~ * ~ quarewave ~ colmkil

A quare sound
A crest a crash a sizzle
You look at me and my pulse-width modulates
The cyborg in me recognizes the cyborg in you
A crest a crash a sizzle
I look at you and I’d rather look at you than all the virtual realities in the world
except maybe the moon…
and the fact that you move so beautiful more or less takes care of Futurism
And the way you whisper and sing more or less takes care of futurity
You sing in tune with the sample rate of the universe
It’s not exactly utopia that springs from your lips
but it is some sort of realization
A crest a crash a sizzle
A quare sound indeed

dance music for the end of straight time

modular synth instruments live sampled, sequenced, and performed by colmkil
mastered by @glia

“wild peas” features field recording of wild pea pod percussion performed by theo o’gara
additional musical samples from glia
poetry samples from gabi abrao and frank o’hara

supplemental reading is available, but not necessary
feel free to enjoy the ep in a state of aimless namelessness :stuck_out_tongue:

theory

“quare” is a word with vernacular connections to both hiberno-english (possibly yola) and black-american english, it was brought into queer theory by E. Patrick Johnson (“Quare” studies, or (almost) everything I know about queer studies I learned from my grandmother) as well as Irish scholars such as Noreen Giffney (Quare Theory) and Joseph Volante (Quare Joyce). Johnson was looking for a way to activate some sort of political potency back in to “queerness” which was felt to be adopted as an assimilationist stance by cis white queers, while the Irish theorists were using it more to reflect the postcolonial context of Ireland in relation to England and english and the gender and sexual politics that intersect with the colonial/postcolonial relations.

there is some overlap between these two projects — building a utopianist vision around anticolonial antihegemonic conceptions of self, and freeing ourselves from the paradigm of pragmatism and assimilation. i’m also drawing on José Esteban Muñoz’ Cruising Utopia here, in thinking about the utopian potential of queerness and what “futurity” even means to queers who live under threat of violence of all kinds, and the looming shadow of death. in this context, i was also thinking about dance music. about the queerness of it, and the black-american queers at the center of its invention, in particular. the way queer culture survives despite everything, the reverberations of trauma in the music, but also the reverberations of life, the creation of utopia in real time, in rhythm.

this is not nostalgia, this is something to hold on to for the fight that is now.

so this is my attempt at making some kind of dance music. quarewave imagines a future where cyborgs dance all night and one lonely cyborg, filled with relentless love and hopeless rhythm, wanders to the seaside to watch the last sunrise. the end of straight time… but queer time doesn’t operate linearly. its future is now and its future is forever. the universe is full of quare sounds if u listen.

tools

The entire album was recorded in live takes, except for “wild peas” which had field recording layered in the box.

the modular system was:

just friends was the synth voice, with grandpa playing samples from glia’s dek

drums were synthesized on the moog DFAM

the modular and DFAM were both mixed in bastl dude and routed into norns

cheat codes sequenced just friends, clocked DFAM, and live sampled everything. it was the compositional center of this entire album. thank u @dan_derks for such an inspiring tool :heartbeat:

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so excited for this, Waxing Gibbous definitely one of my most listened to records. and that you made it 3.33, chef’s kiss.

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Everything is 3.33 on my planet!!!

Actually it’s my favorite number and my college gpa and the time my clock often says when I look at it randomly in the afternoon and part of my alias reversed (me.eee). EEE reversed = 333…

Anyway, I digress, but it is a beautiful price as well :sunglasses:

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Beautiful sounds on this, and I really love the theory, thank you for sharing this peek behind the curtain!

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agreed :cowboy_hat_face:

i had the pleasure of being tangentially involved but did not know most of this at the time…wonderful notes @renegog and congrats on this release!

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Still in the early listening stage, but a first sense is that this is very mellow and somewhat alien “dance” music…

I see visions of cyborgs combining more than a little mixture of modem tech and bird dna swaying gently on an endless beach…

I’m also getting some nice vibes reminiscent of @glia 's music, which I’ve been listening to a lot recently (gotta catch up!), so the fact that he is involved is a delightful +++ !

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i love this :relaxed:

My reference to cyborgs owes everything to Donna Haraway’s A Cyborg Manifesto which (if you’re someone who gets inspiration from theory) feels eminently relevant to the project of electronic music to me.

Cyborg politics is the struggle for language and the struggle against perfect communication, against the one code that translates all meaning perfectly, the central dogma of phallogocentrism. That is why cyborg politics insist on noise and advocate pollution, rejoicing in the illegitimate fusions of animal and machine. These are the couplings which make Man and Woman so problematic, subverting the structure of desire, the force imagined to generate language and gender, and so subverting the structure and modes of reproduction of ‘Western’ identity, of nature and culture, of mirror and eye, slave and master, body and mind.

[There are so many wonderful sections, it was hard to pick a quote but this one reminded me of the sonic deviancy thread because of the reference to pollution :smiling_imp: ]

One thing I like about the cyborg is that it puts us in the future-now, which is to say the story about the cyborg watching the last sunrise could have been any of us fused to our smartphone, or it could be some distant future and involve a bit of bird dna (who among us does not carry a bit of bird dna? :stuck_out_tongue: ). It is both a metaphor which queers binaries and a literal description of our relationship to technology — a relationship which has been central to the philosophy and culture of electronic music, particularly techno and emergent forms of dance music.

and yes definitely glia’s work has been a huge influence on me, particularly the concentrics process thread in thinking about rhythm as something other than forward progression… José Esteban Muñoz referenced in the first post refers to “straight time” as the understanding of history and the passage of time through colonial-patriarchal-capitalist and otherwise hegemonic (wrt gender sex race) lenses. I think it’s interesting to think about that in relation to music and other time-based art forms (I’m in the process of completing a film where I was also thinking about this), but it’s not an easy fit necessarily — it’s not like there’s music that operates in straight time vs queer time. The ideas at play in the concentrics thread and the music that has come out of that approach is some of the most intriguing to me in terms of dealing with the matter of time in music… was part of why i asked for his help :relaxed: his ear in the mastering stage had a big impact on the clarity of the final sound :revolving_hearts:

whew u got me going ed, didn’t mean to go on this long :joy: thanks everyone for your kind words, and for checking it out :smiling_face_with_three_hearts: and definitely @fourhoarder $3.33 always (or at least until I make a full length album I can sell for $6.66 :crazy_face: )

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