archive.org/details/TheirFutureHasFailed/
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THEIR FUTURE HAS FAILED, 2016 is a composition dedicated to the public domain, stored at archive.org, and free to be copied, modified, distributed and performed, as a gift to “siblings, comrades, users, peers, and lovers.”

(Predominantly) an auditive piece dealing with impermanence, impersonation, distribution prospects and perspectives, and the vehement evidence of absence—the recording discloses less as an object, and more as a stratum between worlds; a broader encompassing sedimentation of collateral excrements questioning instances of identity, participation, individual/collective desire, depression, and subjectivation.

Not bound to find an answer in itself, but to open space for further questioning, it digs into a personal archive of 9 years of unreleased media, sourcing the unrealised past as raw material for additive and subtractive rumination.

Spectre companion to Translationships, a long-term project initiated in 2011, which was originally bond to be the first full-length record of my other persona Death In Plains—a semi-fictional character, who operated through music in order to channel silence, THEIR FUTURE HAS FAILED finally ejects DIP (reborn D1000p) from the comforts of continuity and the flattery of spectacle.

---------- Forwarded message ----------
From: Death In Plains <deathinplains@gmail.com>
Date: 19 February 2017 at 18:49
Subject: THEIR FUTURE HAS FAILED
To: Enrico Boccioletti <mustardpolo@gmail.com>
Bcc: XXX

Dearest siblings, comrades, users, peers, and lovers,

Here is a record, a gift, resurfaced. 9 years: DIP samples herself again.

Death In Plains was a fictional character, notwithstanding its presence being undeniably real. Dates of appearance, end, and beginning remain unclear, as well as blurry remain the reasons of its existence. Did it even really exist? First appearances: 2008-2011. Death in Plains was deliberately anti-work, anti-rational, anti-gender, anti-world, anti-establishment, anti-normal, anti-spectacle. I know this for certain since, sometimes, Death In Plains was me. And some part-time me was DIP. Your teenage voice becoming baritonal. Weirdly enough, baritonal is the anagram of antilabor. In taking DIP into consideration, either what’s not been spoken is important as what has been. Art is about faith. Death In Plains was never about music. Weirdly enough, it emerged from some kind of music scene, as music itself. One night, we have been speaking long about this precisely: I cannot define, I cannot describe, I cannot remember. Big big % VS little little %. One could say the inaudible had a major part over the audible. Weirdly enough, silence cancelled all the music. Finally, DIP was not even “something” about music. It is “anything” about the the subterranean, the submerged, the greater sturdy sank root of the newborn sprout. It is the longest absence of vibration preceding the momentum creating vibration. It operates through music in order to channel silence. You won’t fine me here. You won’t find here anything but “old stones that cannot be deciphered.” If we remove (human-sized) time/space causality, aren’t both the long unspoken silence and the trauma that has been, reverberations of each other? Also, let’s not speak clearly about DIP. It could have been maybe all about the wonders of self-suggestion.

“La musica è bella da sentire, ma fa male a toccarla” (Pesaro, 19 gennaio 1990)

Forever yours,
E