Shadow Phase, by Peter Knight

Shadow Phase

by Peter Knight

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alapastel Amazing album! Peaceful work of precision, spiritual exploration and depth. Profound vibes. Favorite track: The Softened Shore.

Noosa Sound System Wow - there’s so much feeling conveyed through this album. You can sense the ominous isolation of lockdown, loss, sadness & reverence coming through the work. But somehow, these feels are equally balanced with a beautifully serene sense of optimism and calm reflection.

Of note, is that all this is done with an effortless sophistication I’m sure many strive for, but rarely achieve - stunning work.

I will feel very lucky to hold a copy of this record, thanks. Favorite track: Eunoia (with Fia Fiell).

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Record/Vinyl + Digital Album
Blue transparent LP, black printed inner sleeve, matte laminate and monochrome print.

Includes unlimited streaming of Shadow Phase via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

ships out within 7 days

Purchasable with gift card

$20 USD or more
Record/Vinyl + Digital Album
Black LP, black printed inner sleeve, matte laminate and monochrome print.

Includes unlimited streaming of Shadow Phase via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

ships out within 7 days

Purchasable with gift card

$19 USD or more
Streaming + Download

Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Purchasable with gift card

$9 USD or more

1.	The Softened Shore 09:40		buy track
2.	Cloud Phase 04:40		buy track
3.	A Wordless Song For Ania 05:49		buy track
4.	Eunoia (with Fia Fiell) 13:30	info	buy track
5.	Shadow Phase 06:45		buy track

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

released 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

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about

Peter Knight Melbourne, Australia

I make music using trumpet, tape machines, amplifiers, computers, and sometimes pen and paper. I make music influenced by lots of different sources, and in lots of different settings.

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