× Introduction 01 - Otto Lindholm - Cain 02 - Pan Daijing - The Island Within 03 - Lanark Artefax - Styx 04 - Petit Singe - Komm Wieder Mit 05 - Peder Mannerfelt - Post Sense Perspective 06 - Tomoko Sauvage - In Some Brighter Sphere 07 - Pye Corner Audio - Box In A Box 08 - Sophia Loizou - Shadows of Futurity 09 - Abul Mogard - Trembling With Tenderness 10 - Pär Grindvik - Speaking Their Minds 11 - Koenraad Ecker - Rat's Coat 12 - Roly Porter - Without Form 13 - Hodge - Sunlight On A Broken Column 14 - Gazelle Twin - The Dream Ends 15 - Shapednoise - Ghostly Metafiction 16 - ASC - Tessellate 17 - Batu - Zoo Hypothesis 18 - We Will Fail - Carbon Trail 19 - Peter Van Hoesen - 98 Lines 20 - Spatial - Haunted Dance Hall 21 - Yves De Mey - Solemn But Fading 22 - Mindspan - Accept Things As They Are 23 - Kangding Ray - Glacier 24 - ZOV ZOV - Post Six 25 - Ian William Craig - An End Of Rooms

In Death's Dream Kingdom

Ian William Craig - An End Of Rooms

About An End Of Rooms

Thinking about Eliot’s poem I kept coming back to a thought: why do we insist on using narrative in place of what is actually going on? Rilke had it wrong perhaps: angels aren’t terrible because of how brightly they burn and so consume us, but because of how much we would burn for them in our wild fits of restlessness and searching. We construct so dearly our kingdoms of dream and death, thinking this is who we are. But no next words will help – there is no more truth in those words unhappened than with these now disappearing ones. So this song might be a hymn to an unstory: our rooms are false, and the angels aren’t terrible but the likeness we search for them in surely is.

Ian William Craig

Sound artist, award-winning printmaker, classically-trained vocalist, writer, photographer, composer and performer, Ian William Craig currently resides in Vancouver. His visual and sonic research has been exhibited and published internationally, and he has participated in various residencies and performances across his native Canada and beyond.

Drawing out analogies between his dual practices of music and print-making, Ian’s work is deeply informed by a narrative of impermanence, “notions of life as an act of becoming, and beauty within degradation and deterioration". A classically trained vocalist, his voice is combined with homemade analogue synths, altered reel-to-reel machines and faulty tape decks to create awe-inspiring cascades of unpredictable decay and beauty where the physical nature and failure of the machines themselves dictates the course of the performance. His music is fascinated with the notion of what the process of memory might physically sound like – by placing his own body at the centre of this exploration, he creates sonic spaces that cast physical deterioration as the source of the sublime.

Blending choral, ambient and noise influences together into his array of manipulated tape decks, Craig transports you over shifting tectonic plates of operatic vocal improvisations, fields of tape hiss and haunting pastoral melodies.