all works were made at the banff centre in november & december 2022, during my residency there, as part of <the weapon of theory as a conference of birds>.

i see these works as performances, rather than compositions. each performance is recorded in real-time, much like how music was done when recording to tape or vinyl. the mixing process is established prior to the performances through practice runs. once all the sonic parameters are dialed in to where i like them, i am free to create and capture whatever happens.

i have established, and am constantly refining my process or method. this way of working always involves a root sound source like an ocarina, drum machine, synthesizer or field recording. my performance of these instruments are then sent through a custom effects and tape loop signal chain, which i can modify in detail during the performance/recording session.

during my stay at the banff centre, i also did a lot of writing, photography, walking and had many studio visits to discuss my thoughts and process. this time helped to clarify and focus. this time helped me to see and understand what are the most pressing things for me: sonic advocacy for deep time, vulnerability and indigeneity. for me, rhythms and loops are all-powerful entities, which have been severely disrespected and cheapened in our modern world. rhythm has been used as a trick to lure people in, then spit them out after the 3 minute exchange. i argue that rhythm is much more potent than that, and that its historic use in indigenous cultures around the world was and still is focused around longevity, duration, ritual, wisdom and trance.

this is definitely where i go when i perform music.

i hope you will enjoy and feel enriched by these works, which are truly collaborations with sound, which is a nonhuman, an entity.

+ emilio portal