We've updated our Terms of Use. You can review the changes here.

Shadow Phase

by Peter Knight

/
  • Record/Vinyl + Digital Album

    Blue transparent LP, black printed inner sleeve, matte laminate and monochrome print.

    Includes digital pre-order of Shadow Phase. 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.
    shipping out on or around October 7, 2022
    Purchasable with gift card

      $20 USD or more 

     

  • Record/Vinyl + Digital Album

    Black LP, black printed inner sleeve, matte laminate and monochrome print.

    Includes digital pre-order of Shadow Phase. 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.
    shipping out on or around October 7, 2022
    Purchasable with gift card

      $19 USD or more 

     

  • Streaming + Download

    Pre-order of Shadow Phase. 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 October 7, 2022

      $9 USD  or more

     

1.
2.
Cloud Phase
3.
A Wordless Song For Ania
4.
Eunoia (with Fia Fiell)
5.
Shadow Phase

about

From Peter Knight
Most of this record was created in the shadow of COVID and deep in the maw of Melbourne’s 2020 long winter lockdown. It is a meditation on the nature of connection.

Restricted to a 5km zone, one of the only people I saw outside my family during this time was my old friend and teacher, Ania Walwicz. We met in the overlap between our zones on the waterfront near Docklands to walk and talk on bright, cool winter afternoons.

Those conversations became large in my thoughts when Ania suddenly passed away in September. Her voice was in my head as I worked on this music, trawling through threads of ideas, recordings made on my phone, and thoughts jotted down in notebooks.

Ania’s practice as a writer relied on ‘automatic’ processes. Her work was informed by everything she had read (a lot) but it was created in the manner of dreams. In a state where the subconscious might bubble up and the words arrange themselves into meaning bearing forms that resonate more than represent.

I thought a lot about that as I made this music. I recorded everyday using the trumpet, my old Revox reel-to-reel, a couple of synths, a harmonium I lent from a friend, and whatever else was around. I worked mostly on just diving a little deeper each time I sat down to it.

Through the simple process of exhalation, I explored my relationship with the trumpet, which has been through so many twists and turns. I let the tones produced by my breath unfurl on long tape loops and degrade beyond recognition through pedal and plugin chains, until the only imprint of the initial gesture remained.

My process also involved long bike rides during which I’d listen to the work of previous days on ear buds, gliding through familiar streets made slightly strange by the absence of people and movement. Often my rides took me along Footscray Rd next to the port, and as I washed down towards Docklands past the old boat moorings I stopped pedalling to coast. The sounds from my darkened studio mingled with the low rush of air past my helmet, the click and whirr of my bike gears, a squalling bird, a whooshing car. And I remembered my last conversation with Ania. Sitting in the late afternoon sun, squinting against the light that raked across the water, she was telling me about all the different words for they have for blue in Polish and Russian, and how words don’t just change our perception of things, but also actually change the thing being perceived.

As I rode home that afternoon, I felt like anything was possible.

credits

releases October 7, 2022

Peter Knight - trumpet, voice, synthesisers, laptop electronics, Revox B77 reel-to-reel
Fia Fiell - synthesiser (Eunoia)
Jacques Emery - bass (The Softened Shore)
Katherine Philp - cello (The Softened Shore)
Rachael Kim - violin (The Softened Shore)
Tamara Saulwick - whispered voice (The Softened Shore)
Tony Buck - percussion (Shadow Phase)
Ania Walwicz - spoken voice (A Wordless Song for Ania, originally recorded for Endings by Tamara Saulwick
and used with permission)
Mixed by Lawrence English, Peter Knight, and Fia Fiell (Eunoia)
Post-production by Lawrence English
Cover artwork
Cameron Robbins - Shadow Phase, solar drawings, Castlemaine

license

all rights reserved

tags

about

Room40

Room40, a beacon of sound...ringing out from the deepest south. Also home to our sibling labels Someone Good and A Guide To Saints.

contact / help

Contact Room40

Streaming and
Download help

Shipping and returns

Redeem code

Report this album or account

If you like Shadow Phase, you may also like: