Video Premiere: FITH - Bialystok

With Swamp, FITH become a refined force, on a record where all their compelling pluralities and attributes are honed and augmented; everything dilated to delirium.

Video Premiere: FITH - Bialystok

With Swamp, FITH become a refined force, on a record where all their compelling pluralities and attributes are honed and augmented; everything dilated to delirium.

Initially a duo formed in Berlin, FITH have since multiplied and expanded to become a revolving collective of musicians and poets spread out across a Paris/Manchester/Berlin axis. The project, currently comprised of members Dice Miller, Enir Da, Rachel Margetts, ChrIs Lmx, & Arnaud Mathé gesture towards notions of the literary salon, expanded cinema happenings, and the ancient traditions of Greek oratory and religious sermons. 

Their self-titled debut 12” album was released via their collectively run imprint Wanda Portal in November 2016. 
Other outings have included myriad solo collections of poetry, a two-track release of lurid dissonance and elegiac elevation (Signs / Cornerstone, December 2016) and an extraordinary reinterpretation of the soundtrack for cult film & iconic document of modern alienation Wanda (1971, dir. By Barbara Loden) 

With Swamp, their sequel to this activity and their first appearance on Outer Reaches, FITH become a refined force, on a record where all their compelling pluralities and attributes are honed and augmented; everything dilated to delirium. 

The atmosphere here is one of veiled dread and psychic disturbance, a haunting and macabre psychedelia strewn with echo and dub FX, fragmentary fever dream poetics, elemental drum patterns and volatile synthetic interference. Although the collective conserve the raw crux of their earlier material their execution is, in this special instance, heightened by an intent to broaden and prolong their unique strain of intensity.

Emphatically sinister openers like Forest and Pound present sidereal sequences before building to barrelling, corrosively processed percussion, paroxysmal free jazz and a baleful, concrète-inflected score of electronics, while Swamp introduces phasing currents and a vocal evocative of a chorale from some forgotten giallo film. Elsewhere l'au delà (the beyond) presents a stunning, sombre passage to another state entirely, like some desolate new inflection on Coil’s Going Up, before BiaƂystok shifts into a finale of transportive and meditative evaporation. Together these tracks make for an incredibly immersive and congruous conception; an utterly complete and mesmerising document.

This is the second in a trilogy of films that has been put together for the Swamp release by filmmaker Tatia Shé.


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