Black Marble - Life in Small Spaces - VINYL LP
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Black Marble hummed to life in the fall of 2012, switched on by the early aughts New York City synthwave revival. Today, fourteen years on and seven releases later, Chris Stewart continues to make records hunched over machines that warm to the touch when turned on and need to be coaxed to stay in tune. His albums, written, recorded, and delivered solely by Stewart, remain singular visions, with songs that seek to convey a diffuse pastiche, now shaped by a desire to wrap the whole thing in a message that speaks to where he's been and where he wants to go. His latest vision, Life in Small Spaces, sees Stewart comment on the music industry and his role within it, reflecting on how underground music has changed over time, and how a blueprint for keeping things simple and being true to oneself is the only ideal for living in this complicated landscape. Stewart's desire to span time with his ideals intact shows up in the songwriting, which retains the project's pop-sensibilities while adding new tricks to the bag. Life in Small Spaces trades walls of synths for more guitar, drawing on early American left of the dial college radio staccato guitar lines recalling Pylon, The Necessaries, and R Stevie Moore, and live drum samples, a nod to Wire's simple metronomic style. Stewart explains the reason for the change as a way to Inchcreate this chime-y hypnotic quality. Like a radio dial that is between two stations.InchVisually, Life in Small Spaces features Stewart alone on the cover in a sparse room, surrounded with an eruption of confetti an image that reflects a self-contained world that may appear small, bleak and cluttered, but is fully his own. A fitting frame for a record that embraces limitation as a form of clarity, and one that tells the story of choosing a simple life, giving up stability and comfort for an existence of bold and engaging connections. This further refle
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- GenreRockDescriptionBlack Marble hummed to life in the fall of 2012, switched on by the early aughts New York City synthwave revival. Today, fourteen years on and seven releases later, Chris Stewart continues to make records hunched over machines that warm to the touch when turned on and need to be coaxed to stay in tune. His albums, written, recorded, and delivered solely by Stewart, remain singular visions, with songs that seek to convey a diffuse pastiche, now shaped by a desire to wrap the whole thing in a message that speaks to where he's been and where he wants to go. His latest vision, Life in Small Spaces, sees Stewart comment on the music industry and his role within it, reflecting on how underground music has changed over time, and how a blueprint for keeping things simple and being true to oneself is the only ideal for living in this complicated landscape. Stewart's desire to span time with his ideals intact shows up in the songwriting, which retains the project's pop-sensibilities while adding new tricks to the bag. Life in Small Spaces trades walls of synths for more guitar, drawing on early American left of the dial college radio staccato guitar lines recalling Pylon, The Necessaries, and R Stevie Moore, and live drum samples, a nod to Wire's simple metronomic style. Stewart explains the reason for the change as a way to Inchcreate this chime-y hypnotic quality. Like a radio dial that is between two stations.InchVisually, Life in Small Spaces features Stewart alone on the cover in a sparse room, surrounded with an eruption of confetti an image that reflects a self-contained world that may appear small, bleak and cluttered, but is fully his own. A fitting frame for a record that embraces limitation as a form of clarity, and one that tells the story of choosing a simple life, giving up stability and comfort for an existence of bold and engaging connections. This further refleArtistBlack MarbleTitleLife in Small SpacesFormatVINYLLabelSacred Bones
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Black Marble hummed to life in the fall of 2012, switched on by the early aughts New York City synthwave revival. Today, fourteen years on and seven releases later, Chris Stewart continues to make records hunched over machines that warm to the touch when turned on and need to be coaxed to stay in tune. His albums, written, recorded, and delivered solely by Stewart, remain singular visions, with songs that seek to convey a diffuse pastiche, now shaped by a desire to wrap the whole thing in a message that speaks to where he's been and where he wants to go. His latest vision, Life in Small Spaces, sees Stewart comment on the music industry and his role within it, reflecting on how underground music has changed over time, and how a blueprint for keeping things simple and being true to oneself is the only ideal for living in this complicated landscape. Stewart's desire to span time with his ideals intact shows up in the songwriting, which retains the project's pop-sensibilities while adding new tricks to the bag. Life in Small Spaces trades walls of synths for more guitar, drawing on early American left of the dial college radio staccato guitar lines recalling Pylon, The Necessaries, and R Stevie Moore, and live drum samples, a nod to Wire's simple metronomic style. Stewart explains the reason for the change as a way to Inchcreate this chime-y hypnotic quality. Like a radio dial that is between two stations.InchVisually, Life in Small Spaces features Stewart alone on the cover in a sparse room, surrounded with an eruption of confetti an image that reflects a self-contained world that may appear small, bleak and cluttered, but is fully his own. A fitting frame for a record that embraces limitation as a form of clarity, and one that tells the story of choosing a simple life, giving up stability and comfort for an existence of bold and engaging connections. This further refle
Black Marble's debut EP Weight Against the Door made the Brooklyn duo a fixture in darkwave circles. Less than ten months later, bedroom producers Chris Stewart and Ty Kube return with A Different Arrangement - a full-length that trades coldwave formalism for something warmer and more expansive.The record ranges widely Peter Hook-inspired basslines weave through radiant synth ebullience (InchA Great DesignInch), haunted playground-bop (InchLimitationsInch), and otherworldly sound sculpture (InchLastInch). The influence of synth pioneers Thomas Leer and Robert Rental is felt throughout, as is the duo's hard-line DIY ethos. InchA certain handmade feeling is what we're after,Inch says Stewart. InchIt's important to carry someresidue of the process... It's humanizing.Inch A Different Arrangement is a striking evolution - the moment the radiator sputters to life after a long, cold night.
When Chris Stewart set out to write and record his third album as Black Marble, he was newly living in Los Angeles, fresh o a move from New York. The environment brought much excitement and possibility, but the distance had proved too much for the car he brought along. With it out of commission indefinitely, he purchased a bus pass and planned his daily commute from his Echo Park apart- ment to his downtown studio, where he began to shape Bigger Than Life. The route wound all through the city, from the small local shops of Echo Park to the rising glass of the business district, to the desperation of Skid Row. The hurried energy of the environment provided a backdrop for the daily trip. When Stewart finally arrived at his studio, he'd look through his window at the mountains and the sky, seeing the beauty that makes L.A. unique - the same beauty his fellow commuters, some pushed to the edge of human endurance, had seen. That was the headspace he was in when he began to map out the syncopated drums and staccato arpeggiation of Bigger Than Life, an ode to his new condition and a shim- mering synth-pop response to it's cacophony. As with every Black Marble album, Stewart recorded, produced, and played everything you hear on Bigger Than Life using entirely analog gear, though the process was new. This time around, he wrote everything on his MPC and sequenced it lie to his synths - only using the computer to record, not to create. InchI try new approaches every time, which helps me stay engaged but also it's kind of a trick I play on the creative side of my brain,Inch Stewart says. InchKeeping one side of my mind busy on organizational creativity I think frees up the other side where the inspirational creativity comes from.Inch
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