Jorge Elbrecht streams new album
The musician & visual artist once known as Jorge Elbrecht is now a thin, wrinkled shell of what he used to be. Today, he’s an atrophied chassis, meandering from one foggy idea to the next, unable to focus. From his interdisciplinary work as a member of Lansing-Dreiden, to multimedia collaborations with artist Max Hooper Schneider, to his guitar pop band Violens, to his work with Ariel Pink, Tamaryn, No Joy, Ice Choir, Kirin J. Callinan and Frankie Rose–it’s clear Elbrecht had sought continually to connect with the subconscious through art.
Now in the close care of family, an acute depression which must have risen from a disenchantment with the culture of the time, has taken over. The art, music and poetry that Elbrecht was so passionate and driven by for the first half of his life had fallen to the coercive ways of the “like”-based new, and therefore perhaps there was no other option but for him to fast-forward into his own physiological twilight.
“He wished he existed in a time where he could enjoy the world around him… I think he was trying his hardest to block it out with things he preferred,” gathers the artist’s father.
As bleak as this state of affairs may be, far more dismal is the notion that this music would never be heard. Therefore, there is currently an effort to bring these completed works to light. Thankfully, today Elbrecht cares and says very little about anything at all, seemingly fine with those close to him making his music available to all. The first of many releases is a collection entitled Here Lies, which contains songs from very different projects: Presentable Corpse, Gloss Coma and REMYNYS.
There is quite a bit of variety between them–from the tape-warble flexidisc shimmer of Presentable Corpse, to the early 90s rack unit hi-fi of REMYNYS, to the pulsing, full-frequency speaker utilization of Gloss Coma, but after a few listens it is clear these are all sonic environments painted by the same hand. More is sure to come, as it would appear that there is quite a substantial catalog to disseminate. The intention of all involved–his family, friends and supporters–is to continue playing Elbrecht’s music, keeping his tenacity, imagination and recorded daydreams alive. Perhaps the spirit has left the vessel, but it can surely live on through the words and melodies therein.
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