Pre-order of 4n_Objx. You get 1 track now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.
Purchasable with gift card
releases June 28, 2024
$7USD or more
Record/Vinyl + Digital Album
Side A:
High Priestess
Split-level Mirage
Shibboleth
Alluvials
Rake's Progress
Side B:
Dividend
World's Fastest Talking Man
Auscultation
Operation for Preferred Embodiment
Thresher
Includes digital pre-order of 4n_Objx.
You get 1 track now
(streaming via the free Bandcamp app
and also available as a high-quality download in MP3, FLAC and more), plus the
complete album the moment it’s released.
The story of Gryphon Rue’s music is a deeply personal and richly complex one.
Born in New York City, Rue spent his early years pulsing back-and-forth between urban life in Manhattan and a folky upbringing in Woodstock. A kid regular at his grandfather's Club Vinyl, Rue kept his eyes on Danny Tenaglia and Timmy Regisford in the DJ booth.
Reflecting this contrasting, at times conflicting background, 4n_Objx is a sonic reflection of a divided psyche - a "split-level mirage," as one track is titled. It is a reconstruction of the overwhelming fullness of experience, which seems to apply more than ever before.
Departing from the gentle ambiences of A Spirit Appears to a Pair of Lovers (2022), the tracks on 4n_Objx careen, lunge, and leap from cliff to ridge, circuit to synapse. Left-field, nervy rhythms flirt with a post-punk feel Rue calls "elastic dance." As if one could stretch “dance music” to include something broader: environmental sounds, brain dance, the passing of current through a filament.
Rue wants to suggest "biological actions or molecular events." Rather than an arc this record spins more like a spiral of entrancing activity - it seems like it might relent at times, but it always pulls you back in, and quite ferociously. A textural feast that reveals a hypersensitivity to processes, interrelatedness, and movement.
Josefina Spectralette
On the cover:
"Onyeocha" by Amagu Izzi, a black and white photograph of an Igbo masquerader taken in 1982. I came across it in the ethnographer James Clifford’s essay Ethnographic Surrealism, and it has stuck in my head for years. His costume and disposition is extremely fascinating. I do not fully understand how it corresponds to my music but it does on some level. Formally, the dress suggests pliability and tautness all the same, especially in his neck extension. There is an extraordinary multilayering of meanings. The masked man mirrors the image of the ethnographer; he holds a notebook, pencil, and has fashioned above his own wrapped head a carved wooden face adorned with a pith helmet. It is playful, and yet it is a critical, doubling, self-reflective gesture. The cover of Clifford's The Predicament of Culture shows the photo in a Rorshach-like mirrored image. I distorted it manually in a photocopy machine.
"Rue’s debut album for Soap Library traces a kaleidoscopic yet unassuming trip through electro-acoustic textures composed using a wholly unique instrument — the saw" Gryphon Rue