U87 | Cole Peters | A Recasting of Indices
1. Setting Itself Out in Array_excerpt
2. That Which is Indestructible_excerpt
format : glass mastered CD ltd to 200 hand numbered copies/Digital
Regular edition of 170 copies packaged in clear vinyl sleeve with folded insert + an additional art card both on 350gr satin paper
Special edition of 30 copies packaged in black mass-tinted cardboard digisleeve with frame.
it holds a set of 2 double-sided art cards with a different artwork from the regular edition on 350gr satin paper.
Inner sleeve features a strip of paper mentioning edition number, artist’s name + title.
+ more details forthcoming…
release year : 2024
length : 37’26
tracks : 1. Setting Itself Out in Array (20’10”)
2. That Which is Indestructible (17’14”)
status : OUT NOW !
>>> order via Paypal : chalkdc@unfathomless.net
Regular edition
(Belgium) : 14 € (inc.postage)
(Europe) : 15 € (inc.postage)
(World) : 16 € (inc.postage)
Special ultra ltd edition
(Belgium) : 17 € (inc.postage)
(Europe) : 18 € (inc.postage)
(World) : 19 € (inc.postage)
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: info :
The first thirteen years of my life were inscribed, in part, by movement. During these formative years, our family relocated on a nearly annual basis, each shift in space uncovering a new stratum of surroundings, faces, and questions of belonging. Despite the magnitude of these upheavals, it wasn’t until recently that I began to question how they might have impacted my psyche, both during their unfolding and across time. This album began as a series of field trips back to many of the places I once called home, some of which I hadn’t returned to in decades. At each location, I sought to recollect the experiences, thoughts, and emotions of my younger self, while also cultivating new perspectives on these events and the environs in which they occurred. This process of exploration and reflection served not only as a means of approaching a reconciliation of my personal history with my present sense of self, but also as an instinctual system of reference which directed my attention, listening, and interactions with each locale. These two compositions trace their origins from the recordings I made during those field trips, comprising traditional stationary listenings as well as my own manipulation of rediscovered objects and structures within their environments. Some of these recordings are presented as nearly verbatim; others have been more substantially modified in terms of speed, playback direction, and frequency response. While my associations with these recordings and their locations of origin are unavoidably steeped in narrative, I approached the composition of this work in a fundamentally intuitive and formalist sense, as an exercise in processing the recordings’ material properties (and the emergent work as a whole) experientially. Having sat with these pieces for several months as of this writing, they feel to me now very much like kōans — objects of meditation which reject analytical interpretation, yet are suffused with a sense of the fundamental and ineffable.
(Cole Peters, August 2024)
: reviews :
~ later on
Unfathomless 