David Psutka steps away from the club on Sign Of The Cross Every Mile To The Border.
Toronto’s David Psutka is best known for his productions as Egyptrixx, which turned dance music into tactile abstract shapes long before the term “deconstructed club music” came into wider use. His latest project is Ceramic TL, which shifts into a realm of beatless ambience and noisy digital textures.
“Ceramic TL is built around the idea of ‘material or physical’ sound, which is open and kinda flexible compared to some of the other projects, so it’s fun and spontaneous material to write,” Psutka explains of the alias over email, which joins his other projects Egyptrixx, Limit and ANAMAI, a recent collaboration with Anna Mayberry.
The first Ceramic TL album is Sign Of The Cross Every Mile To The Border, a seven-track LP of glacial synths and brittle, noisy textures whose central theme is humanity’s destruction of the environment.
“[The record] is a simple meditation on one specific, narrow point, that environmental cataclysm is no longer speculative, it has happened and is happening and any curiosity about personal, regional, media or geo-political response can now be answered with the facts of experience,” Psutka explains.
Much like Psutka’s other projects, a visual element is central to the music of Ceramic TL. This time round Psutka recruited photographer Marlen Keller, who he worked with after the completion of the album to develop an aesthetic for the project, which sees plant life represented in an uncanny 3D-modelled form.
The album is released on limited cassette and digital format on March 18, but you can stream the whole thing below.