Festina Lente
Yvette Janine Jackson
Festina Lente
Boomkat Product Review:
Modular synth and electro-acoustic sorceress Yvette Janine Jackson uses samples of cellist Judith Hamann on her haunting 2nd Longform Editions tour, which, along with her acclaimed ‘Freedom’ LP of 2021, forms the tip of an iceberg of work spanning theatre and radio soundtracks and live performances - think a missing link between Beatriz Ferreyra and Matana Roberts.
Only her 3rd release, proper, ‘Festina Lente’ is less explicitly rooted in the Black American experience than Jackson’s previous, and more concerned with notions of temporality, healing, and interrelatedness. The title, translating to “make haste slowly”, was inspired by the artist’s time spent volunteering with a local fire department while she lived in the alpine desert, where the titular adage was deployed as reminder to keep safe in hazardous conditions. In context of this release, it signifies a cautiously tentative approach to composition, where she marries elemental, improvised modular synthesis with slivers of Judith Hamann’s strings and the influence of interaction with Radio Opera Workshop to traverse imaginative, noumenal terrain.
The all-instrumental, 20 minute piece operates via a system of suggestion and ruminative slowness that, on some levels, perhaps clearly betrays Jackson’s background in sculpting atmopsheric sound as cues and intangible architecture for theatre, while on another it feels to emphasise “slowing down to listen and communicate in a world where there is increasing demand for productivity.” The results can be heard to exist in a lineage of Afro-futurist sci-fi fascination, terraforming planes of sound unshackled from commercial needs and capitalist reality, and calling to mind Sun Ra meditating on Star Trek, subtly inflected with dub a la Marina Rosenfeld, and plasmically porous to a no-person’s-land of the avant garde, where Judith hamann’s strings bridge folk blues and classical paradigms. In other words it’s a wonderfully sober yet trippy experience which feels twice as long as its actuality, and will keep us coming back to be riddled by its exquisite details.
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Boomkat Product Review:
Modular synth and electro-acoustic sorceress Yvette Janine Jackson uses samples of cellist Judith Hamann on her haunting 2nd Longform Editions tour, which, along with her acclaimed ‘Freedom’ LP of 2021, forms the tip of an iceberg of work spanning theatre and radio soundtracks and live performances - think a missing link between Beatriz Ferreyra and Matana Roberts.
Only her 3rd release, proper, ‘Festina Lente’ is less explicitly rooted in the Black American experience than Jackson’s previous, and more concerned with notions of temporality, healing, and interrelatedness. The title, translating to “make haste slowly”, was inspired by the artist’s time spent volunteering with a local fire department while she lived in the alpine desert, where the titular adage was deployed as reminder to keep safe in hazardous conditions. In context of this release, it signifies a cautiously tentative approach to composition, where she marries elemental, improvised modular synthesis with slivers of Judith Hamann’s strings and the influence of interaction with Radio Opera Workshop to traverse imaginative, noumenal terrain.
The all-instrumental, 20 minute piece operates via a system of suggestion and ruminative slowness that, on some levels, perhaps clearly betrays Jackson’s background in sculpting atmopsheric sound as cues and intangible architecture for theatre, while on another it feels to emphasise “slowing down to listen and communicate in a world where there is increasing demand for productivity.” The results can be heard to exist in a lineage of Afro-futurist sci-fi fascination, terraforming planes of sound unshackled from commercial needs and capitalist reality, and calling to mind Sun Ra meditating on Star Trek, subtly inflected with dub a la Marina Rosenfeld, and plasmically porous to a no-person’s-land of the avant garde, where Judith hamann’s strings bridge folk blues and classical paradigms. In other words it’s a wonderfully sober yet trippy experience which feels twice as long as its actuality, and will keep us coming back to be riddled by its exquisite details.
Boomkat Product Review:
Modular synth and electro-acoustic sorceress Yvette Janine Jackson uses samples of cellist Judith Hamann on her haunting 2nd Longform Editions tour, which, along with her acclaimed ‘Freedom’ LP of 2021, forms the tip of an iceberg of work spanning theatre and radio soundtracks and live performances - think a missing link between Beatriz Ferreyra and Matana Roberts.
Only her 3rd release, proper, ‘Festina Lente’ is less explicitly rooted in the Black American experience than Jackson’s previous, and more concerned with notions of temporality, healing, and interrelatedness. The title, translating to “make haste slowly”, was inspired by the artist’s time spent volunteering with a local fire department while she lived in the alpine desert, where the titular adage was deployed as reminder to keep safe in hazardous conditions. In context of this release, it signifies a cautiously tentative approach to composition, where she marries elemental, improvised modular synthesis with slivers of Judith Hamann’s strings and the influence of interaction with Radio Opera Workshop to traverse imaginative, noumenal terrain.
The all-instrumental, 20 minute piece operates via a system of suggestion and ruminative slowness that, on some levels, perhaps clearly betrays Jackson’s background in sculpting atmopsheric sound as cues and intangible architecture for theatre, while on another it feels to emphasise “slowing down to listen and communicate in a world where there is increasing demand for productivity.” The results can be heard to exist in a lineage of Afro-futurist sci-fi fascination, terraforming planes of sound unshackled from commercial needs and capitalist reality, and calling to mind Sun Ra meditating on Star Trek, subtly inflected with dub a la Marina Rosenfeld, and plasmically porous to a no-person’s-land of the avant garde, where Judith hamann’s strings bridge folk blues and classical paradigms. In other words it’s a wonderfully sober yet trippy experience which feels twice as long as its actuality, and will keep us coming back to be riddled by its exquisite details.
Boomkat Product Review:
Modular synth and electro-acoustic sorceress Yvette Janine Jackson uses samples of cellist Judith Hamann on her haunting 2nd Longform Editions tour, which, along with her acclaimed ‘Freedom’ LP of 2021, forms the tip of an iceberg of work spanning theatre and radio soundtracks and live performances - think a missing link between Beatriz Ferreyra and Matana Roberts.
Only her 3rd release, proper, ‘Festina Lente’ is less explicitly rooted in the Black American experience than Jackson’s previous, and more concerned with notions of temporality, healing, and interrelatedness. The title, translating to “make haste slowly”, was inspired by the artist’s time spent volunteering with a local fire department while she lived in the alpine desert, where the titular adage was deployed as reminder to keep safe in hazardous conditions. In context of this release, it signifies a cautiously tentative approach to composition, where she marries elemental, improvised modular synthesis with slivers of Judith Hamann’s strings and the influence of interaction with Radio Opera Workshop to traverse imaginative, noumenal terrain.
The all-instrumental, 20 minute piece operates via a system of suggestion and ruminative slowness that, on some levels, perhaps clearly betrays Jackson’s background in sculpting atmopsheric sound as cues and intangible architecture for theatre, while on another it feels to emphasise “slowing down to listen and communicate in a world where there is increasing demand for productivity.” The results can be heard to exist in a lineage of Afro-futurist sci-fi fascination, terraforming planes of sound unshackled from commercial needs and capitalist reality, and calling to mind Sun Ra meditating on Star Trek, subtly inflected with dub a la Marina Rosenfeld, and plasmically porous to a no-person’s-land of the avant garde, where Judith hamann’s strings bridge folk blues and classical paradigms. In other words it’s a wonderfully sober yet trippy experience which feels twice as long as its actuality, and will keep us coming back to be riddled by its exquisite details.
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