It’s been about a year since I last published a new EP or track. For nearly half a decade I have internalized a growing love for the footwork scene, in awe of the unforgiving repetition and harshness that so many classic tracks have. They do not hesitate to delve into obsessions that I could only liken with a poetic madness. Phrases and words are transformed into bits and undecipherable arias. Snares are compressed and crushed into tight sizzles, syncopated in unpredictable ways. Footwork is truly a bridge between studio workmanship and improvisational performance, especially knowing that it’s typically produced on one beat maker and by one producer.
LOQUELA is lo-fi, but higher in production quality than my tablet-based music could ever be (with my workflows). The name is the theme, taken from a chapter in Roland Barthes’ “A Lover’s Discourse.” The beauty of a lover’s self-torment, poking at an oozing wound because of not only curiosity but because of the unspoken irrationality of reliving pain in the first place. Like a spin that could take the dancer to any of the extremes, dizzy and delirious.
It’s also been about a year since I last actively used a tablet as the primary tool for making music. The switch back to a laptop with a full-featured DAW was challenging but gratifying — unlike the small apps of the tablet, the program I was using would provide me skills to use throughout other production suites. I am excited to see what will come next for my sound…
The only music I can play live is with a flute. Live performance hardware and software still feels like such an alien concept to me — I’ve been currently working on new footwork-influenced music with a great beat machine, but the beat making is throwing me. The ability to arrange songs in real-time is a goal that I’m aspiring to this year, and I will achieve it with enough practice.
The EP cover.