In your 2019 project Reducing The Tempo To Zero, you explored the idea of bringing tempo close to zero. What inspired this concept, and how did it shape your approach to listening?I started to produce RTTTZ just for this reason: to have a day to day project that would take me out of the temporality of the internet/digital pace and slow me down. It was as much a mental health practice as it was a musical one. And I loved getting into the real fine grain of listening that working with drones promotes. From my experience this is a method of listening that only really starts to work over periods of longer duration—I need to really sit in the sound for a while for it to reveal itself to me and there no way of rushing this. And when it happens, this slowing down and deeper listening, it feels good.
The original RTTTZ is in four parts. I am now in the process of starting to make the next four sections (parts 5-8). I guess I have the need again to get back to that head space. I feel like I will always be returning to this project—checking back in to my relationship to this kind of work—how it reveals to me how my listening has changed over the years. Taking a break is important because it makes returning to it all that more clear.