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A Quiet Farwell, 2016​–​2018 (Crater Speak) / Vergangenheitsbew​ä​ltigung (Crater Speak)

by Slauson Malone

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gbpenut
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gbpenut These projects have ultimately changed my life so much. After listening I became so interested in music, in being myself! These helped me open myself up to perspective, even if I don’t understand everything in it still. Plus it jus sound good :)

O yeah I like Smile #6, —Fred Hampton’s Door, Farewell Sassy— …na, THE MESSAGE 2, THE MESSAGE 3: Blood, and Smile #1 the bestt
fredoku
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fredoku :D :D :D :D :D :D :D :D :D :D :D :D :DD :D :DD :D :D :D :D :D :D :DD :D :D :D :D :D :D :DD :D :D :D :D :D :D :D :D :D :D :DD :D :D :D :D :D :DD :D :D :D :DD :D :D :D :D
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iyxen hope alls well
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  • Double Vinyl (1st ed.)
    Record/Vinyl

    Standard Weight Black Vinyl
    Gatefold Sleeve
    Black Paper Inners

    Side A, B, C, D

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  • Double Vinyl (2nd ed.) Pre-Order
    Record/Vinyl

    Standard Weight Black Vinyl
    Gatefold Sleeve
    White Paper Inners
    Black Inside Gatefold Print

    Side A, B, C, D

    Sold Out

about

*includes corresponding excerpts from Crater Speak

A Quiet Farwell, 2016-2018 (Crater Speak)
released April 18, 2019

On its surface, AQF, 2016–2018 (CS) channels the emotions of the Anthropocene. I confront my participation in this horrific forcing.
There are two recurring sonic motifs throughout the album: (1) the Siren/Scream and (2) the phrase, “Smile at the Past when I see it”, first said by Caleb Giles on Smile #1. I became obsessed with its implications and lack thereof. The Past is not an observable place, but creeps in the ruins of our mind’s eyes. I feel myself rubbing up against the fabric of our collective history. Things become nonsense, proxies reveal themselves, and the shape of Truth becomes flatter. (see NTS Mix: reallynathan & Slauson Malone - RAISE THE FLAG: THERE IS NO SUCH PLACE AS THE PAST, JUS PASTNESS)
The years 2016–2018 mark the time that most of these thoughts came to fruition. I was dealing with profound feelings of loss. This sense of lack guided me towards new ways of Being. I realize(d) Here, objects and subjects formed from Old trusted imagination(Futurisms/Diasporas) will only lead to new Old forms of colonization elsewhere. I look away from the spectacle of statues and stars and into the mundane boringness of Life, Here, Now…
I hope this album proves Being is possible between the World’s plates of definition. To claim, “that nowhere is a where. And that, “Being is and can be beyond what I/we/they say it is”.

Personnel
Violin: Maya Balkaran
Cello: Nicky Wetherell
Modular: Alex Epton
Vocals: Billie Alexopoulos, Zuri Marley, Lila Ramani, and Victoria Rowell

Additional Production by Cheflee on Smile#4
Mastered by Gabe Schuman

Artwork by Bolade Banjo

Special Thanks
Nick Hakim for amp :^)


Vergangenheitsbewältigung (Crater Speak)
released September 16, 2020

My fear, my loneliness, my happiness. My blackness, my queerness, my objectness.
My subjectness. I am haunted by likenesses. I’m haunted by my a self. _ _ _ _ like a _ _ _ _ _. Smile, Simile. Messages, Massages.
(Crater Speak) is the title of a catalogue I published with Midway Contemporary Art. It is an unreliable guide of materials that influence my artistic and musical practice. There are several associative chapters that dance, outlining a perimeter. The steps draw the rim of a crater.
An old absence present. Here by unimaginable heat, scale, speed, and violence. Collision to disintegration to... (see The Thing, 1982).
“The rings of Saturn consist of ice crystals and probably meteorite particles describing circular orbits around the planet’s equator. In all likelihood these are fragments of a former moon that was too close to the planet and was destroyed...” - W. G. Sebald, Rings of Saturn.
To become a star is to become certain death. Of stone, of (s)tar, petrified. R U SCARED? Of mud, muck, ivory, oil, and bones. A New World by refined old old oooold Death.

Personnel
Flute: Francesca Ferrera
Bass Clarinet: Ben Chapoteau-Katz
Alto Saxophone: Leland Whitty
Tenor Saxophone: Ben Chapoteau-Katz
Trumpet: Brandon Woody
Trombone: Jonah Levine
Tuba: Osita Atikpoh
Cello: Nicky Wetherell
Drums: Alex Sowinski
DFAM: Olu Odubiro

Mastered by Alex Epton

Artwork by Bolade Banjo, Jelani Rice, Seth Kenji, and Abraham El Makawy

Special Thanks
Christopher Baliwas
Parker, Ritchie, Groggs, and Nick Herbert
Taja & Ben
Nick Hakim
Taphari
Midway Contemporary Art
Cheflee

Grand Closing / NTS Recs

credits

released April 8, 2022

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Jasper Marsalis Los Angeles, California

Slauson Malone 1 is a performance piece created by artist and musician Jasper Marsalis, exploring the possible intersections of popular music and performance art.

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