Retelling my steps
“Every step we take at this moment is laden with the history of the journey to that point, the journeys we’ve taken to get to taking these steps, the history of the ground beneath, the history of the space around. And then the map, the pattern, the rules, the operations, the beautiful and fraught abstraction relation that helps us move the path and walk it, form a skein around us, nudging us in one direction, nudging us away from just walking off the trail into the woods. In our conversation, this might be right about where I was talking about ‘retelling my steps,’ the desire to retell and remap and rework one’s own journey. The sense of needing to retell one’s steps, mark them again, move back in time to re-narrate them, explain the reason for each, to both make sure they happened, and retrace how they happened. The steps reveal themselves in the telling. We talked about scrambling, pushing oneself to try and mentally capture all the systems at play, relinquishing in the face of the impossibility, trying again to keep the movements together in minds, imagining each player moving through their respective matrices on the grid. I struggled and struggle as the piece progresses to do so, and suspect this attempt or renewing the attempt, with each shoot off-grid, onto the new grid, is the effort of maintaining what people mean by experimental practice. Reworking the grid and the map, over and over again. There’s the confluence of the players’ individual journeys converging to make a map, a system, that then, because of emergence, is activated, and begins to make itself, tell its story. Making and remaking, constituting and reconstituting, relentlessly moving and embracing the constant destabilization of the map, and so, the territory; we learn to skate along the edges and avoid being swiped by the sheet metal curtains dropping, and kick away from the edge of the map’s drop, moving with it, rolling out ground. There are each of the individual patterns, syncing and locking at points of resonance, shifting plates at moments of ‘mismatch,’ or soundings. A sense of sounding a void, sending sounds into the void at the edge of the map, that surrounds it, to establish new stakes.”
(Excerpt from personal correspondence between Nora Khan & Kali Malone, January 2022)
- Composed by Kali Malone
- Performed by Eklekto Percussion (Louis Delignon, Jeanne Larrouturou, Anne Briset, Jérémie Maxit).
- Recorded by Nadan Rojnic at Eklekto Geneva Percussion Center 2021.
- Mixed by Tristan Mazire & François-Xavier Delaby at La Fugitive 2022.
- Title & text by Nora Khan.
- Photo by Mauricio Guille.
- Made with the support of Sveriges Radio, La Becque Artist Residency & Konstnärsnämnden.
- Special thanks to Alexandre Babel, Stephen O’Malley, Nora Kahn, Luc Meier & Harry Glass.
Kali Malone is an American composer and musician based in Stockholm since 2012. Her
implement specific tuning systems in minimalist structure for pipe organ, choir, chamber music
ensembles, and electroacoustic formats. Malone’s music is rich with harmonic texture through synthetic and acoustic instrumentation in repetitive motions and extended durations. The music emits distinct emotive, dynamic, and affective hues which bring forth a stunning depth of focus.
Kali Malone has performed extensively in Europe and North America at Musica Festival, Berlin Atonal, Moogfest, Kanal Pompidou, Elbphilharmonie, Paris Philharmonie, and Radio France. Her commission projects and residencies include the Ina GRM, Berlin Monom, The Richard Thomas Foundation, MACBA, Macadam Ensemble, Orgelpark, Elektronmusikstudion and Tempo Reale. She collaborates and performs with various artists, including Stephen O’Malley, Lucy Railton, Frederikke Hoffmeier, Leila Bordreuil, Drew McDowall, Caterina Barbieri, and Ellen Arkbro. In 2016 she co-founded the record label and concert series XKatedral, together with Maria W Horn, in Stockholm.