Cole Peters
Sound & visual artist

Enfold: Rehearsal for Send + Receive, 2021

Album (digital download),
released 2021/12

Stream and purchase on Bandcamp →

This recording captures my final recorded rehearsal for my performance at Send + Receive, an international festival of sound, in September of 2021.

This performance was significant to me in several ways. Being able to perform at Send + Receive had been a long held aspiration of mine, and being able to open the festival's return to an in-person setting was an incredible privilege. Further, this performance marked my first live appearance in nearly 10 years.

The set itself draws upon raw materials which formed several compositions previously released on A Stable Means of Degradation and A Pattern of Extraction. The exception to this arrangement is the recording which opens the set, which appears in a different (less processed) form on A Certain Point of Inertia. Each composition is performed as a reconfiguration of the original, revealing new interpretations and considerations of both their individual and unifying properties.

My performance on September 9 took place at Stephen Juba Park in Winnipeg, Manitoba, situated on Treaty 1 territory. Thanks to the imagination and efforts of artistic director Cam Scott, technical coordinator Joel Mierau, and sound technician Eusebio Lopez-Aguilar, I had the pleasure of performing this work on a double-stereo PA system backed by four subwoofers, which physically enfolded the performance space and provided a palpable sense of immersive physicality. Being able to broadcast this material at a volume which purportedly carried well across the banks of the Red River was an absolute thrill for me — I'd desperately wanted to experience this work as massive full-body sound since its creation, and the wonderful people behind Send + Receive were fantastic with helping me realize this.

Speaking technically, I performed this work on an Elektron Octatrack, using 3 banks of 8 tracks of recordings made both in the field (utilizing various acoustic and contact microphones) and in the studio (using an Elektron Analog 4 and the Octatrack itself). I used the Octatrack to trigger, layer and process these materials live, with some of them routed through an Eventide Space reverb pedal in the Octatrack's effects loop.

Accompanying this release in the form of a PDF are my listening notes, written on the occasion of my performance, which provide additional context into the geographic and sociopolitical nature of the field recordings which make up a substantial portion of the performed compositions.