From a live performance on Blurred & Obscured on WFMU on August 23, 2015. More information and the full playlist can be found at wfmu.org/playlists/shows/62265
Furchick is an Australian ex-pat of New York and New Zealand who currently resides in Perth. Confused? So is she. She usually performs solo with an experimental live sound at the crossover between art and science. She makes rudimentary instruments out of everyday objects and sometimes even plays regular instruments. She runs net label dogparkrecords.bandcamp.com
Claire toured to Melbourne, USA and Europe (London, Berlin, Arnhem) in 2015. She worked on sound design for Jukstapoz, a contemporary dance company based in Athens, Greece for premier in February 2014. She toured USA and Europe on 2015 and went to NZ in 2011, 2013, and 2014. Other recent significant achievements have included Audacious Festival in Christchurch, a sound installation at Tilde festival in Melbourne, The Mart contemporary art museum in northern Italy, performing at Sound Summit in Newcastle, Australia, and at the International Noise Conference in Sydney and Melbourne.
In 2017 she won a WAMI, an award for best experimental musician in Western Australia.
released November 28, 2018
Cover art by Furchick
"Ladies and gentlemen, we have ourselves an actual noise cassingle, spotted in the wild for the first time in human existence! “Race Against Time” was recorded for WFMU in 2015, and Furchick’s dropping it on us physically, like a brick from the window of your brownstone. Heaving, earnest waves of tension rip through speakers like they were in an antimatter wind tunnel, their almost physical manifestation colliding with your solar plexus and knocking the wind out of you. Furchick’s not messing around people. Pop this in your car’s tape deck the next time someone wonders what the latest hot single is and watch their reaction. (No one’s ever asked anyone that question, I understand, but go with me here.)"
"Furchick’s cassingle Race Against Time captures dubbed tapes’ messy process of regeneration and reconstitution even more succinctly. I discovered my copy was previously that Wet Wet Wet single, so no pressure. Taken from a set recorded live on WFMU a few years back, this single track pulls no punches. Starts with a frosty vocal call like an astro signal; split, stretched and kneaded; shot through with syrupy electronic pulses. The sound sources for this are wholly uncertain. The tape loops sound too crusty for comfort; the violent, goopy electronic swirl has an uncanny amount of breath in to be purely inorganic. Soon it whirls up into a series of momentus loops, resembling a heavy-loaded washing machine or derelict factory mill, with some vinegar-and-baking-soda molotovs thrown in for good measure. Gristle and gravel trickle, watery-eyed, around knackered mechanics. You feel the force of each shift, each hurtling movement from loop to loop. And then everything dissolves in a gut-lurching pool of wet clay slosh, lumpy fog and low-end clunk. Abrupt shunt back to the beginning. It’s like being digested. I love it!"
"There are two imaginary images popping into my mind when experiencing this soundscape, one of that special toy that could walk down the stairs all by itself and that other toy that spins around when you pull in and pull out the handle in a rapid way. Both toys I do not know the English words for, neither do I feel my luck to go out and google them, but instead get this tape and let it project these toys in your head too. If it happened to me, why should it not work for you? But why particularly these toys? Well, they must have been hanging out in that special zone between time and space.. otherwise it’s just impossible to explain!"