loss and discovery

RESCD001
Releases October 3, 2022
futuraresistenza.bandcamp.com

It takes time to heal properly. It takes reflection too. Sometimes it’s only by rearranging and reformulating the world—both inside and around—out of shape, so that everything can fall into place and drop into focus. Lucy Liyou and Eric Frye have both engaged closely with collage and philosophical methods on previous works, approaching music as both a practice and a playground. Coming together in a stream of emailed ideas, edits, and re-edits, Grace is a distillation of both artists’ work to tackle trauma, taking as much from Frye’s ‘heuristic junk’ and algorithmic composition as from Liyou’s stream-of-consciousness ambient diaries and digital missives. Liyou has previously put text-to-speech to effective use on works such as 2021’s Practice, but here both artists implement the tool, littering Grace with resonant sentences dryly hinting at approaching their traumas, fears, and doubts: “Did you know that vigils are not the same as funeral services?...How much more silence can a dead person take?”

Grace is the beautiful result of a covalent bond forged between Frye and Liyou, with the boundary lines blurred and fingerprints overlapping throughout the piece’s duration. The duo swapped files and ideas throughout 2020 and 2021, continuously editing and resculpting a wide range of stem audio files and source sounds into the four-part piece. Flashes of mundane and momentous memories rub up against confused robotic text-to-speech snippets and shimmering processed noises. This piece is a substantial realization of both artists’ worlds, and sees their approaches coming together to create something complementary and fresh, that neither could have made alone. Grace is a piece about tackling life’s messy and winding path, inspired by anits erratic mix of fear and love.

Tristan Bath

-

Written by Lucy Liyou & Eric Frye
Mastered by Felix-Florian Tödtloff
Artwork by Sigtryggur Berg Sigmarsson
Lay-out by Koos Siep

Futura Resistenza
Brussels/Rotterdam, 2022

Part 1 & 2

Picture by Stable Diffusion @ Hugging Face

ant spa •)(( 23.05.23

APOD0061 Jonathan Valdez and Haela Ravenna Hunt-Hendrix Takeover. Edition Erich Schmid Ep. 37

@michaelspeers - 19'54"
Live at Instants Chavirés, Montreuil, 23rd November 2023.
Recorded and mixed by Benjamin Pagier. Additional mix by Michael Speers.
Deardogs 2023 archives.
archive.org/details/michael-speers-live

Michael Speers - 19'54"

c side

Recorded during the Autumn of 2023 amidst fluctuating extreme states of tension and tranquility, Canadian artist Paul van Trigt delivers 30 minutes of thoughtfully spliced cassette and reel loops, amplified objects, homemade oscillators, and lute. By using both sounds collected from a place that was once home but is no longer, as well as sounds from a place that is new and foreign, Remains is a work which deftly balances moments of shrieking anxiety and exhausted frustration with calmer, more contemplative passages. Limited edition cassette with screen printed artwork.

Mot - Remains (Excerpts)

American avant-electronic musician and essayist Bret Schneider holds no institutional allegiance to one artistic medium. His background encompasses a wide range of work experiences and reveals a man who is connected to the world around him in complex, alienated ways. His thoughts on music and philosophy are intertwined into a billowing exposition. But when exploring the dark recesses of his more aural works, there is an inherent flexibility. Phasing percussive elements and frayed droning lines all lead to a perpetually shifting feeling for an aural uncanny. As fractured as his music can be, there is a dim spark of rumination that threads through his synthetic machinations.

On his latest release, “Xilinx,” Schneider taps into a primordial electronic noise—the kind that rests just on your periphery, unwinding itself to reveal myriad sordid circuits and disjointed projections. These tracks maintain a wired mania, expressing an unsettling undercurrent of ragged repetition and warbling drones. There’s an unexpected elasticity to Schneider’s cabled rhythms, and they often shift across several temporal lines before turning inward, struggling to illuminate an intimate dissonance or imagine a multi-chambered core. Displaying a raw and unusually concise knowledge of how these sounds might fit together, “Xilinx” is part zoetrope, part post-industrial dreamscape. It is an inquiry into the idea of internal movement, a contorted experiment in musical patterning, and an experiment in self-replication.

Xilinx

Bret Schneider - VaVE1

* Announcing CANVAS007 *

Lugh - Re Munus (LP)

Format: Digital/Vinyl
Cat.No: CANVAS007
Release Date: 23rd of October 2020

Vinyl and Digital pre-order:
canvas-index.bandcamp.com/album/re-munus

‘
There is grief, exultation and relief inherent in belonging to community. Re Munus reflects on the tone of deep gravity with which the re munisation of the de munised is unravelling. The generations which dismantled their social contract, achieved immunity, revoked solidarity.

Severe circumstances foment collectivity, suffering and empathy, interrupting the ethereal dream of social weightlessness. Re Munus sketches sensations and observations during a time of reorientation, rediscovery of lived sensibility on a relational scale. An encounter with sensations which we had said defined us—the tangibility of which we had forgotten, believed to be confined to the past. There is tension between the physical withdrawal and lived intensity which permeates these works.
’ Lugh

Personal drift. There is a multitude of presences guiding you through this record as a listener, not without their own doubts as to where they are leading you. A murky social space. Time-compressed club experiences within layered acoustic dimensions; consolidated, captured and played back into the same space. I am sitting in several rooms simultaneously. Death metal screams in an Animal Crossing world modelled on our own.

The choral rush of ‘Million Dollar Cowboy’ from Lugh’s Hélico EP (2018) re-appears again in ‘Braises’ and ‘Free Fall’, deeper and re-figured. Sometimes the record also haunts itself—each element heard having been through a process so long and many-staged, it’s as though it has already lived.

These compositions hold within them a flawed attempt to communicate on every level. The desire of language as expressed through music—towards shared meaning. Paradoxically voiced and voiceless, it denies textual, verbal description, instead crying out through the cracks in forming its own liquid tongue. Clone choirs simultaneously rehearse in an open space below. A slow walk through this spectacle. It’s an anguished record as much as it is at times tranquil. The movement between voices detached and embodied becomes playful—often warping them far beyond recognisability.

Beautiful artefacts. Stomach churns in the face of a burnt-out horizon. Cantering & sneezing. Air is driven into the corners and creases of a gold-plated, reverberant structure. The neural network claps to keep itself in time. Gutter Synthesis organ lament; tears of the duffing oscillators. There are moments on this release when tensely divergent fragments are barely held together. The prominent human voice mixing with the heavily re-sampled voice—it’s an incredible lift. Superimposed night and day. Sonic creatures living within the material, sharing time and space. Tenderness and together-ness.

Michael Speers and Olan Monk

Music by Lugh O'Neill

Vocals on ‘Vertiginous Leap’ and 'Free Fall' performed by Marie Requa Gailey

Artwork, graphic and product designed by Zuzana Pabisova

Mastered by Ali Najafi

Underwater recordings from Zuzana Pabisova's underwater sports camera feature on 'El Rocio'

The ‘Gutter Synth’ designed by Tom Mudd features on 'Americans', 'Irony, Chastity, Obedience' and 'Index Veri'

@lu_gh

www.c-a-n-v-a-s.com

Mot - Remains (Excerpts)

Throne Heap

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