|
|
|
|
|
|
|
|
|
|
|
LP
|
|
FPE 022LP
|
"Drawing from the vodou religion, Val recreates the ancient rhythm and pulse of Haiti through digital beats, while Momin has developed an original blend of electro-acoustic beats, drawing together the improvisational traditions in Jazz and Indian folk music. Together, they employ cutting-edge musical tools such as acoustic drums outfitted with Sensory Percussion triggers, Force Sensing Resistor (FSR) drum pads and Smart Fabric MIDI Controllers, still emphasizing the ritual aspects of creating music in the digital realm. 'Our full-length record, Map Of Absences is a reflection on the regressive state of human rights, deepening refugee crises and the worsening impacts of climate change worldwide. Imagine a world where refugees of color are free to cross borders, LGBTIA people are treated fairly and respectfully, and environmental healing technologies are widespread. These ideas are unfortunately absent from our current reality. We say 'absent' instead of 'forgotten' as the latter implies an instance of memory or a record of those things having existed. Musically, we drew inspiration from artists such as DJ Lag, Nidia, DJ Rashad, Nihiloxica, and Epic B amongst our other varied global influences. For the album artwork we tapped Marissa Malik, a UK based artist whose work evokes the mystical and empowered mythical beings. For remixes, we returned to Kenyan maverick Slikback (Hakuna Kulala) and also approached PlayPlay (who ran the legendary 'Party Illegal' in Durham NC for years) and the modular-synth wielding producer Nueve Vidas from Mexico City.' -Turning Jewels Into Water"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
FPE 019EP
|
"Turning Jewels Into Water, the deep-beat ceremonial think-tank that sees the coming together of percussionist/rhythm-prophet Ravish Momin and Haitian experimental electronic engineer Val Jeanty, are set to expose the contaminating realities of our dysfunctional, dystopian present with an infectious blast of Blade Runner-esque retro-future. Half-organic, half-machine, total binary breakdown; their incendiary debut release, Which Way Is Home?, plots an emphatically liberated path. The duo's alliance was initiated in the fall of last year in Brooklyn, NY, during a jam session at Pioneer Works, the creative locus for prime multi-disciplinary misadventure, where Momin held down an artist-in-residence slot -- but that pact has rapidly evolved into a honed ritual revelation, where disembodied voices rise up amid scattered rim-shots and digital detritus, territories formerly deciphered in the linguistic dreams of hip-priest poet Nathaniel Mackey, where Martian phantasms encrypt gnostic cyphers between the tributaries of burnt-down cabling. Dial into the 1980s amusement-arcade delta of 'Lights Below The Water', the post-apocalyptic synth and abused syntax sprawl of the title-cut and set your course for home, anyplace where the absurdist jungle-temples of Raymond Roussel and Brian Catling are being cultivated by the cyber-horrors of Shinya Tsukamoto's Tetsuo and the mischief-making syntax-gremlins of Kenji Siratori's Burroughsian novel Blood Electric. Which way's home? Take a tumble through a telescope. Pick your own planet. Home can be anywhere you make it. Which Way Is Home? EP features three original tracks, along with two remixes by Nyege Nyege Tapes-affilliated, Kampala-based producers Slikback and Zilla."
|