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| conspiracy spider (recently rediscovered older version of the album art) |
First of all, have a listen.
https://mahorka.bandcamp.com/album/in-the-place-of-a-vain-search-for-an-image-of-the-age
My Introduction
The title for the album links back to that year (or years) when many iconic figures of music and art seemed to be dying one day after another. Twilight of the idols, playing on repeat. For many, the frame of the world was lost while for others it was merely shifting. Perhaps I felt this was only a creative energy recycling moment. I didn't take the losses personally, in a familial sense. But that a generation was passing into memory and maybe no longer a guiding light for us until we find the lantern has been given into our own hands. Better look around. In my attempt not to drop it and even without knowing what way there was to be shown, I staggered forward with the title.
Filippo accepted the title for the track which later became the title for the the album.
"In the Place of a Vain Search for an Image of the Age"
Shortly after the first track was recorded, my laptop, and therefore my processing environment -- which gave the unique character to the "The Watermark", "Visitations" -- became unusable. After recording "I am sitting in a room, performing the society of the spectacle," we also lost our flat in Wilda quarter of Poznan, which had served as my home studio. I attempted relocation to Ireland, which failed. My effort to create a new rap-style came forward in notes I made while walking in the mornings those last days in Wilda, an attempt to scry the detritus of the streets, pure description, commentary on the darkness and uncertainty.
The allusion to Alvin Lucier's process composition and Guy Debord manifested for me other signs of a shift in the image of the illusory transcendentalism of the arts themselves (I speak mainly for myself, for Conspiracy Therapists is a duet, but we are both free-thinkers and live and change our minds when thinking upgrades).
Most of us are left trying to clean up, cope: resisting falling socially to pieces, deforested, drifting into the "hothouse earth" position due to the unchecked carbon emissions and all the while the stubbornness of gamester politicians and pundits and jet-setters, goes on bringing species depletion, virus-jumps, an all too human level of objective misery for people who were not born into the richest percentile of the the population.
"I am sitting in room performing the society of the spectacle"
Many thanks to Ivo Petrov and Mahorka for helping us transmit the signals to you the listeners.
And Finally
My Introduction
The title for the album links back to that year (or years) when many iconic figures of music and art seemed to be dying one day after another. Twilight of the idols, playing on repeat. For many, the frame of the world was lost while for others it was merely shifting. Perhaps I felt this was only a creative energy recycling moment. I didn't take the losses personally, in a familial sense. But that a generation was passing into memory and maybe no longer a guiding light for us until we find the lantern has been given into our own hands. Better look around. In my attempt not to drop it and even without knowing what way there was to be shown, I staggered forward with the title.
Filippo accepted the title for the track which later became the title for the the album.
"In the Place of a Vain Search for an Image of the Age"
is first of all about continuity for me. Yet it's an album concerned with transitions.
Shortly after the first track was recorded, my laptop, and therefore my processing environment -- which gave the unique character to the "The Watermark", "Visitations" -- became unusable. After recording "I am sitting in a room, performing the society of the spectacle," we also lost our flat in Wilda quarter of Poznan, which had served as my home studio. I attempted relocation to Ireland, which failed. My effort to create a new rap-style came forward in notes I made while walking in the mornings those last days in Wilda, an attempt to scry the detritus of the streets, pure description, commentary on the darkness and uncertainty.
The allusion to Alvin Lucier's process composition and Guy Debord manifested for me other signs of a shift in the image of the illusory transcendentalism of the arts themselves (I speak mainly for myself, for Conspiracy Therapists is a duet, but we are both free-thinkers and live and change our minds when thinking upgrades).
While some of us may disappear into a shimmery blur or anonymous murmur of room resonance in a gallery or art space in the white cube world of colonialist squatters, the majority of the people remain fixed in a world that the ecopaths "create"
Most of us are left trying to clean up, cope: resisting falling socially to pieces, deforested, drifting into the "hothouse earth" position due to the unchecked carbon emissions and all the while the stubbornness of gamester politicians and pundits and jet-setters, goes on bringing species depletion, virus-jumps, an all too human level of objective misery for people who were not born into the richest percentile of the the population.
"I am sitting in room performing the society of the spectacle"
is a song about lockdown into the social media, the inability to disappear or escape, the stubborness of the literal world and Filippo's field recording of a man crying "solo voglio dormire" seems to attest to this strange existential insomnia.
The final piece "In the Most Unlikely of Places" includes field recordings and acousmatic material from Wilda, Poznan my time in Ireland, some travels in Bulgaria, grappling with a new transitional living environment in one of the noisiest places I've ever lived (thankfully behind us now). Altogether this album spans 3 or maybe more years of work and the meeting of my world and Filippo Panichi's in a world between worlds that unfolds through the visceral movement of sounds.
Many thanks to Ivo Petrov and Mahorka for helping us transmit the signals to you the listeners.
Don't hesitate to check out the other artists on this wild & wise label
And Finally
Here's a review by Disquiet Junto's Marc Weidenbaum
link below
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