“.. The listener might imagine theirself in a teenage bedroom, suddenly realizing their frame of reference is arbitrary, surrounded by a vast, unknown space that is neither inside or outside. On closer inspection, the familiar objects that inhabit the room seem made of alien materials. Sometimes, a familiar sound appears, but there is something uncanny; how much of this sound memory is real? Using inventive, associative sampling a new vocabulary arises, an intimate trompe l’oreille, an impossible object where components blend, their boundaries becoming fuzzy – where it is no longer clear where one object ends and another one begins.
“Fugue” is a multi-component musing on recursive timelines, non-linear appearances and knotted self-modifying patterns. The construction and internal logic is suggestive of the never-ending process of correction, necessitated by the realisation that one-time lucid narratives turn out to be pure falsifications in retrospect. About an eternal unfolding, a continuous new creation of new spaces, new frames, new rooms to make sense of new realisations and contradictions, in her words a “repetition ~ leading back to its own beginning, initiating its own interruption, its own standstill. Immanent and intrinsic becoming, simultaneously frightening and comforting ~ a cheerful failure.”
‘Everywhere at the end of time’ is a new and finite
series exploring dementia, its advance and its totality.
Featuring the sounds from the journey The Caretaker
as artist will make after being artistically diagnosed as having early
Each stage will reveal new points of progression,
loss and disintegration. Progressively falling further
and further towards the abyss of complete memory
loss and nothingness.
Viewing dementia as a series of stages can be
a useful way to understand the illness, but it is
important to realise that this only provides a rough
guide to the progress of the condition.
Drawing on a recorded history of 20 years of
recollected memories this is one final journey
and study into recreating the progression of
dementia through sound.
Stage 1 – September 2016 (A+B)
Here we experience the first signs of memory loss.
This stage is most like a beautiful daydream.
The glory of old age and recollection.
The last of the great days.
Stage 2 – April 2017 (C+D)
The second stage is the self realisation and awareness that something is wrong with a refusal to accept that. More effort is made to remember so memories can be more long form with a little more deterioration in quality. The overall personal mood is generally lower than the first stage and at a point before confusion starts setting in.
Stage 3 – Released in September 2017
Stage 4 – Released in March 2018
Stage 5 – Released in September 2018
Stage 6 – Released in March 2019
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“Dies Irae (aka latin hymn sung in a mass for the dead) explores the themes of religion, sects, cults and judgement day. It unapologetically stitches together field recordings, sound generators, random loops and ‘unfinished’ compositions to accompany weird spoken word moments or uncorrectable views and opinions.
It kick started the self penned Gonzo collage style and wether you like or not he’s been at it ever since.
Featuring spiritual leaders, enlightened gurus, cult leaders and good old fashion lunatics.
Guest appearances by Jim Jones, David Koresh and Harold Camping among others. Iain Chambers plays guitars when you hear one.”
“His studio compositions, documented on few records, often explore themes of the internal – represented both by the psychological and the physical – and of the occult, which with the use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.
The new record, ‘Clonic Earth’ is a perturbing, compelling and eventually mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music are overturned into existential, metaphysical questions.
Tricoli’s allegorical and philosophical universe takes the form of an unhinged mind’s landscape swarming with estranged sound objects, and sometimes reminiscent, in the complexity of details and surrealistic effects, of Hieronymus Bosch’s larger paintings. Compared to his previous works, the content of ‘Clonic Earth’ explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting.
The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, ‘Miseri Lares’: “As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike.” ”