See How is a London-based producer who’s been making an impression in the UK’s electronic scene, building a sound where rhythm, experimentation and accessibility can coalesce without one overwhelming the other. His productions are driven by movement, both physical and conceptual, with ideas shifting, genres blurring and emotions gliding through intricately constructed electronic spaces.
The sense of movement can be traced back to See How’s earliest relationship with music; before electronic production became his primary creative outlet, he played drums and guitar in rock bands, developing an ear for timing, energy and feel. Those origins remain audible in his work today and even when the music is built within digital environments, there’s a physical quality to the rhythms, with percussion and grooves providing the force that keeps his tracks moving.
An important early chapter came through experimental duo Pariis Opera House, giving See How an opportunity to explore unfamiliar spheres and bring different influences together without restriction. That openness has since become crucial to his solo work and under the See How name, he’s drawn from house, garage, grime and electronic pop, creating a fluid musical output that’s constantly developing.
His debut single, “Can’t Be Me,” landed in May 2023, marking the entrance of an artist with ambitions beyond straightforward dance music. A run of singles and remixes followed, retaining the club-focused energy of his work while increasingly introducing more concept-driven ideas. Tracks such as “422ppm” and “My Religion” revealed a growing interest in using electronic music as a space for wider questions, allowing rhythm and atmosphere to carry ideas as well as energy.
Now he brings us his most ambitious release thus far with his brand new debut record titled Amusing Ourselves To Death, released via the MMAAYYAA imprint. Across nine tracks, the record moves between UK garage, house and experimental electronic textures, exploring digital overload, climate anxiety and the difficulty of remaining present in a world seemingly designed around distraction. Kicked off by “We Only Got Tonight,” the bright bounce of processed keys and bubbling flashes of synths builds with shuffling percussion and silky vocalisations, crafting a mellow intro for the album.
Rolling into new single “Kick It,” warm, sun-soaked and radio-ready, the track locks into a buoyant house groove built from stacked samples, club rhythms and gliding instrumental tones. Overlapping vocal samples, children’s chants and soul-inspired timbres introduce a nostalgic quality, while swirling synths and melodic flashes keep the arrangement in constant motion as layers form and dissolve around the groove, creating an infectious sense of release.
“422ppm” ventures further into See How’s experimental sid with stuttered vocal samples and rattling drums setting up a garage pulse before the arrangement opens space for Chantelle’s spoken word poetry. Colourful synths and shifting instrumental layers give the track an enthralling momentum, connecting its club energy with its more profound thematic concerns.
“My Religion” takes another route, building around a collage of words concerning peace, freedom and self-belief from figures including Janis Joplin, Nina Simone, John Lennon and Bob Marley. Sparse synth rhythms, snapping percussion and warbling vocal samples create something hypnotic and disorienting, while the underlying danceability remains intact.
Tracks like “Do This Right” forms with shimmering synths as pulsing percussion and laid back vocal elements combine to craft an upbeat dance pop jam while “Lovely Thing” leans into a beat-driven scene where crisp drums and bright instrumentation underpin processed vocal leads. Elegant piano lines and smooth, jazz-inflected tones create a breezy moment on “Interlude” before buzzy synth lines and steady percussive punch brings the energy back up on “Right Here In This Moment.”
Closing the album with “Screens,” the rise of rustling percussion and muted vocal textures swells into an enveloping electronic soundscape that flows with spoken word passages and playful, danceable vibes. Across Amusing Ourselves To Death, See How shows how electronic music can be both invigorating and inquisitive. His tracks encourage movement, but they also leave space to question what’s happening beneath the surface and in that balance between the dancefloor and deeper reflection, See How is beginning to map out a musical language entirely his own.
Commenting on the record, he shares, “I wanted the album to feel like it was made by someone still figuring it out, not someone with the answers. Every track is trying to interrupt the loop for a second. That’s the whole idea behind the title.”
Listen to Amusing Ourselves To Death below
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