The Ceiling Reposes
Following collaborations with claire rousay, Makaya McCraven and Circuit des Yeux, Lia Kohl constructs her sophomore album from live radio samples, adding cello, environmental recordings and foley scrapes. Bizarre - and very unique.
Kohl inspires plenty of thoughts about the nature of writing and the truthfulness of influence. Her starting point on "The Ceiling Reposes" was what she describes as 'found lyrics' that she acquired while channel surfing on Vashon Island in the Pacific Northwest of the USA. She plays cello over these chaotic phrases and snippets, weaving in field recordings and electro-acoustic elements to paint a narrative that's somewhere between modern classical experimentation, sound art, and the diaristic ambient of her occasional collaborator claire rousay.
The album closely follows last year's Longform release 'Untitled Radio (Futile, Fertile)', which also developed from shortwave improvisations and processed field recordings. "The Ceiling Reposes" is a fully realized version of that concept, and while it doesn't lapse into song-based territory, there's a level of animation here that makes you assume it at least could travel in that direction. Interestingly, Kohl invited a handful of poets and lyricists to build on her collage of vocal snippets, and the poems will be released alongside the album.
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Following collaborations with claire rousay, Makaya McCraven and Circuit des Yeux, Lia Kohl constructs her sophomore album from live radio samples, adding cello, environmental recordings and foley scrapes. Bizarre - and very unique.
Kohl inspires plenty of thoughts about the nature of writing and the truthfulness of influence. Her starting point on "The Ceiling Reposes" was what she describes as 'found lyrics' that she acquired while channel surfing on Vashon Island in the Pacific Northwest of the USA. She plays cello over these chaotic phrases and snippets, weaving in field recordings and electro-acoustic elements to paint a narrative that's somewhere between modern classical experimentation, sound art, and the diaristic ambient of her occasional collaborator claire rousay.
The album closely follows last year's Longform release 'Untitled Radio (Futile, Fertile)', which also developed from shortwave improvisations and processed field recordings. "The Ceiling Reposes" is a fully realized version of that concept, and while it doesn't lapse into song-based territory, there's a level of animation here that makes you assume it at least could travel in that direction. Interestingly, Kohl invited a handful of poets and lyricists to build on her collage of vocal snippets, and the poems will be released alongside the album.
Following collaborations with claire rousay, Makaya McCraven and Circuit des Yeux, Lia Kohl constructs her sophomore album from live radio samples, adding cello, environmental recordings and foley scrapes. Bizarre - and very unique.
Kohl inspires plenty of thoughts about the nature of writing and the truthfulness of influence. Her starting point on "The Ceiling Reposes" was what she describes as 'found lyrics' that she acquired while channel surfing on Vashon Island in the Pacific Northwest of the USA. She plays cello over these chaotic phrases and snippets, weaving in field recordings and electro-acoustic elements to paint a narrative that's somewhere between modern classical experimentation, sound art, and the diaristic ambient of her occasional collaborator claire rousay.
The album closely follows last year's Longform release 'Untitled Radio (Futile, Fertile)', which also developed from shortwave improvisations and processed field recordings. "The Ceiling Reposes" is a fully realized version of that concept, and while it doesn't lapse into song-based territory, there's a level of animation here that makes you assume it at least could travel in that direction. Interestingly, Kohl invited a handful of poets and lyricists to build on her collage of vocal snippets, and the poems will be released alongside the album.
Following collaborations with claire rousay, Makaya McCraven and Circuit des Yeux, Lia Kohl constructs her sophomore album from live radio samples, adding cello, environmental recordings and foley scrapes. Bizarre - and very unique.
Kohl inspires plenty of thoughts about the nature of writing and the truthfulness of influence. Her starting point on "The Ceiling Reposes" was what she describes as 'found lyrics' that she acquired while channel surfing on Vashon Island in the Pacific Northwest of the USA. She plays cello over these chaotic phrases and snippets, weaving in field recordings and electro-acoustic elements to paint a narrative that's somewhere between modern classical experimentation, sound art, and the diaristic ambient of her occasional collaborator claire rousay.
The album closely follows last year's Longform release 'Untitled Radio (Futile, Fertile)', which also developed from shortwave improvisations and processed field recordings. "The Ceiling Reposes" is a fully realized version of that concept, and while it doesn't lapse into song-based territory, there's a level of animation here that makes you assume it at least could travel in that direction. Interestingly, Kohl invited a handful of poets and lyricists to build on her collage of vocal snippets, and the poems will be released alongside the album.