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I do not wish to be known as a Vandal

by Sam Slater

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  • Record/Vinyl + Digital Album

    Limited edition gold/black galaxy effect colour LP housed in stunning high gloss sleeve with spot UV detail and gold leaf printing. Signed editions available via Dinked stores in the UK, this version does not feature the signed postcard.

    Includes unlimited streaming of I do not wish to be known as a Vandal via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 5 days
    Purchasable with gift card

      €25 EUR or more 

     

  • Compact Disc (CD) + Digital Album

    Gatefold Sleeve

    Includes unlimited streaming of I do not wish to be known as a Vandal via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 2 days
    Purchasable with gift card

      €14.99 EUR or more 

     

  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Purchasable with gift card

      €9.99 EUR  or more

     

  • Full Digital Discography

    Get all 3 Sam Slater releases available on Bandcamp and save 35%.

    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of I do not wish to be known as a Vandal, Wrong Airport Ghost, and Subway Lion. , and , .

    Purchasable with gift card

      €13.64 EUR (35% OFF)

     

1.
Darn! I 01:56
2.
Darn! II 05:34 video
3.
Darn! III 03:00
4.
Darn! IV 04:24
5.
Kintsugi I 03:25
6.
7.
Kintsugi III 04:40

about

When it came to the recording of ‘I Do Not Wish To Be Known As A Vandal’, Slater called on a number of creative forces. Recorded remotely, each musician would send a sound, some words, some creative parameters, and Slater would respond in turn. Hildur Guðnadóttir provided distinct Doro phone sounds, Yair Glotman played thunderous double-bass, and Hilary Jeffrey and Sam Dunscombe laid down woodwind and microtonal brass. In addition, Icelandic singer-songwriter JFDR delivered her intimate vocals and James Ginzburg (Emptyset) mixed it, with an ear for precise form. From his base in Berlin, Slater would flag the sounds he loved; some twitching strings, the stolen alto voice from an abandoned English chorale, some words from a climate scientist fleshed into a poem. It became an exercise in receptivity, in which openness itself became a creative voice, hushing Slater’s tendency to micromanage every detail. These interactions were pulled together into a single piece written for two sides of a single 12” vinyl; one side describing collapse (‘Darn!’) and the other, recovery (‘Kintsugi’). Influenced by the 70s concept prog records of his childhood, the album loops without ending, so you are never really allowed to rest in safety.

“Structurally the piece traces a recurrent mental image of mine in which a body is falling through space so slowly that I'm unsure if it is moving at all, while simultaneously and continually I’m anticipating the looming threat of bodily pain. Thankfully, also embedded in this movement is the anticipation of the inevitability of recovery. This ambiguous space between glacial-pace self-destruction and the potential of a return to one's feet become two aspects of the same dynamic, and indeed, I feel that we are often suspended perilously close to both. Within these cycles of collapse and recovery, be they personal, systemic, global or political, my sense of powerlessness is offset by the hope that at least my own actions could be rooted in kindness – I do not wish to be known as a vandal.”

The album showcases the breadth of Slater’s range as composer and producer, transitioning through distinctly different spaces, from the glitchy, clipped intro, into Icelandic folktronica, into swathes of menacing string mutations and eerie, mournful woodwind. These vivid, four dimensional scenes conjure a bleak beauty and sense of purgatory akin to Clark’s ‘Playground In A Lake’, with JFDR‘s voice providing a more familiar sense of reassurance – something human to cling to amidst murky abstracts depths, where effects twist instruments into barely recognisable shapes.

credits

released June 10, 2022

Hildur Guðnadóttir Dorophone, Cello
Yair Elazar Glotman Double Bass
Sam Dunscombe Clarinet, Bass Clarinet
Hilary Jeffery Brass
JFDR Vocals
Sam Slater Lyrics, Production, Percussion
Emanuele Porcinai Modified Bass
James Ginzburg Mix Engineer, Additional Production

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all rights reserved

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about

Sam Slater Berlin, Germany

Sam Slater is an artist and sound designer based in Berlin. He’s worked closely with Icelandic composer Jóhann Jóhannsson on films such as Darren Aronofsky’s ‘mother!’ and Mary Magdalene (w/ Hildur Guðnadóttir). Alongside his contributions to film music, Slater has garnered steam as a reputable producer and engineer, working alongside Ben Frost, Shapednoise, Mica Levi and Valgeir Sigurðsson. ... more

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