Posts Tagged Elysia Crampton

Elysia Crampton’s Music Dips Beyond The Rational

Elysia Crampton’s Music Dips Beyond The Rational Illustration by Aubrey Nolan

This piece appears in the upcoming AdHoc Issue 23.

Since her early releases as E+E, Elysia Crampton has jammed together sounds from disparate genres and geographical locations to articulate an immersive method of cultural commentary and personal storytelling. Spots y Escupitajo, her latest LP, dismisses conventional musical form, juxtaposing several 10 to 20-second audio clips that she calls “spots” with flowing, song-length tours through a world of processed electronics, sound effects, vocal signatures, and, more specific to this release, the sound of a slowly moving piano. Compared to previous albums, this one is spare, in a way that can feel elegiac; indeed, a press release for the album notes that it honors Crampton’s deceased grandparents.

In the below interview, Crampton discusses how her personal history and certain conceptual frameworks team up to undergird her music. Her statements build on a variety of sources, weaving together such notions as “becoming-with,” attributed to the theorist Donna Haraway, and the stories and traditions of her people, the Aymara, an indigenous group from the Andean region. Elysia Crampton plays with Earthly and L’Rain at The Park Church Co-op in Brooklyn on Saturday 11/4.

AdHoc: Your work bespeaks a strong political point of view. What are some challenges you’ve faced as an artist interfacing with and through the digital world, where meaning is easily distorted and taken out of context?

Elysia Crampton: I’m always treading the irrational in an attempt to uncover the project—beyond value logic, beyond linear time and progress, often having to contradict myself in order to get to where I need to go. Beyond the rational lies a dark, generative ocean that exceeds any value judgment or ethical assignment we would confer upon it, though it’s something like an ethical demand that leads me there, toward that night.

I’m always treading the irrational in an attempt to uncover the project—beyond value logic, beyond linear time and progress, often having to contradict myself in order to get to where I need to go. Beyond the rational lies a dark, generative ocean that exceeds any value judgment or ethical assignment we would confer upon it, though it's something like an ethical demand that leads me there, toward that night.

The more I live—making mistakes, being messy, tasting and touching this life where the anti-colonial is continually given (as we are irreducible to coloniality)—the more I find it unnecessary to seek clarity or wholeness, or even what one would consider an individuated standpoint. An example would be a clear-cut political view, able to fit neatly into a packet of lessons. I'm learning that those desires are, in many ways, detrimental to the project. What is the project? I'm still learning that, as it is something felt out in a kind of synesthetic anguish and ecstasy not just my own—a demand, a queer desiring for the abolition of what has been called subjection, an end to imperialism and coloniality as things that prefigure such forms of capture. It’s a desiring born from the movement of becoming-with.

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Photo Gallery: Elysia Crampton, Moor Mother, Total Freedom

Photo Gallery: Elysia Crampton, Moor Mother, Total Freedom Photography by Erez Avissar

On Tuesday June 6, Elysia Crampton, Moor Mother, and Total Freedom joined forces to play an incredible series of noisy sets—as haunting as they were moving. Erez Avissar was there to capture the aura of the wonderful night.

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