With the release of their Joshua Van Tassel-produced sophomore album, 2018’s Ms. Behave, the Canadian folk trio Rosie & the Riveters — Farideh (pronounced fair-i-day) Olsen, Allyson Reigh and Alexis Normand — achieved success on both sides of the border. The album was released to critical praise from the likes of Rolling Stone Country, No Depression, Parade Magazine and PopMatters. And the album was a commercial success: the album remained in the top 10 US folk music characters for 17 weeks and peaked at #3 on the CBC Radio 2 Top 20.
Despite their achievements, Rosie & the Riveters’ Farideh Olsen was burnt out and in desperate need of a significant change: the combination of long days of touring and sleepless nights caring for her then-infant daughter led to a decline in her physical and mental health. Additionally, she had developed an intense case of motion sickness, which made touring even more unbearable. As the story goes, as she was about to embark on a 10 week tour away from her daughter for the first time, she needed a hobby or something that would occupy her time — and not make her sick while passing the time. Olsen settled on meditation and became obsessed: fifteen minutes quickly grew to an hour, then to three hours.
When the tour ended and she returned home, Olsen continued meditating — often 3 hours a day — and started noticing big changes in her health, happiness and creativity. Interestingly, her interest in meditation eventually expanded into an obsession with quantum physics. After spending several months learning about theoretical physics and space, the observer effect and non-locality, Olsen started seeing the influence of meditation and quantum physics on the material she had been writing: Although she had been a folk musician for her entire career, she had begun experimenting with synth soundscapes and 808 beats. This led to Olsen’s latest solo project farideh — and the project’s debut single, the Timon Martin-produced “WaveForms.”
The slow-burning and swooning “WaveForms” is centered around atmospheric synths, tweeter and woofer rocking 808s and Olson’s sultry crooning. And while sounding as though it were inspired by Kate Bush and others, the track is a balance of free-flowing improvisation and craft: “I had mapped out the synths and some beats in my home studio. I didn’t have any lyrics yet. I hit record and the words channeled through my head and out my mouth. The song literally wrote itself,” the Canadian singer/songwriter recalls. She adds, “This song is an expression of the phenomenon of quantum entanglement, In all potentials and dimensions of time and space, my husband and I would always find each other.”