As puffs of smoke pour from the evergreens, beaming headlights cast eerie shadows and a (familiar?) specter sinks into the very darkness from which “Inframince” emerges.
With less than a month to go before its release, Syzygy is now available to pre-order from HEM, and as Dalt prepares for her European tour with Julia Holter, TMT got in touch with the Berlin-based musician to shed some light on her infrathin, woodland experience.
We recently announced that you would be touring with the wonderful Julia Holter, who also features on Commotus. How much of an influence has she been on your work, and what are your anticipations about sharing a stage with her?
Julia has an admirable and rare capacity to make pop music in which expectation is morphing incessantly, music that runs on its own, that doesn’t need to go back necessarily to something already explored. Those things to some extent are now part of my music process. Or at least when in doubt while structuring songs, I ask myself: do I really need to go back to this melody?
I can’t wait to start this tour with her, it’s really really exciting.
The premiere for “Glosolalia” was very well received. What does it feel like to finally have some material from Syzygy in the public domain?
Strange. Ideally, I would have preferred that a first approach to the record was as a whole. Syzygy at some point became this structure that was running on its own, with an autonomy gained by integration. When isolating tracks, I just wonder if they still contain a certain identity to the whole. I really don’t know what one can extrapolate from them to that existing whole from which they were subtracted. There could be hilarious extrapolations, that I wish I could know, but that unfortunately I will never know. To my friends, I’ve only shown the whole record from beginning to end.
Your new video for “Inframince” has a very unsettling theme, where you only appear for a few short frames. What can you tell us about your aspirations for the video?
This may or may not be me; if there’s something we (directors Alejandro and Luis) wanted to explore in the video was this thin line between what you see and what’s really there, what light reveals or what shadows hide, the boundaries and the edges in dark-luminous worlds. These ideas are just other possibilities of the “infrathin” concept. Duchamp said that this notion was impossible to define; one can only give examples of it, like the warmth of a chair that has just been left, when the tobacco smoke smells also of the mouth which exhales it…. from there, with just a little of creativity, you can set a universe of infrathins.
“Inframince” is the second song on Syzygy, and it makes an immediate departure from the prickly heat of “Glosolalia” into some kind of gorgeous, drawn-out humidity. What can people expect to follow on from that once the album is released?
“Inframince” departs from “Glosolalia” to an interlude called “Soliloquios.” The interlude then gives life to the next track “Vitti,” which is a kind of homage to Monica Vitti for her part in the movie Deserto Rosso. She’s trying to survive in the modern world of cultural neurosis and existential doubt. But! But! There’s still a possible exotic paradise after that; Not everything is necessarily delirium here!
Lucrecia Dalt’s Syzygy is out October 15 via Human Ear Music.
Tim Hecker is impatient. He’s got a Halloween treat for you, but he just can’t wait until then, so you’re gonna get it on October 14 instead (SORRY!). While he knows you were looking forward to a bag full of Twix, Snickers, Gobstoppers, Butterfingers, Nerds, or whatever, he has something even better for you: Virgins!. Now, don’t get too excited — I know what you’re thinking, pervert. No, it’s actually an album of music on CD (yes, people still make those) or LP (yeah, those too actually), and in keeping with the tone of the season, he’s dropped this little teaser called “Black Refraction.” You can watch it in all of its blurry, swinging thurible, cathedral gothic glory above. If you’re still disappointed, I’m sure there’s a gas station right down from your house where you can find any one of the aforementioned candies for about a dollar.
Compound Form [excerpt]
I once saw Coppice (duo consisting of Joseph Kramer and Noé Cuéllar) perform a great piece utilizing a pump organ and analog electronics at the typically laptop-heavy Spark Music Festival in Minneapolis. The striking parts about Coppice’s set was how they didn’t make their electronics the focal point of the piece or transform the pump organ into something alien, but instead naturally expanded the acoustics of their instruments.
On Compound Form, the duo continues to explore the possibilities of expanding acoustic sonorities through the use of subtly placed electronics, and the results are stunning. The sole 30-minute composition that makes up this release ebbs and flows through rich drones, fractured melodies, and airy moments of near-negative space. Throughout, it’s often hard to tell when the natural sounds of the duo’s prepared pump organ end and when the electronic alterations begin. Despite this seemingly limited palette of sounds, Coppice excel at creating a surprisingly diverse tapestry out of their tools of choice in a manner that resembles the instrumental expansion of Pauline Oliveros’ accordion works and Jason Kahn’s percussion recordings.
Compound Form is out now via Triple Bath. You can listen to an excerpt of the album below:
Matthew De Gennaro
“The Plumb Line / Bells for Mompou”
Fiddle Predicates: moans out, lulls, floats through swathes of itself, keens as if in the throes of some memorial ritual, sings, speaks, above all yearns, lifts into realms undiscovered, sparks.
Organ Predicates: meets the body, drifts behind motion, lays it on, underscores, girds, imperceptibly burgeons, deserves no small love for holding it down so deeply, persists.
Inevitable Adjectives: rural, earthy, carnatic, hypnotic, simple, eternal.
Key Overarching Verbiage: drones, breathes.
Multi-instrumentalist/composer Matthew De Gennaro has built a sweet catalog of electro-acoustic solo works over the last decade[-plus], and collaborated with Dunedin champion Alastair Galbraith in a number of projects involving very long wires. His next solo LP Chuang Tzu Motherfucker contains “The Plumb Line / Bells for Mompou” and seven other sessions possessed of equal or similar austerities. Some feature De Gennaro’s acoustic guitar work. One features fellow omni-droner Scott Tuma. All are worth sitting on the edge of, leaning over, and falling into. If allowed, this music can persist past its literal duration and take up indefinite residence in a side chamber of your mind.
Release Date Intel: SoundCloud says August; Discogs says September 17; the Soft Abuse site reports an October pre-order (all of these are almost, like, now [or then]). I’m trusting in the pre-order date from the label itself and making arrangements to cop this appropriately autumn object and to begin purveying the zones it offers by way of turntable.
• Matthew De Gennaro: http://softabuse.com/artists.php?a=Matthew%20De%20Gennaro
• Soft Abuse: http://www.softabuse.com/home.html
Just as any other meme, music drifts in a variety of ways. Since September hit, I’ve been back and forth to Midwest America and New York. In the process, I’ve heard a deep change in music genres: mall metal to cute-acoustic, alt-grunge rock to K-Pop, country to club. So, it’s interesting to be presented with Born Gold (a.k.a. Cecil Frena)’s latest track “Braille,” a solid mixture of some of these different genres. There’s a runnin’ beat getting people moving, evoking that same type of kitsch melody of K-Pop, sung by a sweet Epitaph-style singer, yet appealing to that same sort of fun country vibe. And it’s also totally remixable. Remix culture is so enormous. “Braille” could probably be remixed in every which way, as it’s well deserved.
Born Gold’s newest album I Am An Exit is dropping HEAT on October 8 through Art Control (US) and Hovercraft (Canada). Stream his newest track “Braille” below:
• Born Gold: http://borngold.us