Today we are excited to host a guest blog from experimental electronic musician Misha Faulty. Misha shares an insight into their debut project “Wet Subtitles”, which was released on all streaming platforms and Bandcamp on December 1st.
“The TV is not plugged in, yet scenes from David Cronenberg’s Videodrome play as the subtitles start to slip from the screen, oozing into the water. The subtitles gloop in ambiguous knots refracted on the water’s surface by the sunlight.
This is a project started in December 2019. Loops, reappropriated worm poems, warped 70s folk and rock samples, distorted field recordings and speech coalesce amongst chaotic synth and drum patterns. Broken bodies of sound. Deafness and spastic queerness sit within the work. I play with sonic pulp as it leaks and pools in unknown liquids. Sodden, waterlogged noise is altered in the way it is uttered and felt. It is heavier and clings to the ears. Dripping.”
Subtitles are a very important reference point when I consider how I experience sound as a deaf person. When I was writing the album I wanted to consider how subtitles might hold texture and feeling and how this could be translated back into sound. In my head, this translation also seems incongruous and unnecessary but committing to it in spite of that feeling felt important. As a queer person with cerebral palsy I also found myself engaging with that through the off-kilter/off-balance rhythms and beats and through reclamations of language such as “spastic”.
