Diffraction by main(void)

Support from: Abstract Division, Amelie lens, Arnaud Le Texier, Brendon Moeller, Cassegrain, Echoplex, Isolated Lines, Juho Kusti, Kwartz, Marcel Fengler, Mental Resonance, Naty Seres, re:ni, Sigha, Stephanie Sykes, Takaaki Itoh, Tensal, Tobi Neumann, Wata Igarashi

A note from main(void):

All my music is indebted to Black music. Techno is Black music, and it is the frame of reference for Spatial Cues. However, a glimpse at my musical influences reveals an even larger debt.

I have been passionately listening to Art Blakey, John Coltrane, Miles Davis, and Abdullah Ibrahim for most of my life. I discovered electronic music through Hip Hop and Drum and Bass. After learning about Goldie’s collaboration with KRS-One on Saturnz Return, I ordered my first vinyl record. When friends introduced me to Macka B’s Discrimination, produced by Mad Professor, I heard effects being used as instruments for the first time. Today, Dub mixing techniques are fundamental to my process and sound.

This release in particular is inspired by musical forms from African, African-American, and Jamaican music, including call and response, the backbeat, and Dub echoes. I owe my love for call and response to Art Blakey’s Moanin’. I owe my love for the backbeat to KRS-One’s Return of the Boom Bap. I owe my love for Dub echoes to the music Mad Professor mixed for Macka B.

As I am paying tribute to my immediate influences, I also recognize my responsibility to learn about the history and context of these musical forms.

"The void is a lively tension, a desiring orientation toward being/becoming." (Karen Barad, What Is the Measure of Nothingness? Infinity, Virtuality, Justice)

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