FEDERICO SARGENTONE Throughout the year, you will be releasing three EPs on Hyperdub, the first of which (In A Paraventral Scale) was released in February. This triptych will form a full-length album titled Flush Real Pharynx. Can you explain the reason for adopting such a narrative process?
LEE GAMBLE A few reasons, really. One was that I’ve released several albums in a more traditional way, where you release something and then wait two years for the next one. I wanted to make Flush Real Pharynx in flux. Making it in triptych form means the first part of album (In A Paraventral Scale) is out there while I’m still making it, receiving feedback about it, tweaking it while it’s still there somehow. That feels exciting, to be able to react to the emotional landscape I find myself in more in real time. It’s a project that is a moving target.
I’m also a fan of the triptych format in art more generally. I’d been re-reading a lot of interviews with Francis Bacon over the last couple of years, and his triptychs were some of the first pieces of art to really resonate with me as a teenager. He was able to make static paintings feel like films. This sequential point of view is how animation works, of course—frame-by-frame—and with Flush Real Pharynx, I’m really thinking in terms of filmic narrative, and linear, accelerated, decelerated movement, so I figured working this way would help me compose like that, too. Three ways of viewing a phenomenon.
FS You’re also working on your new AV performance. Is the visual, experiential component an important element of your practice?
LG We live in a world with more images than ever before. Our brains are now used to receiving constant visual stimulations. Some years back, and occasionally still now, I worked more in what you could call “acousmatic” sound, which encourages people to listen and not have visual reference to the sounds they are hearing at all. I think this is an amazing way to work, but it’s hard to enforce in terms of audience, so these types of works tend to be heard in more academic spaces, or venues that are designed towards this type of listening, like multi-channel spatialization system, etc.
The ideas I find myself exploring right now require light, sound and visual aspects. I’ve been building towards these live shows for a couple of years now. I’m thinking in terms of automated systems with my approach to performing live; I have some further ideas I want to implement into the system going forward. The transient information from my audio is being used in several ways as data to build and destroy the visual world in real time, while its intensity is represented as light.