Sounds
“You don’t hear as much about them as other dashes, but you’ve most likely seen them around. Endashes (–) can denote a range or connect the endpoints of a route. They can also show a contrast or connection between two words. You can use them to replace the words to, and, or versus. An endash is longer than a hyphen (–) and shorter than an emdash (—). It usually appears directly between the numbers or words it’s connecting, without spaces.” -Dictionary.com
I make music under the moniker Endash. My music explores loss, landscape, memory, science fiction, ambient, and techno.
Prednisone (album, 23 minutes 11 seconds), 2024.
Acid Camp is excited to announce an extended release by Detroit-based artist Endash, Prednisone, available digitally on Bandcamp today, November 25, 2024.
A limited edition of 25 signed records by DISC_ARCHIVE are available for preorder, estimated to deliver March 2025.
The 23-minute extended play is a score from the artist’s film of the same title recently shown at the Mike Kelley Homestead via the Museum of Contemporary Art, Detroit (MOCAD) in the show Word of Mouth (June 28-October 6, 2024).
The score is a collection of four new works that distort, slow, and layer the Gaelic folk song Dúlamán and Scottish-based Ossian’s Rory Dall's Sister's Lament (1984). Dúlamán sings of the tradition of gathering seaweed for food, bathing, and fertilizer. Rory Dall’s Sister’s Lament was originally published in 1778 by Daniel Dow as a Scottish hymn.
The film (17 minutes 15 seconds) explores how bodies translate anxiety into physical infections. It considers “narrative medicine” as a tool for healing psychosomatic pain and places it in conversation with Western medicine, which has often suppressed people’s—often queer people’s—ability to identify the roots of their wounds. It combines footage of landscapes with rotating horizon lines, pictures of a stress rash that appeared on the artist’s body in 2023, and childhood ephemera.
Prednisone (album, 23 minutes 11 seconds), 2024.
Prednisone (album, 23 minutes 11 seconds), 2024.
Come Home (2019)
My first full-length record that solidifies my style of combining sharp and technical percussion, atmospheric synths, and spoken word from my life and the visual art world. It captures my thoughts on moving from Michigan to New York, finding work, making friends, getting dumped, then coming back to what kept me grounded all along. It is about coming home to myself. The music video to Charlotte Street is here.
Cyclical Tendencies, or Round and Around (2017)
My third release is a six-track exploration of rhythms outside of house and techno's traditional 4-4 time signature. An array of 5-4 melodies, 7-16 hi hats, 6-4 bass lines, and 3-4 triplet synths are layered over standard or non-standard rhythms. Some songs lack any pattern at all. The result is something cyclical: moments of alignment and clarity lead to dissolving and chaos as sounds rotate on their own time. The work ultimately aims a critique at contemporary house and techno's assumptive reliance on the 4-4 time signature, expected drops, and monotony. It is algorithmic and technical. It channels the summertime.
Damp (2015)
Damp is my sophomore EP. Exploring darker, earthier, and angrier territory than its self-titled predecessor, Damp negotiates the line between natural and unnatural in an electronic environment. It was made directly after two men dumped me in order to get back with their exes. It is about what being “Option B” feels like. It channels the spring.
Tether (2014)
This is my first release as Endash. Four tracks. The start of a journey. It channels the winter.