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Released 10th June 2022.
The record was made just before the pandemic started, working closely with the distinct feed-backing Dorophonesounds of Hildur Gunadttir, Yair Glotmans thunderous double-bass, James Ginzburgs devotion to precise formand muting my reverb stems, the microtonal brass and woodwinds of Hilary Jeffrey and Sam Dunscombe and the
infinite intimacy of Icelandic singer-songwriter JFDR. From Berlin, I would flag sounds I loved; some twitching strings,the stolen alto voice from an abandoned English chorale, some words from a climate scientist fleshed into a poem.
These email attachments struck up a sort of sonic pen-pal program, with each person sending a sound, some words,some creative parameters and responding in turn. It became an exercise in receptivity, in which openness itselfbecame a creative voice, hushing my tendency to micromanage every detail. These interactions were pulled togetherin late 2019 into a single piec
Released 10th June 2022.
The record was made just before the pandemic started, working closely with the distinct feed-backing Dorophonesounds of Hildur Gunadttir, Yair Glotmans thunderous double-bass, James Ginzburgs devotion to precise formand muting my reverb stems, the microtonal brass and woodwinds of Hilary Jeffrey and Sam Dunscombe and the
infinite intimacy of Icelandic singer-songwriter JFDR. From Berlin, I would flag sounds I loved; some twitching strings,the stolen alto voice from an abandoned English chorale, some words from a climate scientist fleshed into a poem.
These email attachments struck up a sort of sonic pen-pal program, with each person sending a sound, some words,some creative parameters and responding in turn. It became an exercise in receptivity, in which openness itselfbecame a creative voice, hushing my tendency to micromanage every detail. These interactions were pulled togetherin late 2019 into a single piec
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