I have been reflecting on David Tudor’s Rainforest series, of which I own a handful of recorded versions ranging from 1968 to 1973 and, coincidently, was one of the earliest experimental albums I owned. While Tudor’s intention was to create an “electronic ecology” rather than evoke a literal rainforest, given the political climate of the late 60s/early 70s, I consider Rainforest to also function as environmental art, with the most obvious theme being the natural world supplanted by human-made objects.
In the intervening years since Rainforest was first presented, humans have managed to find a myriad of ways to increase the scale of daily destruction to the living world. The synthetic metaphor to nature in Rainforest is, in many instances, the only version we have left.
Holocene Extinction is a continuation of the dialogue between Rainforest and my specific conversation with its meaning. It’s also an album made from deep frustration and sense of loss. I live in a Canadian province where, for decades, we have advertised ourselves as a place to experience sprawling ancient forests. The truth is that very little of our old growth forest remains, with some of the last old growth currently falling to industrial logging. We continue to move forward with the shared knowledge that our living world is being chipped away, poisoned, and genetically altered, as if we somehow imagine ourselves separate or exempt from the same fate.
- Jamie Drouin
released April 8, 2021
Composed and mastered by Jamie Drouin
Cover artwork by Lance Austin Olsen
supported by 6 fans who also own “Holocene Extinction”
*In this sprawling audio "cycle", Stephan explores analogue sounds and drones that are peaceful, subtle and abstract at times. Like any large compendium, one must revisit it time and again to capture all that is exquisitely presented. If resolute, there are many beautiful rewards to discover here.
Best w/ headphones... Enjoy!
Interview about Radiance: