- 1incantation
- 2before names
- 3youth culture
- 4terre's warning
- 5floating breaks
- 6voices rush past
- 7release
- 8you know how to love
- 9i got the music in me
BPS03
•
Open edition
In November 2020, I collaborated with IRL Gallery on a sound installation called Club Chrysalis.
The idea behind Club Chrysalis came to me on the bike ride home from my first visit to the gallery. Upon hearing the formidable sound system owners Chris and Alice had secured for the space, I realized it had been months since I’d experienced the full body sounds - subs, arpeggiators, enveloping pads - that were such a big part of my life before the pandemic. I wondered if the space might offer an opportunity to free these sounds for an evening. I immediately went to work on the piece, which I thought of as a meditation on what might happen to the sounds of the club when the club goes to sleep.
Without the gravitational center of the dance floor, these sounds are unmoored: kicks and hi hats hit once before floating off, the familiar voices that had sung to us ecstatically appear to be exiting to another dimension. Classic tracks are manipulated to the edge of recognizability, and giants of the form - Theo Parrish, Terre Thaemlitz - offer frank commentary on the club and its music.
There’s a single photo from the evening: pink light colors a foggy room, masked guests are seated in rows, all facing two black monoliths where a deep shade of blue has emerged. It’s clear some kind of ritual is taking place. Listening back, the piece strikes me as an elegy for something deeply loved, a requiem for communal listening, a performance of last rites so something new can emerge.
As we begin to feel hope about the return of collective music experiences, I felt it was important to preserve this music for posterity.
Max In The World
April 2021
credits
released April 22, 2021
Conceived of and produced by Maxwell Reid
Mastered by Stewart Whitmarsh
The idea behind Club Chrysalis came to me on the bike ride home from my first visit to the gallery. Upon hearing the formidable sound system owners Chris and Alice had secured for the space, I realized it had been months since I’d experienced the full body sounds - subs, arpeggiators, enveloping pads - that were such a big part of my life before the pandemic. I wondered if the space might offer an opportunity to free these sounds for an evening. I immediately went to work on the piece, which I thought of as a meditation on what might happen to the sounds of the club when the club goes to sleep.
Without the gravitational center of the dance floor, these sounds are unmoored: kicks and hi hats hit once before floating off, the familiar voices that had sung to us ecstatically appear to be exiting to another dimension. Classic tracks are manipulated to the edge of recognizability, and giants of the form - Theo Parrish, Terre Thaemlitz - offer frank commentary on the club and its music.
There’s a single photo from the evening: pink light colors a foggy room, masked guests are seated in rows, all facing two black monoliths where a deep shade of blue has emerged. It’s clear some kind of ritual is taking place. Listening back, the piece strikes me as an elegy for something deeply loved, a requiem for communal listening, a performance of last rites so something new can emerge.
As we begin to feel hope about the return of collective music experiences, I felt it was important to preserve this music for posterity.
Max In The World
April 2021
credits
released April 22, 2021
Conceived of and produced by Maxwell Reid
Mastered by Stewart Whitmarsh
