‘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
“Sea Urchin is the Berlin-based brainchild of the Italian Francesco Cavaliere and the Egyptian-Austrian Leila Hassan. Being core members of the underground, they already released a 7” in 2012 on D.A.S., a tape in 2014 on Stenze Quo, and Cavaliere recently released two solo-LP’s on Hundebiss.
Yaqaza is their long-awaited vinyl debut. The duo surprises with a multicoloured, mystic and intriguing collage of deconstructed pop hits, Italian music concrète, King Tubby-like dub and Algerian Rai.
It is no coincidence that Yaqaza is Arabic for ‘daydream, reverie’. The record is a virtual reality labyrinth in which you wander around sleepwalking, constantly opening new doors and sliding between tableaux vivants. The poetic vocals by Hassan, alternately in Arabic and English, is an absent guide that takes you to ethereal micro-cosmoses. Dubby baselines, a cold drum computer, analog electronics and subtle tape collages come together in an intriguing and wondrous web of unravelling side plots.”