🐌 commuting with Rian Treanor (uk)
Thursday 12/11 — 09.00 AM — online
label: planet Mu
Thursday 12.11, 09.00 AM — on mixcloud
Saturday 14.11, 01.00 PM — on LYL Radio
Hi Rian ! You just released your second full length album. You’ve managed to keep yourself busy even without much festivals and concerts happening. How do you feel about the current situation ?
The LP was more or less finished before COVID, I’d been working on it throughout 2019. I just did the artwork during lockdown. I had some time off making things after finishing the LP with everything going on, it was probably the most time I’ve ever gone without making music. But over the past 2 months I’ve been really busy working 24/7. I had a bunch of projects on and I’ve been developing a system with that enables remote collaboration using Max/MSP. I’ve been using it in various workshops with kids and elderly people over the past weeks and it’s ended up expanding into various projects.
The current situation is quite overwhelming though to be honest. I’ve had to be in strict isolation with my family the whole time because we are caring for my grandparents. We are safe, I’m just trying to be patient really, and it’s worrying seeing the effects everywhere. It’s devastating. Especially with things in the UK, the dangerous concoction of Brexit, Tories and the austerity measures they will impose after COVID, it is going to destroy people’s lives. But hopefully this might be a real wake-up call and a decisive moment for change. We can’t let this be used as another device to squeeze the life out of people and take wealth to those who need it the least.
It seems that your music is deeply rooted in UK’s electronic heritage – with genres such as footwork and UK bass – but it appears your music shifted as well after your travel to Nyege Nyege’s festival and a session at their studio in Kampala. How would you describe the infusion of their musical upbringing (such as singeli) into your work ?
My music is definitely rooted in UK club culture but to be clear, Footwork is from Chicago and realistically the idea of UK bass just doesn’t make sense to me at all. I’m way more interested in the unclassifiable stuff. Music always has that transcendent thing going on tho, not just in terms of how things are labeled but how our aesthetic languages shift. Especially when it comes to more crossover stuff like cross genre, cross media and cross cultural activities or collaborations. The dialogue that comes out of people sharing ideas and being in touch with things that change your world view is incredibly important. It opens our minds and gives us new perspectives. The great thing about Nyege Nyege is that they are enabling those networks for marginalized emerging artists. And the bottom line for me is that you just cannot argue with the music they’re putting out, it’s so direct, immediate and fresh.
We’ll present your performance as the perfect soundtrack to commute, an experience that is often linked with sharp schedules, crowded alley, etc. For us, it’s one of the most rhythmic activities on the line-up. How does that theme resonate with you ? Do you see some links between it and your work ?
I am interested in how people think it may resonate with the theme, as we have discussed previously I don’t think it has any connection at all. For me it’s not about the connection I makes but about the connections the audience make and I don’t want to interfere with that by telling people what it’s about. And as we’ve spoken on numerous occasions about why I think it doesn’t fit, why would you ask me to speak about it publicly here?
What’s your commuting habit in the UK ? 🚎
I work from home mostly but before lock down I would take the train and I would fly when doing international travel.
I do not drive. I have always lived in a town centre so I’ve never needed a car. I hate cars actually; I think we should all stop driving.
This concert is held with the support of SHAPE Platform.