“Such unreleased material is a quintessential backdrop to an artist’s processes, as it has obviously never landed in any full bodies of work. It does however gain humble significance, which feels approachable, which is about absence and hence always fresh, drifting somewhere between remembrance and obliviousness. I see sound in smells, maps and mischievously put random words in poems, as they provoke pivotal subconscious algorithms in me. These tracks are the portrayal of those feelings. [...] Every blissful moment of the divine process of music-making, that goes back to a sacred process of a child at play – a burning response to the intensity of the neigh to invisible blueness of half-formed ice. The span of time for this music reminds me of my Dad’s studio. Infinite thick wooden drawers that crackle clack, bounce clatter, peal, rattle the same way as before. There is no decay crumbling, perishing or rot in the objects inside. Clippers, liner pens, tracing paper, cutters for grown-ups, unused razors and their tiny spare blade packs, tapes, compasses, leather and metal roll meters, are all intact.

Random snapshots, outdated student ids and driving licenses in leather sliders, letters, postmarks, piled up separately in intense small section drawers. All’s in perfect order. All intact. Layouts, house models with tiny tables and chairs and swimming pools with people inside, others by the fire-place, some holding cocktails, others reading books – are very dusty, smelling of glue and cardboard, all intact. Some stacked one on top of another, others unfinished on the modelling table under the stained swinging arm desk lamp.” (Natalie Beridze)

Photo © Nata Sopromadze

I sought after material, piled up on my old hard drives; – various sound debris, recorded and produced in the past. I recycled them beyond recognition and fudged them together into new samples to compose this album. Mapping Debris is a term used during an investigation of a plane crash. Special agency collects millions of infinite small pieces of shattered metal and wiring from the crash site. They later try to reconstruct an original fuselage of the plane from assembled debris, in order to recreate its story and reveal the reason that lead up to the catastrophe.  Mapping Debris is a manifestation of dematerialization in physical domain and time: shedding skin turning into dust, decaying objects, corrosion, atrophy, rot, nonsense and factual forgetfulness, which mirrors chilling fear of perishing, losing integrity, memory of events, images, smells and sensation of touch of those, who have already perished in their earthly archetype. Yet in the aftermath of realization, one no longer dwells in colossal dead weight of inevitability of the end. The pattern perishing has a golden thread on one end – the one that makes us dwell in ceaseless possibility of rebirth, translation and remembrance. This album is a continuation of series of works I have dedicated to my parents lives, as well as their death…” (Natalie Beridze)

@ Monika Enterprise