Sometimes Things Change
Absorbingly curious, inventive, playfully unpredictable field recording and concrète cut-ups by USA’s Bryn Davis for Lieven Martens’ Edições CN, right on the cusp of prosaic/poetic paradoxes with its mix of subtly hypnagogic and ruggeder glitch styles.
Lieven Martens’ (Dolphins Into The Future) Antwerp-based ears and label attune to St. Paul, Minnesota’s Bryn Davis for only her 2nd release since debuting in ’24 with a tape for Portland, OR’s Traced Objects. Her 7-part, 41’ album ‘Sometimes Things Change’ is a tacit acknowledgement of everyday serendipity thru collaged tableaus of field recordings collected as daily practice.
In the process of meditating on her recordings, parsing them for precious material, and re-stitching together, Jones comes to reflect a sort of low key magick to her everyday routines of settling into a new job, moving house, and visiting the IVF clinic, and now shares these private moments via an Edições CN portal cultishly coveted for its explorations of between-worlds states.
In the inception like nuance of Jones’ arrangements sounds hop in/out of the box from the unusually soothing edits of urban noise and what sounds like a classical busker on ‘Vuelvo al Sur’, thru the sighing self-service boops of ‘Difficult Time’ and pressurised drones that list into prickling rhythm on ‘Choosing American’, or what sounds like the POV of a fly in a drink on ‘Party Time’, whilst ‘Gaiety (remembering the world)’ feels like Panda Bear smudged by The Automatics Group and E+E.
Strange but true!
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Absorbingly curious, inventive, playfully unpredictable field recording and concrète cut-ups by USA’s Bryn Davis for Lieven Martens’ Edições CN, right on the cusp of prosaic/poetic paradoxes with its mix of subtly hypnagogic and ruggeder glitch styles.
Lieven Martens’ (Dolphins Into The Future) Antwerp-based ears and label attune to St. Paul, Minnesota’s Bryn Davis for only her 2nd release since debuting in ’24 with a tape for Portland, OR’s Traced Objects. Her 7-part, 41’ album ‘Sometimes Things Change’ is a tacit acknowledgement of everyday serendipity thru collaged tableaus of field recordings collected as daily practice.
In the process of meditating on her recordings, parsing them for precious material, and re-stitching together, Jones comes to reflect a sort of low key magick to her everyday routines of settling into a new job, moving house, and visiting the IVF clinic, and now shares these private moments via an Edições CN portal cultishly coveted for its explorations of between-worlds states.
In the inception like nuance of Jones’ arrangements sounds hop in/out of the box from the unusually soothing edits of urban noise and what sounds like a classical busker on ‘Vuelvo al Sur’, thru the sighing self-service boops of ‘Difficult Time’ and pressurised drones that list into prickling rhythm on ‘Choosing American’, or what sounds like the POV of a fly in a drink on ‘Party Time’, whilst ‘Gaiety (remembering the world)’ feels like Panda Bear smudged by The Automatics Group and E+E.
Strange but true!
Absorbingly curious, inventive, playfully unpredictable field recording and concrète cut-ups by USA’s Bryn Davis for Lieven Martens’ Edições CN, right on the cusp of prosaic/poetic paradoxes with its mix of subtly hypnagogic and ruggeder glitch styles.
Lieven Martens’ (Dolphins Into The Future) Antwerp-based ears and label attune to St. Paul, Minnesota’s Bryn Davis for only her 2nd release since debuting in ’24 with a tape for Portland, OR’s Traced Objects. Her 7-part, 41’ album ‘Sometimes Things Change’ is a tacit acknowledgement of everyday serendipity thru collaged tableaus of field recordings collected as daily practice.
In the process of meditating on her recordings, parsing them for precious material, and re-stitching together, Jones comes to reflect a sort of low key magick to her everyday routines of settling into a new job, moving house, and visiting the IVF clinic, and now shares these private moments via an Edições CN portal cultishly coveted for its explorations of between-worlds states.
In the inception like nuance of Jones’ arrangements sounds hop in/out of the box from the unusually soothing edits of urban noise and what sounds like a classical busker on ‘Vuelvo al Sur’, thru the sighing self-service boops of ‘Difficult Time’ and pressurised drones that list into prickling rhythm on ‘Choosing American’, or what sounds like the POV of a fly in a drink on ‘Party Time’, whilst ‘Gaiety (remembering the world)’ feels like Panda Bear smudged by The Automatics Group and E+E.
Strange but true!
Absorbingly curious, inventive, playfully unpredictable field recording and concrète cut-ups by USA’s Bryn Davis for Lieven Martens’ Edições CN, right on the cusp of prosaic/poetic paradoxes with its mix of subtly hypnagogic and ruggeder glitch styles.
Lieven Martens’ (Dolphins Into The Future) Antwerp-based ears and label attune to St. Paul, Minnesota’s Bryn Davis for only her 2nd release since debuting in ’24 with a tape for Portland, OR’s Traced Objects. Her 7-part, 41’ album ‘Sometimes Things Change’ is a tacit acknowledgement of everyday serendipity thru collaged tableaus of field recordings collected as daily practice.
In the process of meditating on her recordings, parsing them for precious material, and re-stitching together, Jones comes to reflect a sort of low key magick to her everyday routines of settling into a new job, moving house, and visiting the IVF clinic, and now shares these private moments via an Edições CN portal cultishly coveted for its explorations of between-worlds states.
In the inception like nuance of Jones’ arrangements sounds hop in/out of the box from the unusually soothing edits of urban noise and what sounds like a classical busker on ‘Vuelvo al Sur’, thru the sighing self-service boops of ‘Difficult Time’ and pressurised drones that list into prickling rhythm on ‘Choosing American’, or what sounds like the POV of a fly in a drink on ‘Party Time’, whilst ‘Gaiety (remembering the world)’ feels like Panda Bear smudged by The Automatics Group and E+E.
Strange but true!
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Absorbingly curious, inventive, playfully unpredictable field recording and concrète cut-ups by USA’s Bryn Davis for Lieven Martens’ Edições CN, right on the cusp of prosaic/poetic paradoxes with its mix of subtly hypnagogic and ruggeder glitch styles.
Lieven Martens’ (Dolphins Into The Future) Antwerp-based ears and label attune to St. Paul, Minnesota’s Bryn Davis for only her 2nd release since debuting in ’24 with a tape for Portland, OR’s Traced Objects. Her 7-part, 41’ album ‘Sometimes Things Change’ is a tacit acknowledgement of everyday serendipity thru collaged tableaus of field recordings collected as daily practice.
In the process of meditating on her recordings, parsing them for precious material, and re-stitching together, Jones comes to reflect a sort of low key magick to her everyday routines of settling into a new job, moving house, and visiting the IVF clinic, and now shares these private moments via an Edições CN portal cultishly coveted for its explorations of between-worlds states.
In the inception like nuance of Jones’ arrangements sounds hop in/out of the box from the unusually soothing edits of urban noise and what sounds like a classical busker on ‘Vuelvo al Sur’, thru the sighing self-service boops of ‘Difficult Time’ and pressurised drones that list into prickling rhythm on ‘Choosing American’, or what sounds like the POV of a fly in a drink on ‘Party Time’, whilst ‘Gaiety (remembering the world)’ feels like Panda Bear smudged by The Automatics Group and E+E.
Strange but true!