perfect slipping holed up in glass cases with locks identified as historical thinking ways each combination a time away from when things made less and less sense overlapping how society can change into a better whole when and how society has moved away from the better whole and how society has better ways locked up in whole when and how the rest can be a small part of the necessary take what’s left of whatever sense of dignity is left and throw it out the window at a better self too and let that better self climb back inside our own true self that is hiding and is trying to find better ways to be better
at hiding and the cycle spins like knitting needles in circular basket weaving grace as they tip counter to clockwise finding beginnings through a very own spirit blood to booze used to be the never run out candle all light shining even in dark corner despair can’t shake existentialism in the middle of a bender and the days flipped away and my mind thought more and more of touching any liquid to again howl at it snarl at it growl at it deep in breath holding it in and letting it out at it under the shine if i could gather myself outside to be under lighting long enough to recognize its feel like a poem a poem hanging on to the snarl of a piercing thought a poem like a snarl
New release for the library is a long form improvisation by rural Nova Scotia’s chik white called soft shapes, for jaw harp, voice and microphone.
Put your ear against the vibrating speakers, like they’re at the end of a cone, overtones moved by lung and squeezed by vocal cord, rattling the inner spirit to make you see things that aren’t there.
I asked Darcy Spidle, aka chik white, if he’d be interested in releasing something a little more off the beaten path (you could argue all his music is) and he mentioned that he was working on meditation-type close-microphone practice, using voice and breath to improvise in jaw harp holds, stretching out time and testing the body’s thresholds for sustain and durability, pushing himself into places musically and physically, while holding on. This piece is a snapshot of that ritual-like exercise.
When I think of avant-garde modern takes on folk music, what carries the traditional and oral histories along and into new waters, even if inside a more abstracted idea of folk proper or completely inside my own head, Darcy’s music comes to mind. I’ve been into Darcy’s music for awhile now, tracking his discography and productivity along the way. He runs the DIVORCE label and distro in Nova Scotia and founded and ran OBEY Convention, up until recently, as he’s moved to film production with close friends Seth Smith and Nancy Urich, co-founding/running CUT/OFF/TAIL now, where he tackles screenwriting and acting. He’s an active sort, and if you followed him around you’d be stumbling into all types of great shit. He’s been an inspiring figure for Power Moves all along, and I’m super happy we were able to work together and that I can call him a friend now.
Back to this newer folk idea, say a Canadiana music that takes in the surroundings and environment and is hip to lineage and archive, it still has to push itself into and come from a personal place. Free jazz and noise help shape the full picture then, these forms are needed to reveal where the personal music flows from, from folk-like principals and sounds (be it the instrumentation or recording in the field in real time, etc) into dynamic and expressive new music territory. I struggle writing what I’m thinking about, and we don’t need to get philosophical or to put any words on this project to turn it into something that it’s not, but chik white makes a super interesting and unique and humble music that is part process: by being in lock with his instrument and its characteristics, and articulation: having the ability to navigate breathlessly between cavernous, rude, free improvisational blowing and clean, crisp, rich in-the-pocket traditional/ethnic music-like delivery. We both share that love for fire music and daily experimentation, and his trajectory as a musician will always embrace rawer texture and voicing along the way, thankfully.
So this is his own music then: music that’s risky and on edge and sometimes fired up and all-the-time fascinating.
Tapes were dubbed at home in a small edition of 30 copies. Side-B has a bonus field recording of Nova Scotian wind quaking and feeding back under the pressure, only available in physical form on these dubs.
From the both of us, we hope you enjoy.
Take care and talk soon,
The library’s first CD-R.
A split disc from two anomalous, constantly working, compelling artists.
Ryan Waldron, who records as Talugung and lives in Hamilton, glides the first four pieces through intricate trial-and-error fascinated with microtonal and limiting scale-work, mesmerized and ultimately shaping entire hypnotic and repeating sound-worlds around treated timbre and wooden sustain. Adventurous and meditative, a deep approach to unwinding natural pulse and natural acoustic emulation.
Blanca Rego, who records as _blank and lives in Barcelona, finishes the album with a long-form curious piece of abstracted reinterpreted field recording, both data-bent and new-art cumulative, turning found sound ideas into stretched-out puffs of smoke, blurred from original presentation and flipped into static one-note-like hanging clouds. They pass by overhead but brush against us and vibrate like breezes from heavy swinging bells pushing their musical imprint of fine air and movement.
I asked both artists the same five questions, please read on.
how did you go about preparing and recording this album and when did this material start to take shape? did you have a plan in mind on how you wanted it to sound or be presented? did you do anything differently with this collection of material that is new or part of a newer process for you? can you describe what it is that we’re hearing?
Ryan: I started working on this in the spring of 2016 by recording a few sounds that I thought might work well together. I ended up using 8 or 9 acoustic samples that I pitch-shifted into different just intonation scales. There are bowed metal and wood sounds, some flutes, a gong, and a plucked wood sound. I’ve had the idea to try to make some tunes using a kind of unequal loop style for a while. Since the loops are slightly different lengths, the melodies and harmonies are constantly changing, but at the same time there’s lots of repetition. This technique is similar to some of Steve Reich’s early pieces.
Blanca: The original material was a field recording made through one of the windows of the flat where I live in Barcelona (Spain). That specific window is not directly over the street, it’s over some courtyards of the buildings of the block, and the side street is usually quiet because it’s narrow, without traffic, but that day there was a bit of noise because there were some people dismantling a small stage. I didn’t have any plan in mind when I made the recording, I just made it. Later that day, I was editing it, without any aim, just playing with filters, equalizers, etc. and I ended up with that track, which I found funny because it’s quite dark, like something from a horror film, but the original material was really mundane and uninteresting. Usually I don’t work with field recordings, but when I use field recordings I tend to end up with very abstract sounds, because I’m not interested in documentation or representation.
you both work in other art forms/media, was there anything visual that would be considered a pairing to this work that you were working on or even just thinking about? do you see yr music in colour and if so, what are the tones or shadings that you visualize? what is it about music creation that keeps you inspired in alternative ways from other media/drawing?
Ryan: Maybe minimalist abstraction from the 60s? Something more abstract often works well with instrumental music, I think. I visualize music a little bit, but nothing too specific as far as colour goes. It’s definitely interesting to think about how we actually experience music. I’m sure we’re all creating new mental models for the experience every time we listen to something, with the listening environment playing a big role. Making music can be pretty different if you piece things together on a computer vs playing an instrument, but I find I enjoy both for the same reason I like visual art – I think the inspiration is similar, but I usually end up focusing on one thing at a time.
Blanca: I’ve always been obsessed with the relationship between image and sound, and most of my work reflects that obsession, but this piece is just a sound experiment. I wasn’t thinking in anything visual when I made it, it’s more about an atmosphere or an emotional state. I don’t consider myself a musician and I’m not really interested in creating “music”. When I work exclusively with sound, I don’t think in any kind of colours or visuals. If I’m working in something that uses sound and images, usually both things are so tied that I don’t see the sound in colours or the colours as sound, for me both are the same thing. In fact, I work a lot with data bending, saving audio files as image files and vice versa, so images and sounds are exactly the same data, not an interpretation. I think that the main difference between sound and other media is that we feel sound through our whole body, not just the ears, so it can move you not only emotionally but also physically.
the act of disassembling or removing parts is pretty key to both of yr processes i think (or maybe it’s the other way around, a very serious and determined slow-building or assembly), is that a fair statement to make? all of this material is highly minimal-sounding, whether it is the short repetitive staccato pitch of talugung or the drawn-out and distorted and granular cloud-filled pulsing tone of _blank, why do you choose to work within a limited tonal/notational scale or pitch, is there freedom in hearing similar sounds move and shift in subtle and suggestive ways? i find both of yr albums very moving, was this palette set beforehand or was there some trial-and-error involved to get the right feeling?
Ryan: I subtracted or didn’t include lots of false starts or combinations that I wasn’t happy with. Sometimes it’s nice to focus on the details of a particular sound and if you record some interesting sounds that can get you off on the right foot to using a minimal palette. With these pieces I was mainly working with rhythm and melody ideas so trial and error to get the right tempos, densities and note combinations for the selected sounds was important. I ended up using six-note scales for the 4 pieces. I tried pentatonic scales but I found it was sounding too much like I was copying Balinese music. Six-note scales are nice to work with, and it’s fun to try out different intervals. On the second piece I used big gaps between some notes so it has very uneven, unbalanced scale.
Blanca: I’m not a musician, so I can’t set a palette beforehand, when I work with sound there’s a lot of trial and error, and even chance, involved. I don’t think that I disassemble or remove parts, but I’m definitely interested in void and noise and I prefer drones and pulsing tones than melodies or musical structures, so I guess that I tend to simplify. When you work with musical structures, you’re working with a very traditional system, even if what you create is not pop. Curiously, most people think that noise music is much more incompressible or intellectual than “standard” music, but that’s not true, noise is something really simple and physical, while music is a very complex construction, a way to organise noise. I’m not specifically interested in a limited tonal/notational scale or pitch, but I don’t want to create “music” because music moves you in an “artificial” way, I’m much more interested in throwing off the listener than in creating any kind of specific emotion.
if you had to recreate yr part of the split album live using only acoustic instruments, say in a trio or quartet setting, what would be the instrument choices? or maybe you wouldn’t want to do that at all, so you don’t have pick, but maybe you could mention why working in this way, digitally and alone (and i can dig that too), is the end-game?
Ryan: It would take some instruments that could play non-tempered scales – maybe trombones, violins, or a string quartet, or some Harry Partch sorts of things. It would also probably take pretty expert players to play the shifting loops. It’s pretty easy to get tuning and rhythmic precision when you use a computer and the end results can have an interesting sound, but a live acoustic version would be great.
Blanca: I wouldn’t want to do that, I prefer the abstraction of the digital media. Obviously, a computer is not an abstract thing, but it’s not specifically for making music, an acoustic instrument is just for that. I don’t work always alone, but usually I prefer to work alone because what I do is really personal, I’m not trying to explain something, or to transmit a message or a feeling, so it’s difficult to work with other people because usually I don’t have any aim in mind. But it’s neither improvisation, I know what I’m doing and what I’m trying to dislocate, at least when I make experimental films, which is what I do mainly.
what’s the future bring? happy new year! any resolutions?
Ryan: I plan to make some woodcuts and hang out with the kids – simple goals! Thanks Kev!
Blanca: Who knows… but it’d be nice to be able to make a living with my films. Happy new year!
The split CD-R was burned at home in a small edition of 33 copies, with accompanying original black-and-white artwork by both artists printed on banana paper at home, housed in recycled paper envelopes.
From all of us, we hope you enjoy and can pass it on.
New release for the library is radical electronic noise collage-work from the Brooklyn visual artist Dane Patterson.
Two sides of harrowing, hallucinating, spatially globular readymades for late night wide-awake insomnia. You can set your clocks to these jams and make life that much more interesting as it melts and slows down and fires you across altering planes while you try to focus on anything else and then fight for sleep. In better days, this was the good kind of tripping. This is monstrous material, and it floored me when he sent it along.
I think Dane’s visual artist brain has wires that get crossed with his guerrilla sampling/cut-up techniques when he puts the musical pen to 4-track paper and that pushes some of the decision-making into unbelievable psychedelic-tinged existential structuralism. Designs emerge in responsive balance: stark, loud, emotional bursts segue into droning, machinist living forms, gentle and mischievous and impermanent.
The album is called Wellness Center and it quite literally helps explain and soundtrack some of the thinking/feeling Dane’s conscious/unconscious of, and his melted take on electronic mind-fuck therapy has helped him carry the personal-blues along in such a creative fashion that you start to forget about the heaviness, but my advice is to let it breathe and be heavy, be a full-on undertaking, play it loud and throw the large sounds, shrinking and shrieking, at our own anxieties. Sometimes we’re able to channel something, some kind of power comes from somewhere else that’s slightly foreign to our everyday, either its from deep within or from outside us altogether in that spirit-way we have no idea of, but for a few seconds to a half of an hour, we’re in control and we’re flying.
I sent a few questions his way via email and here are his responses:
hey dane, thanks for doing this man, appreciate it! i was really blown away by yr record when you sent it to me, wasn’t totally sure what i was hearing and how it all got there. what sort of sounds were you initially after, and how did you go about getting that down? you mentioned to me that you were cutting up live drums and using a sampler, were you mixing analogue and digital means together for this? 4-track and computer? do you see this as straight up electronic music (whatever that can mean) or do you see it as more noise-based or lower-fi concrete type work? or does it matter?
Hey, I’m glad to do it. Thank you. I definitely didn’t have a particular sound in mind when I started this project. I’d just moved to a new place in Brooklyn after a long-term relationship came to an end. Sound recording was a way for me to escape for a bit and work through things. I think that’s where the title Wellness Center stems from. At that time recording became a bit of a retreat for me.
I started by just recording short bits and pieces and organizing the sound fragments. These didn’t necessarily relate in any way to one another. I recorded sections of detuned acoustic guitar, padded mallets on tin cylinders, sequenced bits from inexpensive korg analogue synths, and sounds from hitting kitchen utensils together. I also had some prior recordings of sounds I dug into, including some I’d attempted with violin. I just started making folders and sorting sound types initially. This portion of the process was chopped up via computer and saved to my sp404 sampler as loops or singular hits. I think it started to take shape when I hooked up my Vdrum set to the sampler and used that to trigger sounds along with the drum hits. Once I found a way to work with the parts I would record these bits of arrangement to 4-track cassette. It was a way to save the ideas, and it also changed the quality of the sounds. Later these tapes were recorded back into Abelton live where I refined the looped patterns and multi-tracked over top. It’s definitely electronic music as it was generated with computer and electronics, though I think the character is different than what that genre might call to mind.
did you have a master plan all along or were you fitting pieces together and sort of improvising with the collection of source material you had? how or when did you know you were getting something special? was there ever a moment where you were able to objectively step back and say, alright, this is turning into something here? were all the tracks finalized or mixed in similar ways?
I’d recorded a number of arrangements before anything really clicked. It was like a puzzle. I was sorting elements that fit together to maintain a flow that worked as a whole. There are times in the album where quiet drones or different instruments follow a crescendo of harsh sounds. I like to develop a feeling in a track and then undermine it.
so both sides of the tape are flowing collages of continuous themes or motifs, were you working around certain sections, like say a filmmaker might, in that you knew it had to get to this particular spot, but editing and cutting away would help reveal that and get it there? that’s interesting to me, i know that yr a visual artist and work in multi/mixed media ways and have been doing video-work of late as well, was that part of the process at all? were you seeing or visualizing anything art-wise when you were making this album? i think film-styled editing can be an underrated aspect to record production, having themes and narratives taking shape and knowing when to move things around sequence-wise, etc., does that make sense to you too?
Each side of the tape had a couple of sections that I knew I wanted to include. A lot of the editing became about figuring out how to build up to them or accent them. I’m a visual artist as well, and making the music definitely called up imagery as I worked. There is video involved with the audio now, but it was only created after the recording was complete.
can you tell us a little about yr history working as an artist and how yr development has changed or taken on new stronger forms? is there any particular media that yr more comfortable working in? and since you work with different materials and software, are there choices that you make that are tactile or decision-based in yr music-making that would more emulate working in other fields, like in video or in installation or drawing or paper collage? do you like when the differing forms interact and blend together? ‘how do i make that drum tom sound like a withered rope fall through a window’ thing going on? visualizing components both imaginary or in ways that will actually take artistic form?
The basis for my visual art has always been drawing. It’s definitely what I’m most comfortable with as a medium. It translates nicely into some of the video work I’ve done. A lot of my more recent drawings have started as photo collages these days. Mock-ups that I make in Photoshop are then rendered with pencil. I think that way of working stems from the collage method of music making I’ve been doing. Working from photographs has been a big part of my drawing projects since around 2003 or so. It used to be very important to me that I worked from photographs that I’d totally staged myself. Today I will work from photographs I’ve taken and collaged bits from Google image for example. I’m not a purist about that at all anymore.
As for sound work, I don’t think too much about visual narrative as I work. I did do some short one-minute animations where I made the audio and animation at the same time. I really like the idea of sound accompanying visual elements. It’s new for me still.
so you used to run the plant migration record label, was that new york-based? what made you want to get that going? you issued many formats on that label as well, cassettes, cdrs, seven-inches, three-inch cdrs, even lp, why no wax cylinder or microcassette? kidding. what made you make those moves with the formats and did you let the specific material dictate what direction you wanted to go in? and i’m assuming you wanted to spend time on other artforms and life things, so it just naturally went to the back-burner? any thoughts on getting that back going? did you do the art and layout for the label?
Yes, Plant Migration was a label I ran for a few years starting in 2007 I believe. I was in New York at the time and was really inspired by a lot of the small tape labels in the city. I also really wanted to design album art and that was a quick way to do it. The various formats I released really came down to what raw elements I had on hand. I’d been buying lots of blank media and cases and just wanted to use them and make designs for projects. I did the majority of the artwork and the layout for the label. I had the chance to have Dennis Tyfus of Ultra Eczema do a 7” cover for Rust Worship. That was really exciting. I ended up getting to work with a lot of artists that I really admire and am inspired by; Andrew Pekler, Rust Worship (Paul Haney), Jaap Blonk, Eliza and Parry (Cammisa Buerhuas), and Cindy Cindy (Cindy Daignault) for example. I think that was easily the best part about releasing music as a label, getting to be a small part of helping out artists who were inspiring to me. It’s an incredible amount of work, and financially difficult to maintain. Eventually it just made sense to move on to other projects. I wouldn’t rule out starting it up again, but it won’t be soon.
how has yr work specifically changed over time with this new release versus say yr older circle circle square material? and what prompted using yr own name for the record? i can really dig that, i think about that all the time dropping the artist names and just going right to it. there’s more honesty there when you present, though sometimes it’s good to hide behind a layer a little bit, like pessoa used to riff on, the many-personed idea. do you have any other projects on the go as well besides this solo material?
Circle Circle Square was a drone project I started for fun. I was using 1 min looped cassettes and pedal based noise strategies. I wanted it to be slow moving and similar to the mediation practice I had started at the time. Those early recordings were done in one take per side and with little editing. Today I like to work with more complex structures in my music. I’m interested in percussion changes, and with more variety to the sounds. I’m also working in more of a sound collage style now.
I started using my name on my recordings shortly after that. I had been doing a lot of shows of my visual artwork and it just made sense to me that both should just be under my name. As for upcoming projects, I have some elements for some new music I’m playing with. However, I’m switching gears back to a new drawing series.
back to the art side of things, when did this gloopy/colour palette/psychedelia take shape? there’s colours and patterns and rotating globs of objects/readymades, things slowly turn and things are confidently blurred and abstracted even when presented in perfect realistic ways, is there a philosophy at all that is attached to some of the work? i detect an autobiographical vibe and also a heavy surrealistic element to having two or three or four disparate ideas or shapes morph into one new idea, maybe there’s an absurdist dada thread there where meaning is thrown out the window in favour of finding new ways to look or think about things? it’s not primitive and you don’t work against yr strengths by doing ‘sloppier’ technique, you really want to present it as it takes form in yr head and imagination, what the hell is going on there?
I had a show of drawings and paintings in Paris this year at Kogan Gallery called “Object Studies”. This is really where I started combining types of objects together in my drawings. In that show there were a lot of depictions of expensive designer furniture being mistreated for example. There is a lot of comedy in that for me and I think that’s an important part of it. In my drawings I could show things that would not have been easily possible with sculpture and ready-mades. I think the idea is delivered in a drawing well. I like the control I have in a drawing over how the viewer sees them.
can you tell me a bit about the video you did as a small trailer for the release? we talked before about how you wanted a representation of a place, the ‘wellness center’ i take it, and the camera and viewer moves through the rooms seeing all of these wild objects and ideas splattered inside, what are some of those things that you wanted to show? there’s faces, posters, media, things from yr past i’m guessing and then there’s these weirdo art pieces all moving around free in these rooms, what are we looking at? it’s super great man, it makes me laugh but it also carries this extra emotional weight to it, how did you go about finding the right balance of absurd vs real life, real feeling?
The video trailer for the release was started after the completion of the tape. I’d done some drawings in the past of rooms that I had trashed and photographed. I thought that it could be interesting to do an animation moving through a space like that. As I worked the idea turned more into having elements in the space arranged in almost sculptural formations: a combination of found objects from a house and just random combinations of junk and various materials. I wanted the visuals to mirror the sounds in a way. I tried to do this by having sort of horrific or unnerving shapes that are neutralized by more comical or lighter elements. There is a shot with two gross faces cut out and stuck on a pile of materials that are set on a wooden kitchen chair. To balance that out I had the shot reveal a framed image next to it depicting a bag of Funyuns. Really random stuff, but I like that one diffuses the other somehow. I guess that was the game for this video… Taking pleasant things like get-well flowers and nice furniture and rearranging them and pairing them with things that make them less so.
what artists/artwork or personal experiences have influenced or helped shape yr work? do you think about art in that way, being inspired by? or is it more of an accumulation of seeing and experiencing great art that helps us look back on our work with fresh perspective? and that doesn’t even need to be ‘great art’ even, just things happening with friends and travels, where it all sort of helps push us forward with our own thoughts and work. is there anything you’ve been into or have been checking out of late, what have you been digging on?
I definitely think of art that way. There are a lot of people who inspire the things that I make. I’m really into Luciernaga, and the stuff that has been coming out on Fabrica Records. I’m also really into the drum projects by Ted Byrnes. There are tons of tape labels that have inspired me as well. Baked Tapes, Hausu Mountain, 905 tapes, Obsolete Units, Hanson Records, Cryptic Carousel…
I listen to a lot of noise music. When I draw I like the Rita, Sewer Election, and harsh noise for some reason. I’m still obsessed with Hanatarash recordings and Boredoms. John Zorn of course, and more intense free jazz like Peter Brotzmann.
do you go through phases of things, where you only listen to certain sounds or read certain books, etc? and does any of this relate to when you were working on this album? does yr listening/reading/viewing habits change at all when you are in the middle of a big project, whatever that art form is?
I tend to not listen to any music at all when I am in a recording phase these days. I do find that books really inform the next phase of my visual artwork as I go. I really enjoy books on Philosophy. Short stories have been informative as well. There is a short story by SAKI called The Unrest Cure. It’s about a man stuck in a rut in life. His friend comes in and trashes his home in an effort to break him out of his rut. This was definitely the point when I decided to make the room arrangement drawings. This was the series with trashed spaces, which I’d drawn photo-realistically.
I tend to work in phases. I spend the majority of my time with drawing and visual art, then as a breather in between shows or series I focus on music. It’s a nice balance that keeps me moving forward, and by the time I’m finished with a project I’m always eager to jump back to the other.
thanks man, think i’ll leave it there. thank you for being into this! what’s coming up for you? anything else you want to share about this particular record or new year that’s about to happen?
Thanks! I’ve got a show of some drawings coming up in a fair called Illustrative that is happening in Beijing, China around March 2017. The work will be presented by the Berlin based Johanssen Gallery at the event. I’m also getting ideas together for a new drawing series, which should come together sometime soon.
New release for the library is a pairing of the first Rotational zine with a tape by New York ensemble Causings. The album is a live recording from WKCR, performed in-studio and live Sep 6, 2015 on Gabe Ibagon’s Live Constructions radio program. The zine has a lengthy and deep interview with one of the founding members, Derek Baron. Derek and I have worked together from the beginning of the library’s start, as his second solo album, Palmillas, was released as #2.
I have excerpted some of the conversation we had below, and in the zine itself this is just a very, very small part of the full coverage he discusses about his own solo work and the histories behind his place in musical time…
“rotational: so i’ve had the pleasure of hanging out with you and yr group causings, and have seen that collective in action twice now, and it’s seriously some of my favourite ensemble/group music being played right now, i call it morton-feldman-rock-music, but it’s neither of those things, it’s the quietest rock band, but really it’s free improvisation or flat out meditation, when did you know that what this group was doing was so special? and how did silence and the use of space and patience and ultimate quietude become the main vision or theme? did that come out naturally through playing? or was this something you’ve discussed or thought about in a larger way?
that’s a great description, and a very good read on our (or at least my) musical background. the group in this incarnation only started about a year and a half ago, when i was preparing for my own thesis show as i was graduating from music school. that line-up was seven of us, including my mom, brooke, close-mic’d, making glass mosaics on stage. maybe i’m blocking certain things out, but as far as i know, we’ve never really talked about what the vibe is. we all just kind of get it. for that show, i sort of let myself be a leader because i had a specific sound i was after. so we would “practice” and i would give comments, we would all chat about it, and eat dinner, and then play again, and we’d do this once a week for a couple months until the show. then the show happened (we later released it as “Cut Through”), and since then, we just all understand the vibe, but are encouraged to try to expand the notion of what that vibe can be. interesting that you mention feldman, who claimed to be all about “the sounds of the sounds themselves.” whatever that means. but like, i kinda get that sense when playing with causings too — the music is really playing itself after a while. it’s very rare that i have any recollection of what happens during a causings performance… so listening back to recordings is always a surprise.
rotational: i’m blown away that when or if the members subtly change from performance/recording to the next one, or new people come aboard, it’s the same ego-less result, it’s the same prayer-like give-yrself-over to the quiet, how do you know when someone is a good fit? can you know this before you actually make music together? is it intuitive? you can tell by personality or past musical histories?
i think with something so unspoken and intimate, it’s kind of intuitive to tell who can contribute what to the group vibe. but (1), there are always surprises, and (2) there have definitely been shows that have been weird and hard to navigate. it doesn’t always flow very smoothly, but it’s always interesting. but there’s a real difference between trying to find people that will just submit and echo what’s already there, on the one hand, and finding people that are such brave and sensitive people that they can understand what’s there and feel able to push it forward in all of these brilliant ways. like when sandy (gordon) hands out sample squares of mirrors to everyone during a show. it’s not like the causings committee is in the board room thinking, “we need someone who will hand out mirrors at a show”. you can’t even anticipate that kind of brilliance. it’s totally spontaneous.”
The tapes are one-sided tabs-in C-75s dubbed at home in an edition of 40 copies with unique typewritten envelopes and credits with found photographs of Canadian forests included as inserts. Causings love the idea that you can fill the second side with music and/or life recording to complete the tape, so feel free to write or share Side B with us if you add to the cassette.
The zines were printed at home in an edition of 30 copies on recycled banana paper, with card stock covers that include an original collage artwork by Cheryl Fraser. Inside the pages, we have two massively in-depth interviews with Derek Baron and Jordan Spencer from the Cabin Floor Esoterica label. Phong Tran writes an incredible introduction to the Dagar family tree and writes about some of his favourite recordings and some of the background to those particular moments in time. It is fantastic. I blab a little about guitars and found sound and try to wrap my head around writing about music.
These are sold as one package, so head over to the Power Moves Library shop before they’re gone.
Take care and more to come,
New release for the library is a gorgeous near-32 minutes of ecstatic lullaby folklore by Delphine Dora, where dreaming universes wrap around each other like the branches of a stretching tree left untamed and wild. Weaving miniatures nestle against longer forms of spontaneous prose, often in automatic writer snapshot stillness- the lilting deepness of self and the act of playful discovery lit-up.
Layered, stereo parts reassemble the mind into a euphoric and dizzying state, through-composition and improvisation as windows into the fictive piano-and-voice soli.
‘Parallel World’ is the title, and it could very easily be titled ‘worlds’ plural, as each winding reverie taps into the subconscious folk center while pushing further and further into a freer space, this work is adventurous in all the right ways that new music should be: reaching for sounds just barely out of grasp, climbing scales as ladders and as jumping-off points into the unknown, with trickling and clockwork-like floating outflow. Thick painterly brushstroke folk-song, singularly high in ballad and belting, blurry and skyward, psychedelic in abstracted bliss-induction, and real.
Clasping to a tethered reality, undulating between rooted personal time-and-place and flying off completely, the imaginary and the real juxtaposed and unfiltered, loose with structure and purpose, overlapping and tremendously beautiful.
Solo music, self-refined, honest and pure and open.
Delphine runs the Wild Silence label and lives in France.
Tapes were dubbed at home in an edition of 40 copies with inserts of original colour and black-and-white artworks by Dovile Simonyte included, printed at home as well.
The library is excited and honoured to be able to share this collection of new work with you.
From the both of us, we hope you enjoy and please get in touch if you want to chat, I’m always into starting new conversations about music and beyond and you can reach me at powermoveslabel(at)gmail(dot)com.
Take care and more to come,