Friend, artist, and co-founder of French label / curatorial platform Shelter Press gives us a deep SIDES mix to usher in the new era – combining beloved selections with fresh ideas of her own. To accompany the mix is a one-question interview, which we recommend consuming simultaneously.
- 1st personal interval
- VITO RICCI / IT TOLLS FOR THEE ( A symphony for Amiga)
- 2nd personal interval
- CRYS COLE AND OREN AMBARCHI/ BURRATA ( Hotel Record)
- 3rd personal interval
- ANNEA LOCKWOOD: DEEP WATER GONG 1 (Early Works 76-82)
- 4th personal interval
- KASSEL JAEGER / L’ETOILE DU MATIN (Aster)
- 5th personal interval
- ROBERT ASHLEY/ THE AIRLINE TICKET COUNTER, scene 2 (Improvement)
- 6th personal interval
- DELIA DERBYSHIRE AND ELSA STANSFIELD/ CIRCLE OF LIGHT PART 2 -extract- (Circle of Light (Original Electronic Soundtrack Recording)
- 7th personal interval
- DANIEL SCHMIDT / FAINT IMPRESSION/ IN MY ARMS, MANY FLOWERS
- 8th personal interval
- CHARLES HAYWARD / THAMES WATER AUTHORITY -extrac- LES NOUVELLES MUSIQUES DE CHAMBRE VOL 2
- 9th personal interval
- MIDORI HIRANO / Night Traveling / Minor Planet
- 10th personal interval
- GIGI MASIN/ CALL ME / Talk to the sea
Commend: Can you describe the relationship between body, space and text? How is this relationship uncertain?
Space is constant. It’s before and after us. Space creates the echo, distance, space creates time. I always conceive music a way to mark space, a bit like dancing or making an installation.
Body comes and go.
Text, as the voice can remains and last after us, through the document.
The document is our echo, whereas it’s a record, an image, a drawing….
It’s our way to mark the space, like when the cave men where putting their painted hands on the walls and through this document, speak to us from one very late century to another one . Text, image allow us to communicate through the ages.
The space, the body, the texts are particules in movement.
I construct music in the way i make sculptures, layers after layers, making knots between heterogeneous components, i feel sound as a texture, something that owns matter, that we can fold, torn, stretch, mesure to the body.
Sound goes inside the body, i don’t know if can say the same with vision, even if feel we can also swallow colors with our eyes when, for exemple, we watch a painting.
But the specificity for me of sound, in connection to the body, is that we can’t see exactly what it effects inside us, we can just acknowledge that it makes our body move, whereas it is a dance or a simple way of contracting or releasing your muscles. It also effects minerals, plants, animals. Music is a way to communicate without words, through vibrations, to other worlds and reigns, in a very primitive way.
Therefore, I use text as a way to create a doubt, i like to imagine a music than can talk to itself, where conflict and doubt arise, because i feel intelligence is also the faculty to take distance to things.
I feel music should not exerce power over people, it would be otherwise manipulation, but rather create a curious zone; a sharing zone where different point of views can happen in the same time. I don’t want the listener to feel like me. In a way, i am ok if the listener disagree.
I feel that my music should be a place where things are a bit odd and off tempo; or, at least, tight to a question mark.