Bana Haffar uses her ongoing examination of weaving processes to inform a filigree set of experiments for Touch.
Haffar's idea of home has guided her art for many years. 'Intimaa'' means belonging in Arabic, and was written during Touch's 40th anniversary celebrations in Los Angles and Santa Cruz last year. It comes from Haffar's research into sonic materiality, where she uses weaving processes to help shape her synthesis techniques; the recording and editing of samples is the preparation of materials, the loom is the sequencer and the weaving itself is the playback, recording and manipulation stage. It's a novel way to approach sound that pays off, Haffar's sounds are quite singular, from the chilly rhythmic shakes of the Shackleton or Muslimgauze-esque 'Elemental' to the eerie, beatless 'Save This Manual for the Future'.
But Haffar's compositional concepts aren't the secret to unpacking "Intimaa'" - her music is buoyed by its sense of melancholy and the music's relentless searching. On 'Sit Still', cloudy pads are interrupted by fragmented vocals that dissipate into echoes, mutating into screeching wails of distortion. And by the closing track 'All That is Sometimes Not Considered', the album has become a fuzzy radio transmission where only faint harmony is discernible over harsh, strangulated static. One for fans of Lawrence English or Christian Fennesz.
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Bana Haffar uses her ongoing examination of weaving processes to inform a filigree set of experiments for Touch.
Haffar's idea of home has guided her art for many years. 'Intimaa'' means belonging in Arabic, and was written during Touch's 40th anniversary celebrations in Los Angles and Santa Cruz last year. It comes from Haffar's research into sonic materiality, where she uses weaving processes to help shape her synthesis techniques; the recording and editing of samples is the preparation of materials, the loom is the sequencer and the weaving itself is the playback, recording and manipulation stage. It's a novel way to approach sound that pays off, Haffar's sounds are quite singular, from the chilly rhythmic shakes of the Shackleton or Muslimgauze-esque 'Elemental' to the eerie, beatless 'Save This Manual for the Future'.
But Haffar's compositional concepts aren't the secret to unpacking "Intimaa'" - her music is buoyed by its sense of melancholy and the music's relentless searching. On 'Sit Still', cloudy pads are interrupted by fragmented vocals that dissipate into echoes, mutating into screeching wails of distortion. And by the closing track 'All That is Sometimes Not Considered', the album has become a fuzzy radio transmission where only faint harmony is discernible over harsh, strangulated static. One for fans of Lawrence English or Christian Fennesz.
Bana Haffar uses her ongoing examination of weaving processes to inform a filigree set of experiments for Touch.
Haffar's idea of home has guided her art for many years. 'Intimaa'' means belonging in Arabic, and was written during Touch's 40th anniversary celebrations in Los Angles and Santa Cruz last year. It comes from Haffar's research into sonic materiality, where she uses weaving processes to help shape her synthesis techniques; the recording and editing of samples is the preparation of materials, the loom is the sequencer and the weaving itself is the playback, recording and manipulation stage. It's a novel way to approach sound that pays off, Haffar's sounds are quite singular, from the chilly rhythmic shakes of the Shackleton or Muslimgauze-esque 'Elemental' to the eerie, beatless 'Save This Manual for the Future'.
But Haffar's compositional concepts aren't the secret to unpacking "Intimaa'" - her music is buoyed by its sense of melancholy and the music's relentless searching. On 'Sit Still', cloudy pads are interrupted by fragmented vocals that dissipate into echoes, mutating into screeching wails of distortion. And by the closing track 'All That is Sometimes Not Considered', the album has become a fuzzy radio transmission where only faint harmony is discernible over harsh, strangulated static. One for fans of Lawrence English or Christian Fennesz.
Bana Haffar uses her ongoing examination of weaving processes to inform a filigree set of experiments for Touch.
Haffar's idea of home has guided her art for many years. 'Intimaa'' means belonging in Arabic, and was written during Touch's 40th anniversary celebrations in Los Angles and Santa Cruz last year. It comes from Haffar's research into sonic materiality, where she uses weaving processes to help shape her synthesis techniques; the recording and editing of samples is the preparation of materials, the loom is the sequencer and the weaving itself is the playback, recording and manipulation stage. It's a novel way to approach sound that pays off, Haffar's sounds are quite singular, from the chilly rhythmic shakes of the Shackleton or Muslimgauze-esque 'Elemental' to the eerie, beatless 'Save This Manual for the Future'.
But Haffar's compositional concepts aren't the secret to unpacking "Intimaa'" - her music is buoyed by its sense of melancholy and the music's relentless searching. On 'Sit Still', cloudy pads are interrupted by fragmented vocals that dissipate into echoes, mutating into screeching wails of distortion. And by the closing track 'All That is Sometimes Not Considered', the album has become a fuzzy radio transmission where only faint harmony is discernible over harsh, strangulated static. One for fans of Lawrence English or Christian Fennesz.
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Bana Haffar uses her ongoing examination of weaving processes to inform a filigree set of experiments for Touch.
Haffar's idea of home has guided her art for many years. 'Intimaa'' means belonging in Arabic, and was written during Touch's 40th anniversary celebrations in Los Angles and Santa Cruz last year. It comes from Haffar's research into sonic materiality, where she uses weaving processes to help shape her synthesis techniques; the recording and editing of samples is the preparation of materials, the loom is the sequencer and the weaving itself is the playback, recording and manipulation stage. It's a novel way to approach sound that pays off, Haffar's sounds are quite singular, from the chilly rhythmic shakes of the Shackleton or Muslimgauze-esque 'Elemental' to the eerie, beatless 'Save This Manual for the Future'.
But Haffar's compositional concepts aren't the secret to unpacking "Intimaa'" - her music is buoyed by its sense of melancholy and the music's relentless searching. On 'Sit Still', cloudy pads are interrupted by fragmented vocals that dissipate into echoes, mutating into screeching wails of distortion. And by the closing track 'All That is Sometimes Not Considered', the album has become a fuzzy radio transmission where only faint harmony is discernible over harsh, strangulated static. One for fans of Lawrence English or Christian Fennesz.