Name: In Ferneaux
Brand: Blanck Mass

Bonus disc

Bonus disc: No

Catalogue number

SBR267LP

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Colour

Black

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music US

Limited edition

Release date

2021-02-26

Signed copies

Signed copies: No

Supplier US

Secre­tly

Tax rate US

Sales:8.875

UPC / Barcode

843563134474

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Total Cap

1 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No / black

SBR267cd

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843563134511

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1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

Artist

Blanck Mass

Genre US

Electronic

Label US

Sacred Bones Records

Blanck Mass is the solo project of Benjamin John Power, who began making music under that name in 2010. His self-titled debut album, recorded in his apartment, featured ambient, droning electronic music that was both abstract and accessible. One of the tracks from this album, "Sundowner," gained recognition when it was used during the 2012 Summer Olympics opening ceremony. Blanck Mass' second album, Dumb Flesh, released in 2015, was inspired by the flaws of the human form in its current evolutionary state.

Blanck Mass draws inspiration from a variety of artists and genres including Forest Swords, Steve Hauschildt, Oneohtrix Point Never, Roly Porter, Emeralds, Tim Hecker and more. His unique sound combines elements of experimental electronic music with a captivating intensity.

With each release under Blanck Mass, Benjamin John Power continues to push boundaries and explore new sonic territories. His music resonates with listeners who appreciate thought-provoking compositions that challenge conventional norms.

In Ferneaux explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment.

An encounter with a prophetic figure on the streets of San Francisco presented the question of “how to handle the misery on the way to the blessing.” This is the quandary of the impasse we now all find ourselves in, trapped in our little caves, grappling with the unease of the self at rest – without movement, without the consumerist agenda of “new experiences.” The possibility of growth, always defined by our connections with others, held in limbo. Sartre said that “Hell is other people,” but perhaps this is the Inferno of the present: the space of sitting with the self.

In Ferneaux

Music US

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