Part of the fun of being a James Ferraro fan is not knowing what (or when) the mysterious genre-warping producer is going to put out next. Most of Ferraro’s post-Far Side Virtual
output seems arranged in a way that it is to be played while commuting or traveling through a populated area, as it shines light on the delicacies of everyday living. If you've heard Ferraro's music in the recent years you know his music is filled to the brim with the layers of compressed hi-hats, computer edited microphone auto-tune crooning, and bouncy, yet soothing stringed instruments; the style on SUKI GIRLZ
should be fairly familiar and accessible to repeated James Ferraro listeners.
Stylistically SUKI GIRLZ
, is most similar to his 2012 release Sushi
, and is far more accessible than his proto-vaporwave release Far Side Virtual
, or either of his 2013 releases. Unlike previous releases from Ferraro this is almost entirely instrumental. The only original vocals on this release are computer programmed samples from his previous album NYC, HELL 3:00 AM
. Ferraro said these samples were "inspired by the automated ATM voices that called out to me through the silence while walking home in the middle of the night". This album could easily be compared to another release from this year in Actress’ Ghettoville
, which Ferraro has takes a lot of influence from with SUKI GIRLZ
. Both albums are long, sparse, repetitive, and challenging upon first listen due to their straightforward and unforgiving approach. They shine light on two separate but both deserted landscapes. Ghettoville
seemed to be conveying a post-apocalyptic world while this album draws from a future that is run entirely by machines.
is even more vivid in its design than Far Side Virtual
and more conceptually defined than NYC, HELL 3:00 AM
. The last few years of Ferraro’s career can see him exploring a similar theme, and it’s inevitable that he will continue to expand even further. SUKI GIRLZ
captivates the mind without prewarning and with force.