Willow, the whispers are calling me, and they sound so sweet, like may rain

I went to the fog of lost souls and everybody knew you

Djrum - Creature, Pt. 1.wav

Taken from 'Suso Saiz - Resonant Bodies' (MFM059)
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Resonant Bodies

Floating Into The Avalanche

B3. Suso Saiz - Floating Into The Avalanche (5:54)

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Beginning with 2012’s Leland New York artist Francis Harris has been doing a deep dive into the sonic swells and contrapuntal granularities that articulate our most abstract, and sometimes slowest moving, virtualities. Through found sound, analog synthesis, and concise instrumentation Harris has delivered works that transcend the diagrammatic exposition often found in electronic music in an attempt to redraw the landscape of how such music is received and understood. Rather than valorize the fragment, the ambient, even in some cases the song, Harris’s albums offer networks of complex interiorities that endeavor to act as whole worlds unto themselves replete with memory, possibility, loss, and a radiant albeit tenuous hopefulness for the future. 

While previous albums, most notably Leland and Minutes of Sleep (2014) as well as two albums released as one half of the duo Aris Kindt (most notably the stellar Swann and Odette from 2017) have relied on singular thematic and narrative drives that were often of a personal, collaborative, or hermetic in nature, Thresholds is an album that aspires to sonic universality and the presentation of a fully formed psychoacoustical world. That being said it is not an “album of ideas”. Inspired by the ecological and political upheavals of the present and the role of speculative thought as an avenue of global transformation Thresholds is the work of a mature artist fully in control of his powers. Both expansive and nuanced the album widens the aperture of the affective possibilities of the electronic assemblage; themes skip from one track to the next, elevating and informing each other in tangible fields of abstract figuration. The titles, while often heady, concisely allude to strategies implicit in the construction and arrangement of the works: Cut Up, within the context of the album, is exactly that. Luck Takes a Step juxtaposes stately synths with just the right touch of playful fluctuation and latent atonality. The title track itself is a knotted mass of uncertainty and propulsive beats the breakdown of which is a nervous series of fits and starts that resonate not just within the track but as the fulcrum of the entire album: the threshold of our Threshold: 

“…we are caught up in our own original transversals of time to the point of dissolution, and that which remains a part of the contrivance of ourselves is ultimately that which crosses the threshold and is somehow, miraculously, reconstituted on the other side of it. Because it is via the threshold that we can best observe the conditions of experience as lived even as we cross to the other side of understanding, rejoining the ancient equilibriums of which we, in our depths, are comprised.” (From the liner notes) 

No track overstays its welcome and with the help of standout vocalist Eliana Glass, and instrumentation by Dave Harrington, Mark Nelson (Pan American), Will Shore, Greg Paulus and Gareth Redmond, and mixed by Phil Weinrobe, the result is a dizzyingly pure inward gaze that is first and foremost an album about connection.

Thresholds

I Can Still See Us

Francis Harris - I Can Still See Us

Francis Harris - Thresholds

AVI REMIX EP

AVI (Joseph Shabason + Vibrant Matter Remix)

Introspective, engaging, electronic music exploring the concept of “unfinished” in relation to oneself, art, architecture and surroundings, ‘No One Really Listens To Oscillators’ is the gloriously titled new album by Indian Wells, the project of producer Pietro Iannuzzi from southern Italy. The nine track album is set for release on 15th July 2022 on Max Cooper’s Mesh imprint.

“Before I started to create this album, I cleared my mind,” says Pietro. “I  went back to when I fell in love with electronic music and listened to Radiohead’s Kid A and Amnesiac, Warp artists like Boards of Canada and Aphex Twin, Border Community, William Basinski, Massive Attack. I felt my last album was unfinished, and realised something had to change in my music.” 

The album’s first conceptual input came from an article in The New York Times talking about a new conceptual architectonical style. The term “Incompiuto” (Unfinished) was theorized by Alterazioni Video & Fosbury Architecture and concerned unfinished works that reveal the inability of projects to make infrastructures useful and sustainable for the community. 

“The head of this article was a photo of an escalator in the middle of nowhere in Calabria, where I live,” explains Pietro. “I knew this escalator very well and I immediately realized that my perception of this "reality" could be really different from people who have never lived in this area. It can be said that I grew up in the unfinished - between unfinished houses and other half-built works that are now an integral part of the landscape, without really noticing. In reality, our experience is influenced by everything that surrounds us and this context shapes us to make us live a distorted reality, which we very quickly get used to.”

‘No One Really Listens To Oscillators’ was the first track completed and gives the album its title. “I was spending a lot of time working on micro-changes on the oscillator frequency on the lead synth of the track,'' says Pietro. “After a couple of hours I asked myself “Who cares? Will people even notice this?” It’s a way to say that we have lost our ability to notice little things, to go deeper. To develop sensitivity.”

During the recording of the album, Pietro’s daughter was born in April 2020. “My daughter was born with Down Syndrome, which we didn't know anything about, so I started to study and understand how her life could be.” During Pietro’s research he discovered works by the American artist Judith Scott, who was born deaf and with Down Syndrome and read how her condition made her, in the eyes of society, an "unfinished" person. “I was struck by her beautiful and illegible works that are nothing more than pure and simple expression, an end to itself, with no other purpose.” The track ‘Life Of JS' is dedicated to her. 

The album’s beautiful closing track ‘Before Life’ was created soon after discovering his wife was pregnant and starts with a recording of his daughter’s fetal heartbeat. “For me it is a hymn to creation, in a very broad sense. It’s written for my daughter. It’s hope.”

‘No One Really Listens To Oscillators’ is set for release on 15th July 2022 on LP and digital formats.

Contact:
Press/radio Agent (UK)
benjamin.smith@echoempire.net // 077 6492 6719
Press/Radio agent (EU/ROW) 
Alexa Gansera 
ag@centerpoint-agency.com // +49(0)163 4099099
Mesh Label 
Anthony Faulkner - anthony@thewildseeds.com
Management 
Yur Toccacelli - yt@3d-agency.it

09  Indian Wells - Before Life

Music From The Penguin Cafe

Zopf: Pigtail (2008 Digital Remaster)

Suuns and Jerusalem In My Heart

2amoutu I7tirakan

An Imaginary Country

Where Shadows Make Shadows

'Crush', out now on Ninja Tune: https://floatingpoints.lnk.to/crushSo

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I went to the fog of lost souls and everybody knew you

Tobias Balk