of eternal beauty, each [track] close to a half-hour in length and each one sounding like a cross between the very end of every great Goth album (the dying embers of the Nefilim’s Elyzium springs immediately to mind), the very end of every great post-punk album (Joy Division’s Closer through an ‘Over the Wall’ filter, anyone?), simultaneously summoning up spectral armies of long dead ancestors and drawing down the still-to-be-born future generations, intrigued by all the commotion being kicked up down here by this North American husband-and-wife duo.”
“One of the most interesting names in modern doom does it again. The phenomenon called Nadja is back with their timeless sound out of doom, drone, and ambient, once again showing what they are capable of with intense soundscapes full of color and depth.”