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SCREAMING TO THE [ V O I D ]

by lonely carp

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I heard the town crier Fall silent But the engines were still running Away from the humans that made them I've kept my curtains drawn on them The trucks were yelling how sorry they were For being made this way And they begged for lightning to come They drove themselves off clifftops They just wanted to die And then the flowers wilted in the breeze, Sighing: IT'S OKAY WE COULDN'T LIVE HERE ANYMORE ANYWAY
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I will always love you. That’s the kernel of the seed of the fruit Of the branch, of the tree, of the root of truth Loving you was, and always will be The longest, loneliest quarantine A sideways glance through eternity Through all the people we’ll never be Through all the lives we cannot live The things, to you, I could not give. ~ Fourth year of life, sat in the backseat the feeling of a seatbelt Against my pinhole nipple And the little-bird ribcage underneath Wondering, why this comfort was uncomfortable So often, I would say: ‘Mummy -- I feel milky.’ Neither of us knew The feeling I was articulating to you. It was the empty space, where no breasts grew-- Milky: guilty; I felt guilty for you. Having to raise a boy-- Crying, dad singing 'Play up sky blues!' The violence of volume Filling up the football stadium And the harsh sky-blue plastic Folding, numbered seats-- [sum the value of a day of human life: The cost of this same-blue, one-use mask] --Cracked and pinching my pale thighs In the cold, I daren’t ask The only question on my mind: Daddy, can we leave? Daddy, can we leave? Daddy. Can we leave? Watching the clock numbers change While boys my age would watch the game And watch the scores as they stayed the same I remember more than once My father lifting me like a sodden wooden plank Horizontal and sobbing Before even half-time had passed Apologising to his friends That we had to go home Because for some reason I was upset For some reason I was alone For some reason, I hadn’t realised yet He knew that I had to go home. Because for some reason I was upset For some reason I was alone For some reason I hadn’t figured out yet He knew I had to go home.
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THEY WONDER WHY OUR BODIES LAY RESTING ON THE RIVERSIDE DISMEMBERED REMNANTS OF THE HUMANS THE STATE SENTENCED TO DIE TAKE YOUR EYES OFF OF MY FACE THEY'RE BURNING THROUGH MY SKIN YOU SINFUL WINNERS OF THE RACE WON'T SEE THE FACE WITHIN
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LED [WAIT] 03:44
low energy diet light emitting diode lowest effective dose law enforcement department larynx entrenching dysphoria
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{instrumental fuck you} A dark 1:00 AM last summer I think I was taught the isolation Of what it means to be a woman In a mustard paisley shirt And linen black maxi skirt I walked from home to home When a car sped past me With a dizzying engine rev And over my noise cancelling headphones I heard the loutish screams of five men And then all I thought about was death Mine; Stretched out over the next three breaths. The car stopped, and turned, and sped right back Through my head raced every murder, rape, attack Happening to my sisters everywhere And I couldn’t move I just stood right there For a second I thought I saw them swerve onto the pavement Ready to run another atrocity of this city down And I thought that would be the best outcome At least then it would be over soon But the car stayed on the road And drove straight past And then ned boys catcalled me every one of them Screaming: “YOU’RE GORGEOUS” And I thought about how those twelve seconds, for those men Amassed to a single moment of banter between friends And yet, in my head, I’d traversed the length Of three thousand years of roads paved by men That told me first: you’re going to die And second: girl, you’re looking fine! That told me third: they’d validated me. the first night unfrightened to show me my femininity That somehow, I was better for having been seen And after: intractably guilty As if I shouldn’t have survived what happened to me Feeling like if they’d have killed me, then somehow, from Them From this inescapable anxiety From this constant state of being Like a flightless bird crushed under the soul of the foot of society, then somehow I would finally Be free {voicemail from an old friend}

about

CW: abuse, transphobia, BDSM, mention of rape and violence against women


This album is the release I am most proud of to date. It’s still got that lofi feel, but with much more depth. the composition, the discordance, and the clipping is heavily curated.

It features some of my most experimental piano pieces, accompanied by what I’m calling auto-sadomasochistic field recordings [ASMFR] (a flogger, a paddle, flicking bells on nipple clamps, rope being dragged across and tied around a microphone/a craft knife scraping the microphone, the biting of a ballgag, the jingling of metallic hogties, handcuffs, collars and leashes) as well as samples from the natural and manmade world, particularly the interactions between the two (people running in the rain, sliding automatic doors of a supermarket being triggered by footsteps, construction work, cars and trucks driving outside my open window, ), and classical harsh noise elements like abrasive static, drones and sirens, many created acoustically by the accordion.

This album has been a learning experience for me, teaching me the limits of technology, my body, and music itself.
I made a conscious effort to make the soundscapes apocalyptic and uncomfortable. My life is very privileged in a lot of ways, but I am always in fear. I am told I do not exist by my own government, by the infrastructure of our society, by our language, by individuals. There is a harmful rhetoric surrounding trans* women that says we are sexually perverse. There is a harmful shame attached to sex work, to kink, and to trans* women, and the three are all rooted in the same thing. Misogyny. Shaming a woman for taking ownership over her own consensual pleasure. Shaming a woman for exploiting the oppressive norms that bind her, for her own empowerment. Shaming a woman for simply being.

So I wanted to embody the repulsion and disgust that transphobic people feel about my very existence (or supposed lack thereof). Use pain as an instrument, both musical and political. To accompany the poetry I have written in the latest of many periods of isolation in my life.

To create a world that mirrors the real one, a post-apocalyptic dystopian future that’s not distant or future at all – it’s happening right now.

I am very inspired by backxwash, Giles Corey, LINGUA IGNOTA, Arca, SOPHIE, and of course, Xiu Xiu.

Thank you to Nisan Yetkin and Jannica Honey for their incredible artwork, and for showing with our collaboration the powerful art that can be born from the sisterhood between trans* and cis women, when they truly see each other.

I sampled the entirety of the Blackbird photoshoot Jannica and I did, the walk to the secluded moonlit spot of the forest, where I removed my clothes and lay down in the ivy, becoming the earth again. These samples can be found hidden in the soundscapes of the album.

credits

released August 1, 2020

photography by Jannica Honey (of When the Blackbird Sings)
artwork by Nisan Yetkin (of Spit it Out, I Don't Want to Call It Home)
mastering by Adrien Soyer
sounds by Callie Rose Petal (lonely carp)

license

all rights reserved

tags

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