The process, the process. It’s easy to discuss it, to get inside
someone’s head and figure out where they’re coming from, where they’re going,
what their intentions are. Here, Radere, aka Carl Ritger, found himself moving
back east from Denver. Since his stuff was all packed up, all he had on hand
was a small modular synthesizer and digital recorder. A good artist is always
able to use whatever’s around to realize their vision, and Radere is no
exception. He was able to get creative under the circumstances, and The Blood is the result.
The Blood refers to his
family. His folks live outside of Philly, and that’s where most of this was
recorded. And as we all know, family can be crazy, can be unpredictable, can be
challenging, in both good and bad ways. The
Blood reflects that instability, its tactile sonics telling a story
stretching over generations, at times intense and in-your-face, at others
calmly observing itself, as if the machines of its making were trapped in a cycle
of self-reflection. And isn’t it all self-reflection anyway, regardless of
which end of the spectrum you happen to be occupying? The Blood comes off as Radere’s own worldview at a specific period
of time, and he captures the uncertainty and the curiosity of his experiences
quite remarkably.
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