Hello, Macie!
It is easy to get lost in the music of „When The Distance Is Blue“, cause, amongst other reasons, it kinds to rejects labeling, Brian Eno calls music like this „where am i“-music. Possibly you know some of the the albums Mr. Eno had brought on the way as an executive producer and artistic director in the mid-seventies.The series was called „Obscure Records“ and tried to make bold connections between experimental, new classical and the contemporary pop culture. Like Gavin Bryars“ The Sinking of the Titanic / Jesus Blood Never Failew Me Yet, Brian Eno‘s Discreet Music, the wonderful first album of The Penguin Cafe Orchestra… Your album – though much more great sounding than those old treasures, would have fit brilliantly into Obscure Records, because it serves, too, as an invitation be seduced by strange atmospheres… What was the overall vision for this album (from start on or in retrospect)? Can it be perceived as an aural equivalent of Rebecca Solnit’s „A Field Guide To Getting Lost“, that book of essays (in a freewheelin‘ sense)? Best wishes, Michael!
2 Kommentare
flowworker
All compositions by Macie Stewart
Macie Stewart – piano, prepared piano, violin, voice, field recordings
Lia Kohl – cello
Whitney Johnson – viola
Zach Moore – double bass
Prepared piano with dimes, contact microphones, and guitar amp, recorded at Palisade Studios, Chicago, IL | April 2023
Prepared piano with felt recorded at International Anthem Studios, Chicago, IL | Feb 2024
String improvisations and compositions played by Lia Kohl, Whitney Johnson, Zach Moore, and Macie Stewart at Comfort Station, Chicago, IL | January 2024
Field recording for Tsukiji recorded at the Tsukiji Fish Market in Tokyo, Japan | March 2024
Field recording of vocal improvisation for Stairwell (Before and After) recorded in a stairwell at the Philharmonie de Paris in Paris, France | June 2023
Field recording for Disintegration recorded at Kansai International Airport in Osaka, Japan | March 2024
flowworker
Das neue Album ist auch eine Rückkehr, neben anderem, zu ihrem ersten Instrunent, dem Piano.
Macie Stewart: „Ich bin so unendlich dankbar für meine klassische Musikausbildung und die wunderbaren Türen, die sie mir in meinem Leben geöffnet hat, aber ich erkenne auch die falschen Boxen und Barrieren, die sie für mich errichtet hat. Es gibt keinen richtigen Weg, Musik zu machen. So etwas wie Perfektion gibt es nicht. Es gibt eine unendliche Kombination von Möglichkeiten, Kunst zu machen und Mensch zu sein und in dieser Welt zu existieren, und manchmal kann ich nicht glauben, dass ich das überhaupt tue (auf die niederschmetterndste und spektakulärste Weise).“