Jeremy Shaw, There In Spirit & Konrad Black
Phase Shifting Index
Billed as a "time capsule record", 'Phase Shifting Index' documents Canadian visual artist Jeremy Shaw's ambitious multi-disciplinary installation, with a hypnotic dance piece on one side, and an absurd sci-fi ethnography on the flip.
Not really an album in the classic sense, 'Phase Shifting Index' is a way to interface with some of Shaw's recurring themes. Based in Berlin, the Canadian artist uses sculpture, video, music and performance to speculate on neuroscience, subcultural evolution and psychedelia, and the exhibition itself premiered in 2020, accompanied by evocative soundscapes from Shaw and his regular musical collaborator Konrad Black. The album's opening side is the "dramaturgy" of the artwork, and presents edited highlights of the soundtrack from the installation itself, with pulsating, euphoric synthscapes that bolster Shaw's freewheeling theories.
But this one really gets moving on the second side, when the installation's disparate videos - fictional documentaries detailing seven groups - are excerpted, giving us the chance to experience the installation without being present. Shaw's work isn't just about the way we appreciate music or culture more generally, it's born from the culture itself; so, accompanied by Black's careful, surprisingly on-point sonic inventions, he presents fabricated genres in the style of vintage ethnographies, as if he's looking back at our future from a further parallel future.
Tape-saturated, trippy ritualistic techno from the 22nd century is cast as the accompaniment to a post-human guided meditation on 'The Cyclical Culture', while 'The Violet Lux' pulls closer in to our own era, lurching from witchy FM ambience to VHS-warped 21st century EBM. The crunchy, static-deranged 'The Alignment Movement' veers into hypnotherapy (possibly a nod to the wellness ambient trend), and 'Zero-Ones' advances the narrative into Cronenberg-esque body horror, recounting how nanotechnology augments caused culture to pivot. Black has the chance to shine here, not just pastiching existing genres, but twisting bizarre hybrid experiments from recognizable motifs. It's Chris Morris's 'Blue Jam' stirred with Black Rain's 'Neuromancer' soundtrack, basically.
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Billed as a "time capsule record", 'Phase Shifting Index' documents Canadian visual artist Jeremy Shaw's ambitious multi-disciplinary installation, with a hypnotic dance piece on one side, and an absurd sci-fi ethnography on the flip.
Not really an album in the classic sense, 'Phase Shifting Index' is a way to interface with some of Shaw's recurring themes. Based in Berlin, the Canadian artist uses sculpture, video, music and performance to speculate on neuroscience, subcultural evolution and psychedelia, and the exhibition itself premiered in 2020, accompanied by evocative soundscapes from Shaw and his regular musical collaborator Konrad Black. The album's opening side is the "dramaturgy" of the artwork, and presents edited highlights of the soundtrack from the installation itself, with pulsating, euphoric synthscapes that bolster Shaw's freewheeling theories.
But this one really gets moving on the second side, when the installation's disparate videos - fictional documentaries detailing seven groups - are excerpted, giving us the chance to experience the installation without being present. Shaw's work isn't just about the way we appreciate music or culture more generally, it's born from the culture itself; so, accompanied by Black's careful, surprisingly on-point sonic inventions, he presents fabricated genres in the style of vintage ethnographies, as if he's looking back at our future from a further parallel future.
Tape-saturated, trippy ritualistic techno from the 22nd century is cast as the accompaniment to a post-human guided meditation on 'The Cyclical Culture', while 'The Violet Lux' pulls closer in to our own era, lurching from witchy FM ambience to VHS-warped 21st century EBM. The crunchy, static-deranged 'The Alignment Movement' veers into hypnotherapy (possibly a nod to the wellness ambient trend), and 'Zero-Ones' advances the narrative into Cronenberg-esque body horror, recounting how nanotechnology augments caused culture to pivot. Black has the chance to shine here, not just pastiching existing genres, but twisting bizarre hybrid experiments from recognizable motifs. It's Chris Morris's 'Blue Jam' stirred with Black Rain's 'Neuromancer' soundtrack, basically.
Billed as a "time capsule record", 'Phase Shifting Index' documents Canadian visual artist Jeremy Shaw's ambitious multi-disciplinary installation, with a hypnotic dance piece on one side, and an absurd sci-fi ethnography on the flip.
Not really an album in the classic sense, 'Phase Shifting Index' is a way to interface with some of Shaw's recurring themes. Based in Berlin, the Canadian artist uses sculpture, video, music and performance to speculate on neuroscience, subcultural evolution and psychedelia, and the exhibition itself premiered in 2020, accompanied by evocative soundscapes from Shaw and his regular musical collaborator Konrad Black. The album's opening side is the "dramaturgy" of the artwork, and presents edited highlights of the soundtrack from the installation itself, with pulsating, euphoric synthscapes that bolster Shaw's freewheeling theories.
But this one really gets moving on the second side, when the installation's disparate videos - fictional documentaries detailing seven groups - are excerpted, giving us the chance to experience the installation without being present. Shaw's work isn't just about the way we appreciate music or culture more generally, it's born from the culture itself; so, accompanied by Black's careful, surprisingly on-point sonic inventions, he presents fabricated genres in the style of vintage ethnographies, as if he's looking back at our future from a further parallel future.
Tape-saturated, trippy ritualistic techno from the 22nd century is cast as the accompaniment to a post-human guided meditation on 'The Cyclical Culture', while 'The Violet Lux' pulls closer in to our own era, lurching from witchy FM ambience to VHS-warped 21st century EBM. The crunchy, static-deranged 'The Alignment Movement' veers into hypnotherapy (possibly a nod to the wellness ambient trend), and 'Zero-Ones' advances the narrative into Cronenberg-esque body horror, recounting how nanotechnology augments caused culture to pivot. Black has the chance to shine here, not just pastiching existing genres, but twisting bizarre hybrid experiments from recognizable motifs. It's Chris Morris's 'Blue Jam' stirred with Black Rain's 'Neuromancer' soundtrack, basically.
Billed as a "time capsule record", 'Phase Shifting Index' documents Canadian visual artist Jeremy Shaw's ambitious multi-disciplinary installation, with a hypnotic dance piece on one side, and an absurd sci-fi ethnography on the flip.
Not really an album in the classic sense, 'Phase Shifting Index' is a way to interface with some of Shaw's recurring themes. Based in Berlin, the Canadian artist uses sculpture, video, music and performance to speculate on neuroscience, subcultural evolution and psychedelia, and the exhibition itself premiered in 2020, accompanied by evocative soundscapes from Shaw and his regular musical collaborator Konrad Black. The album's opening side is the "dramaturgy" of the artwork, and presents edited highlights of the soundtrack from the installation itself, with pulsating, euphoric synthscapes that bolster Shaw's freewheeling theories.
But this one really gets moving on the second side, when the installation's disparate videos - fictional documentaries detailing seven groups - are excerpted, giving us the chance to experience the installation without being present. Shaw's work isn't just about the way we appreciate music or culture more generally, it's born from the culture itself; so, accompanied by Black's careful, surprisingly on-point sonic inventions, he presents fabricated genres in the style of vintage ethnographies, as if he's looking back at our future from a further parallel future.
Tape-saturated, trippy ritualistic techno from the 22nd century is cast as the accompaniment to a post-human guided meditation on 'The Cyclical Culture', while 'The Violet Lux' pulls closer in to our own era, lurching from witchy FM ambience to VHS-warped 21st century EBM. The crunchy, static-deranged 'The Alignment Movement' veers into hypnotherapy (possibly a nod to the wellness ambient trend), and 'Zero-Ones' advances the narrative into Cronenberg-esque body horror, recounting how nanotechnology augments caused culture to pivot. Black has the chance to shine here, not just pastiching existing genres, but twisting bizarre hybrid experiments from recognizable motifs. It's Chris Morris's 'Blue Jam' stirred with Black Rain's 'Neuromancer' soundtrack, basically.
Estimated Release Date: 13 June 2025
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Billed as a "time capsule record", 'Phase Shifting Index' documents Canadian visual artist Jeremy Shaw's ambitious multi-disciplinary installation, with a hypnotic dance piece on one side, and an absurd sci-fi ethnography on the flip.
Not really an album in the classic sense, 'Phase Shifting Index' is a way to interface with some of Shaw's recurring themes. Based in Berlin, the Canadian artist uses sculpture, video, music and performance to speculate on neuroscience, subcultural evolution and psychedelia, and the exhibition itself premiered in 2020, accompanied by evocative soundscapes from Shaw and his regular musical collaborator Konrad Black. The album's opening side is the "dramaturgy" of the artwork, and presents edited highlights of the soundtrack from the installation itself, with pulsating, euphoric synthscapes that bolster Shaw's freewheeling theories.
But this one really gets moving on the second side, when the installation's disparate videos - fictional documentaries detailing seven groups - are excerpted, giving us the chance to experience the installation without being present. Shaw's work isn't just about the way we appreciate music or culture more generally, it's born from the culture itself; so, accompanied by Black's careful, surprisingly on-point sonic inventions, he presents fabricated genres in the style of vintage ethnographies, as if he's looking back at our future from a further parallel future.
Tape-saturated, trippy ritualistic techno from the 22nd century is cast as the accompaniment to a post-human guided meditation on 'The Cyclical Culture', while 'The Violet Lux' pulls closer in to our own era, lurching from witchy FM ambience to VHS-warped 21st century EBM. The crunchy, static-deranged 'The Alignment Movement' veers into hypnotherapy (possibly a nod to the wellness ambient trend), and 'Zero-Ones' advances the narrative into Cronenberg-esque body horror, recounting how nanotechnology augments caused culture to pivot. Black has the chance to shine here, not just pastiching existing genres, but twisting bizarre hybrid experiments from recognizable motifs. It's Chris Morris's 'Blue Jam' stirred with Black Rain's 'Neuromancer' soundtrack, basically.