On March 8th, Claire Lucy heard something beautiful. Through the open windows of her house in San Antonio, Texas, the sound of everyday gardening was heard, and the composer was pulled out into the front yard, where she turned on the recorder. She sat there for nearly three minutes, listened in amazement, and thought she was writing on the Bandcamp page. As you listen to the recording, you'll hear the mower's low growl interrupted by the crow and barping track calls and the phase-shifting leaf blower hum. The mundane suburban background noise is heard again and sinks until you feel the joy of Rousay and the hints of the warm Texas sun. Listening to
Raussie's music often feels like experiencing the world with kindness through the ears of others. In recent dozens of publications, moments of personal distress are adjacent to snapshots of everyday life, revealing similarities between the two extremes. The new album by experimental musician and composer is almost wordless, combining field recordings, translucent synthesizer ripples, and harp and keyboard gloomy melodies. All of these represent great emotions without giving in completely. The two tracks on the album move elegance and dissonance passages, from shimmering drone tones to long passages where wet fingers sound like they're being dragged across the surface of a balloon.
the whole lot ideal distills and refracts a number of the strategies rousay first advanced as a drummer and percussionist. Her earliest tapes (2019`s Aerophobia and 2020's Specifically the Water) have been launched with the aid of using Texas-primarily based totally free-jazz label Astral Spirits. On the ones releases, she located the microphone as near her drums as possible, giving the influence of being hit or scraped proper subsequent to the listener's ear; frequently scraps from her each day life (aluminum cans, coins, metallic wool) might be included. The sonic traits of those objects, usually discarded or disregarded, come alive. This fascination with texture coincided together along with her first forays into discipline recording, which fast got here to dominate her compositions as they took on extra atmospheric qualities.
Shortly after the pandemic began, her work focused on a more direct and autobiographical quest for uncertainty and broken heart. "I love you all. It's not funny, and sometimes even the ugly part," stutters a text-to-speech show about "It was always worth it" in 2020, recorded after a sober farewell. The 20-minute piece features a digitized reading of a love letter that Lausie received from her ex-partner, studded with candid footage of their time. "Sometimes I feel like I have no friends," Rousay confronts the listener: "Who goes there for you? Rousay overcomes these cramps of existential despair and publicly she Hearing attention to the wounds gives context to these misplaced sounds and immersive environments. As
Rousay explores the complexities and challenges of relationships, her music has become richer through collaboration. Her friends often appear in her recordings when using voice fragments from car vehicles or inviting them to provide instrumental counterpoint to completed songs along the way. Her album, recorded by Mari Maurice as More Ease, is clearly made by two people who not only share their darkest secrets, but also a lot of in-joke. Their latest duo album, Never Stop Texting Me, looks back on their history together in a pop-punk band. When Rausie mentions Maurice on Twitter, she often confirms that she is her best friend.
